RHYTHMS OF THE WORLD...U K TIME SIGNATURES Time signatures contain two numbers: The top number indicates The bottom number is a symbol to indicate Describe the following time signatures:

G C S E M U S I C – R H Y T H M S O F T H E W O R L D R E V I S I O N G U I D E

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RHYTHMS OF THE WORLD

REVISION GUIDE

SOME KEY MUSICAL VOCABULARY

The following words relate to Rhythms of the World. Give definitions of the following terms:

RHYTHM –

PULSE –

TEMPO –

SYNCOPATION –

CROSS-RHYTHM –

POLYRHYTHM –

IMPROVISATION –

TRIPLETS –



SOME KEY ITALIAN MUSICAL TERMS REGARDING

TEMPO The following Italian terms relate to the Tempo of a piece of music.

Give definitions or meanings for of each of the terms adding a picture or drawing to help you remember them.

Italian Musical Term Meaning

Largo

Andante

Moderato

Allegro

Vivace

Presto

Accelerando

Rallentando

Ritenuto

Allargando

Rubato



TIME SIGNATURES

Time signatures contain two numbers:

The top number indicates

The bottom number is a symbol to indicate Describe the following time signatures:

What is this symbol and what does it describe?

What is this symbol and what does it describe?

DOTTED RHYTHMS

A dot after a note

A dotted crotchet lasts for

A dotted quaver lasts for

6/8, 9/8 and 12/8 are examples of COMPOUND TIME. In compound time, each beat is a

. Although 6/8 time has six quaver beats in

the bar, the beat is divided into .

1 2 3 4 5 6 = 1 2



INDIAN CLASSICAL MUSIC

Instruments and Timbres

Indian classical music ensembles have only a handful of players. Most instruments are played while seated on the floor. Describe the three elements in Indian Classical music mentioning some typical

instruments used for each part:

Identify and describe the sound production and playing methods of these musical instruments:

Identify and describe the sound production and playing methods of this musical instrument and its role within

the ensemble.

Identify and describe the sound production and playing methods of this musical instrument and its role within the

ensemble.




.

Identify and describe the sound production and playing methods of this musical instrument and its role within the ensemble.



Rhythm and Metre & Repetition and Ostinato Describe how Rhythm and Metre and Repetition and Ostinato feature in Indian Classical Music. What is a TALA? What is characteristic about a TALA? Use the table below to help you describe how TALAS are divided into beats.

Identify this popular Indian TALA. How many beats per cycle? How are the beats divided? What do the “X” and “O” symbols mean? Which are the

strong and weak beats of the TALA?

CHARACTERISTIC RHYTHMS AND

METRES OF INDIAN TALAS

1. Ektāl Tala

1 2 3 4 5 6 7 8 9 10 11 12

X O X O X X

2. Kehrva Tala

1 2 3 4

X O

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1

mātrā

(beat) ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

vibhāg

(section) ● ●

● ●

●

avartan

(cycle) ● ●

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

X X O X



3. Jhaptāl Tala

1 2 3 4 5 6 7 8 9 10

X X O X

4. Rūpak Tala

1 2 3 4 5 6 7

O X X

5. Dādrā Tala

1 2 3 4 5 6

X O

6. Dhamār Tala

1 2 3 4 5 6 7 8 9 10 11 12 13 14

X X O X

Pitch and Melody & Harmony and Tonality What system of TONALITY is most Western music based on? How would you describe the pattern of intervals between the notes?

What system of TONALITY is Indian Classical music based on? How would you describe this? How are they used? What characteristic features

do these have?



What is name of the musical notation which Indian musicians use for writing down their music in notated form?

What are the names of the scale in Indian Classical Music?

Texture There are THREE BASIC LAYERS to the texture of Indian Classical Music: Identify these below and suggest musical instruments that could perform

each of the textural layers:

How would you describe the texture at the opening part of a RAGA PERFORMANCE? What happens to the texture in the final section of a RAGA PERFORMANCE?

Ornamentation How do Indian Classical musicians ornament or decorate their melodic and rhythmic parts?

Dynamics How do the dynamics change throughout a typical RAGA PERFORMANCE?

Tempo How does the tempo change throughout a typical RAGA PERFORMANCE?



Structure and Phrasing The length of a piece of Indian classical music is not worked out beforehand. Some concerts are very long and all night concerts are popular in India. The FORM AND STRUCTURE of a RAGA PERFORMANCE is made up of four sections (there are no gaps or breaks between the different sections) and performed in the following order: Describe some key musical features which occur in different sections of a RAGA PERFORMANCE below.

Section Musical Features

ALAP

JHOR (or

JOR)

JHALA

GAT (or BANDISH

if a song)



The word for music in India is SANGITA which as well as music, also means dancing and drama. Indian classical music has a history that can be traced back over 3000 years (to roughly 1700 BC) and developed in temples and royal palaces.

Indian musicians learned to play RAGA (patterns of notes) and TALAS (rhythm patterns) by imitating and memorising. The music is passed on from teacher to student by . Students belong to an extended family of musicians learning from a particular master. This is known as the .

Spirituality is an important part of almost all Indian classical music and it is almost always related to the Hindu religion. In Southern India, there is a long tradition where a RAGA is set to words in praise of a particular Hindu deity.

Indian classical music has since developed a strong tradition that is still prominent today. The impact of modern technology on traditional music from globalisation includes Indian classical music being heard by more people around the world. Internet technology such as YouTube® and other archived music sites allow people to hear Indian classical music as well as at the cinema, on the radio or at live concerts of Indian classical music held in different places in the world. RAGA PERFORMANCES which often traditionally lasted several hours have had to be confined to a traditional “concert length”. Traditional Indian musical instruments, such as the TABLA are often heard in jazz, pop and rock music (either live or “sampled”) and the SITAR is often used in popular music. Indian classical music is also mixed with music from a different culture (or in a more popular style) producing FUSION music.

The ways in which performers work together is important in Indian classical music. Ensemble musicians must work together in order to interpret the music and perform effectively as one. They have to listen carefully to each other to make sure they: (list some ways in which musicians in an Indian Classical Music

ensemble have to work together)

For an ensemble, it is usually essential to have may group rehearsals to discuss the interpretation of the music and to rehearse the pieces until they flow easily, with all parts acting together as one. After sorting out the “basics”, it is important to spend time on all the subtle details such as: (list some ways in which musicians in an Indian Classical Music ensemble

have to work together to discuss the interpretation of a piece of music before performance)



Identify and briefly describe the following famous performers of Indian Classical Music.



PUNJABI BHANGRA Instruments and Timbres What instrument is used to provide the main rhythm?

What instrument adds decorative more complex rhythms?

What other “traditional” instruments are used in Punjabi Bhangra?

What electronic instruments are often combined with “traditional” ones in Punjabi Bhangra?

How has music technology been used in Punjabi Bhangra?

Identify and describe the sound production and playing

methods of this musical instrument and its role within

the ensemble.

Identify and describe the sound production and

playing methods of this musical instrument and its

role within the ensemble.




Rhythm and Metre & Repetition and Ostinato What metre/time signature is most Bhangra music written in?

What is the name of the rhythm which Bhangra music is based on? What does it consist of? How is the rhythm performed/heard? Describe how

the rhythm shown below is performed on the DHOL drum and which beats shouts of “Hoi!” are often heard on.

Tempo How would you describe the tempo of Bhangra music?

Dynamics, Expression and Articulation How would you describe the dynamics of Bhangra music? Which beat of the bar

commonly has a strong accent?

Harmony and Tonality How would you describe the harmony of Bhangra music? How are chords used?

Texture How would you describe the texture of Bhangra music?



Pitch and Melody Describe a typical Bhangra vocalist/singer. How would you describe their pitch range? What musical interval are Bhangra melodies often based

around? What is a MICROTONE? How is MICROTONALITY used in Bhangra music?

Structure and Phrasing What type of musical form/structure is commonly used in Bhangra music? How do vocal phrases typically end?

Ornamentation What type of musical intervals and used to ornament vocal melodies?

Traditional Bhangra originated as a folk dance in the Punjab region of north India and Pakistan.

Bhangra was created by the Punjabi farmers working on the land. They would sing songs to the

sound of the drum as they worked to entertain themselves and to pass the time. These

songs and accompanying dances became a part of their

harvest celebrations.

Gradually Bhangra spread to other areas of society,

becoming a part of

.

As a traditional dance Bhangra is hundreds of years old,

but a modern form of Bhangra has recently developed in

the last 40 years and quickly gained popularity. As people

from Asia migrated to other countries such as England, they took their music and dance with them.

Asian culture became especially important to the new communities as it helps them to maintain

their sense of identity. To begin with, Bhangra was used by Asian communities in cities such as

Birmingham and London to celebrate . But as traditional Bhangra

was fused with , it quickly spread throughout the UK. The popular music

influences and the use of music technology in modern Bhangra turned it into a commercial

success, and Bhangra became the main style of music to be heard in England's Asian nightclubs.

Bhangra is now used to describe a high-energy style of dance music developed by young Asians

and performed at weddings, parties and clubs.

The dance rhythm is set by the . There are many types of

dances; originally a male synchronised dance, often danced in

circles, with strong energetic steps and actions that represented

the movements of the farmers as they worked in the fields. More

recently, women have started to dance Bhangra as well. There

are now a number of traditional dances that are grouped under the

heading of Bhangra. Although there are solo dances, most

traditional Bhangra dancing is done in groups and uses a lot of arm and shoulder movements.

Some dances use stick and swords; other dances use stunts such as a dancer sitting on

someone’s shoulders, while another person hangs from his torso by his legs or human pyramids!

In contrast, the style of club dance used from modern Bhangra music is individual and improvised.



Bhangra is a type of –

blending together and combining elements of

Western popular music, club dance music, Hindi

film music and folk music from the Punjabi

region. Traditional Punjabi drums and string

instruments are combined/used alongside

Western instruments such as

.

Modern Bhangra developed in the UK in the

1970’s and 1980’s and FUSED CHAAL rhythms

with Western popular genres such as Hip Hop,

Disco, Rap and Drum ‘n’ Bass styles making Bhangra much more popular with mainstream

audiences. Music technology is now used frequently in Bhangra music featuring

.

Identify and briefly describe the following famous performers and composers of Bhangra.



EASTERN MEDITERRANEAN AND

MIDDLE EASTERN AND ARABIC FOLK

RHYTHMS

Instruments and Timbres

.

Identify and describe the sound production and playing methods of this

musical instrument and its role within the ensemble.



Identify and describe the sound production and

playing methods of this musical instrument and its

role within the ensemble.




A typical ensemble in Greek folk music (shown below top left) could consist of

. Palestinian and Arabic music (shown

below right) often features the , while Israeli music (shown below bottom left) has taken

on many more Western musical instruments such as .



Rhythm and Metre & Tempo Many Greek songs and dances use IRREGULAR RHYTHMS and IRREGULAR METRES. What is an IRREGULAR RHYTHM or IRREGULAR METRE? Give two examples. How are beats accented in different ways?

Which metres/time signatures are also used in Israeli folk dances? What is the name of the characteristic rhythm pattern used in Arabic music? Which instrument would perform this rhythm? MAQSUM (a basic rhythm that occurs throughout the Middle East):

SAIDI (an upbeat folk rhythm, here with fills included):

How would you describe the tempo of Greek folk music, Arabic Music and Israeli folk dances?

Pitch and Melody and Ornamentation

How would you describe the melody Greek folk music? How would you describe

the melodic movement? How are the melodies harmonised?

How would you describe Arabic melodies? How are these embellished by the performer?

What instruments are often used for the melody of Israeli folk dances and how are these

embellished by the performer?



Harmony and Tonality What system of Tonality does Greek folk music use? Which notes of each chord are emphasised by the bass instrument? Which keys does the

music sometimes modulate to

What system of Tonality is Arabic music based on? What is a MODE? How are Arabic melodies often accompanied? What is MICROTONALITY?

Below is the double harmonic scale, known to Western musicians as the “Arabic scale” and

approximates the sound of Arabic music.

Structure and Phrasing How is Greek folk music structured? How are different sections

separated?

Texture Describe the texture of Greek folk music.

Dynamics, Expression and Articulation What is a TREMOLO?

What is a vocal MELISMA?



Greece is considered to be the birthplace of European

literature, philosophy, art and music. The official religion is

Christianity, although many Greeks attend the Greek Orthodox

Church. Many Greek myths have been turned into operas by

composers such as Mozart, Handel and Stravinsky. Modern

Greek songs are strongly influenced by . Folk

music in Greece consists of both . Greek folk

music, particularly dances, are heard at

. Folk songs might be heard in

across the country and its islands.

Israel and Palestine share a complex and difficult history.

Many regions in these two states have changed hands in

recent times, yet they share many musical traditions. As

well as their political history, the diverse religious and

cultural history of this region means that Arabic, Jewish

and Christian influences have shapes its music, as well as

traditions from neighbouring countries in the Middle East,

the Eastern Mediterranean and North Africa.

Music of the

Middle East is

at the heart of how people interact with each other in

society. Although music-making is important in

gatherings of men, it is now also a part of celebrations,

such as

and extensively broadcast

on

.

Identify and briefly describe the following famous performers and composers of Eastern Mediterranean, Middle Eastern and Arabic music:



AFRICAN DRUMMING Instruments and Timbres

African instruments are often made from

. African musicians are very fond of

instruments and use a wide variety of (called

MEMBRANOPHONES). These are traditionally used as an accompaniment

to singing, dancing, working and communicating between villages.

Drummers are typically the most

respected members of their community.

Identify and describe the sound production and playing methods of this musical

instrument and its role within the ensemble.







Different types of drums mean different things

and are often used as a form of

communication. A often

leads giving signals to the rest of the group to

change rhythms or sections of the piece and

can also control the . He often

highly complicated

rhythms and can indicate the ending of a

piece of music.

Identify the following musical instruments also used in African Drumming ensembles and African music:

Many Africans believe that music serves as a link to the spirit world; therefore, singing is a vital

part of everyday life and heard at religious ceremonies, rituals and celebrations. The basic form of

African Vocal Music is CHORAL SINGING known as where one singer

(SOLOIST) or small group of singers sings a line and the whole group (CHORUS) makes a reply

(often a fixed REFRAIN) – like a “musical conversation” – in alternation with the “lead singer”. The

soloist often . African singers often “shout words” (VOCABLES) and male and

female singers enjoy using their highest VOCAL REGISTER known as . African singing

can be accompanied by instruments but can also be unaccompanied, called .

The best known examples of African Choral Singing come from the group LADYSMITH BLACK

MAMBAZO (shown below)



Rhythm and Metre, Texture, Repetition and Ostinato & Dynamics, Expression and Articulation What rhythmic feature is used to organise African Drumming music? What is the name given to a repeated rhythmic pattern used in African Drumming? What role does the MASTER DRUMMER have within an African Drumming ensemble? How can they change or vary the rhythms used during a performance? Describe the rhythms below being performed simultaneously? What effect does this have on the texture of the music?

Pitch and Melody How would you describe African scales? How are these expanded? How is the pitch of an African Drum determined?

Tempo What important factor governs the setting (or changing) of the tempo in African Drumming? Who signifies this and how to they signal changes of tempo? Structure and Phrasing Who determines the structure and length of a piece of African Drumming? Harmony and Tonality What types of harmonies do singers use in African music? What musical intervals are used to create vocal harmony? Ornamentation Which rhythmic part, within African Drumming, is the most elaborate and decorated? Why is this?



Africa is vast continent with many different regions and nations, each

with its own traditions and identity. Much African Music is

TRADITIONAL and has been handed down from father to son via

– where music is passed on verbally and

being ‘learned’ rather than written down.

African Music is rarely performed as a

“classical concert”, rather, everyone

joins in by singing, dancing, playing an

instrument or clapping. African music

unites people regardless of ability and

is a part of everyday life. Music is

important to Africans especially at

as well as being a

way of communicating emotions and

feelings. African music is often

combined with other art forms such as

movement, dance, mime, speech,

story-telling and costumes such as

masks or body painting. Music is used

on a number of occasions such as . Performances of

African music are normally long and can last for several hours.

from the audience are an integral part of the performance.

African music has been a major influence on the development of popular music contributing

rhythms, structures, melodic features and the use of improvisation to such styles as

, brought over to America by slaves.

Identify and briefly describe the following famous performer of African Drumming:



CALYPSO AND STEEL BAND

Instruments and Timbre

Instruments used in Calypso include

and LATIN

PERCUSSION – this includes many types of drums including:

Identify each of the following Latin-American percussion instruments used in Calypso:

Steel Bands began in Trinidad when a great many oil drums

were left lying around after World War II. It was soon found that

they could be turned into musical instruments. Steel Pans are

made by cutting oil drums into different sizes and then beating

the tops into concave bowls. Each individual note is then

beaten into a small area of the bowl. Small rubber-headed

sticks are used to strike each note. These days, Steel Bands

consist of a number of different-sized Steel Pans, and a rhythm

section of Latin-American percussion instruments. Each pan or

pair of pans has its own name according to its pitch-range.

Some of the pans have more than one name although they mean the same thing. Describe the role/part which each of the following Steel Pans play within a Steel Band ensemble:

Names of the Steel Pans (in descending pitch order) The part they play in the band

Soprano, Ping Pong, or First Tenor

Double Alto, Double Second or Second Tenor

Single Alto

Cello, or Guitar

Bass



The picture to the left shows the note positions on a steel pan. Because a

wide range of pitches is available on Steel Pans, the Steel Band is a very

versatile ensemble. Many different styles of music can be performed,

including traditional Caribbean, pop and classical music. However, the Steel

Band is most often found in outdoor carnivals playing traditional Caribbean

music.

Rhythm and Metre, Repetition and Ostinato What is the national dance of Trinidad and Tobago? What social gathering is most associated with this dance?

What metre/time signature is Calypso music normally written in? What rhythmic feature is used in Calypso rhythms?

Describe how the rhythm below is typical of Calypso music.

Structure and Phrasing

CALYPSO uses phrases with a leader or soloist playing the “call” and

another instrument or the ensemble “responding” with another musical phrase. Call and response

phrases are often an (e.g. 4 or 8 bars) and are often .

Songs are normally in with a verse and repeating chorus

structure with topical, witty lyrics – often satirical – on subjects such as island life and were used

as a means of speading news and gossip.

Steel Pan music is often made up of a series of short phrases which are and often

have a “returning ‘A’ section.

Pitch and Melody and Ornamentation

The melody of Calypso music often features

by the instrumentalists often on

an “established”, pre-existing (folk) melody or one

that has been composed who add ornaments and

decorate a melody line during a performance.

Harmony and Tonality

The harmony of Calypso music is often enriched by

using e.g.

Added 6th, 7th & 9th and Diminished 7th Chords.

The HARMONIC RHYTHM of Steel Pan music is

normally with a single chord often lasting

an entire bar. Harmonies are simple using mainly



TRIADS and phrases often end with CADENCES.

Much Steel Pan music is TONAL and often in KEYS.

Most of the time, the Alto and Cello/Guitar pan parts are

based on . In its simplest form, a complete

chord, or TRIAD consists of three notes. The lowest note of

the triad, from which the chord takes its name, is called the

. The middle note is called the and the

upper note is called the . When arranging the notes of the triad for Alto and Cello pans,

it is usual to give the Alto the root and the third, and the Cello the third and the fifth. The stave to

the left shows the triad of C major with C being the root, E being the third and G being the fifth and

shows how these notes would typically be distributed among the Alto and Cello Pans.

In Steel Band music, chords are rarely played as semibreves, as shown above. The following

bass and chord rhythm combination is typical of how the notes are distributed:

Texture How would you describe the texture of much Steel Pan music? How are additional textural layers added?

Dynamics, Expression and Articulation How would you describe the dynamics of Calypso and Steel Pan music? Why is this dynamic level important?

How do Steel Pans play/decorate notes of long durations? Describe the timbre/sonority of this.



The Caribbean islands lie in a chain

from the Bahamas in the north to

Trinidad and Tobago in the south.

Central in the chain are the largest

islands of Cuba, Haiti, the Dominican

Republic, Jamaica and Puerto Rico.

Most of the Caribbean population are

descendants of West African slaves

and settlers from Europe, India and

China. CALYPSO is the national

dance of Trinidad and Tobago.

STEEL BANDS also originated from

these islands.

The music of the Caribbean differs from island to island, but each kind has its origins in a mixture

of African and European influences.

African musical influences include: Describe some African musical influences on Calypso and Steel Band music:

European musical influences include: Describe two European musical influences on Calypso and Steel Band music:

While Calypso started as a type of folk music, it developed into a CALL AND RESPONSE form from originally a political and social commentary, to dance and party music. During British colonial rule of Trinidad in the 1800’s, hand drums were used as a form of communication by neighbouring gangs. However, due to a steady increase in violent, the government outlawed the use of these drums. As a result, Trinidadians turned to a variety of materials to take the place of the banned drums and searched for objects to create music, including rubbish can lids, old car parts and empty oil barrels. Eventually, these metallic found-instruments became the basis of musical gatherings called “Iron Bands.” In the late 1930s, someone discovered that hitting a dented section of an oil barrel produced a particular tone, and people began to experiment with different shapes, resulting in the original steel drums, now referred to as “pans,” which were convex like a dome rather than concave like a dish. Ellie Manette, a steel drum maker still active in the United States, was the first to hammer out a pan, giving the drum its familiar concave form. Over many years, steel drum makers have perfected the quality, tone, and appearance of the instrument, which has led to its finding acceptance in the present-day percussion family.



The first major “stars of Calypso” started crossing over to new audiences worldwide in the late 1930’s as a form of protest against the authoritarian “colonial culture” which existed at the time. Calypso (often “toned-down” to a more “commercial” form) became popular with the release of “Banana Boat Song”, or “Day-O”, a traditional Jamaican folk song, whose best-known rendition was done by Harry Belafonte on his album Calypso (1956) which was the first full-length record to sell more than a million copies. Calypso also became popular in Broadway musical theatre with the musical Jamaica (1957) and Calypso began to be heard as music in films such as Island in the Sun, Calypso Joe, Calypso Heat Wave and Bop Girl Goes Calypso. In the 1970’s, women entered the previously male-dominated Calypso arena and Calypso continues to be popular in films of today such as “Under the Sea”, a Calypso theme from Disney’s The Little Mermaid. Identify and briefly describe the following famous performers and composers of Calypso and Steel Pan music:



SAMBA

Instruments and Timbre

Music in Latin America is widely influenced by colourful and exotic carnivals and a range of dance styles. Carnivals may include FANFARRAS, featuring brass instruments associated with fanfare, and almost always a Samba Band. Traditional instruments and timbres of a Samba Band include:

Identify and describe the sound production and playing methods of these musical instruments and their role within a

Samba Band:



Different types of guitar also feature extensively in Latin American ensembles,

the most popular of these being the CUBAN GUITAR usually with six or nine

strings.

Rhythm and Metre, Structure and Phrasing, Repetition and Ostinato &

Ornamentation What rhythmic feature is Samba music based on? How long are these? What “offbeat” rhythmic device is often

used? What is a SON CLAVE rhythm? Describe the two different SON CLAVE rhythms shown below.

Based on Clave rhythm 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 +

3 – 2 clave rhythm

2 – 3 clave rhythm.



The diagram below shows the typical form and structure of a piece of Samba music. Describe the different sections and any musical characteristic

which feature in the different sections.

Intro Groove Break

1 Groove

Break 2

Groove Mid-

Section 1

Groove Break

1 Groove End

Dynamics, Expression and Articulation

How would you describe the dynamics of Samba music? Why? How do the dynamics of Samba sometimes change towards the end of a piece?

Texture Describe the different textures in Samba music.

Tempo How would you describe the tempo of Samba music? Does the tempo stay the same or keep changing? Why? What is TEMPO RUBATO and how

and when is this used and why?

Pitch and Melody & Harmony and

Tonality

What is Pitch and Melody and Harmony and Tonality not as

important in Samba music?

Identify the following famous Samba Band:



Samba is a

with its roots in Africa via the West African slave trade and

African religious traditions. Although there were various

forms of Samba in Brazil, in the form of various popular

rhythms and regional dances that originated from drumming,

Samba, as a music genre, is seen as originally a musical

expression of urban Rio de Janeiro, then the capital and

largest city of Brazil. Samba is recognised around the world

as a symbol of Brazil and Brazilian carnival. Considered one

of the most popular Brazilian cultural expressions, Samba

has become an icon of Brazilian national identity.

The instruments of Samba have been influenced by

colonies who imported

slaves from Africa, while the rhythm of Samba is from Africa.

In addition to distinct rhythms and metres, Samba

brings a whole historical culture of

used to

accompany the performance of Samba music.

Samba

schools were

formed where people got together and performed a

variety of music using drums and other instruments.

The schools parade down a street lined with

grandstands, thousands of members dressed in co-

ordinated costumes, dancing a rehearsed Samba

routine to original music. Each school’s presentation

must have a central theme, such as historical event or a

Brazilian Indian legend. The Samba song must tell the

story and the huge floats that accompany each school must show the theme with paintings or

sculptures. Each Samba school rehearses all year for this event. The event gives everyone,

whatever their ability, the opportunity to take part and is the work of communities working together.

Today, Samba is usually associated with the . During the early twentieth century,

a colourful and exciting street life formed in Rio de Janeiro and the

music associated with the carnival became known as Samba where

its loud drumming and syncopated rhythms form an essential part of

the carnival season.

A more restrained version of Samba is also known around the world

as a competitive ballroom dance and heard on TV shows such as

Dancing with the Stars and Strictly Come Dancing. Samba has also

been mixed with Drum ‘n’ Bass (as a type of musical FUSION)

leading to the foundation of and artists and

groups of popular music have been influenced by the sounds and

rhythms of Samba and have used these in their music e.g.

Jamiroquai – “Travelling Without Moving” and Gloria Estefan – “Live

for Loving You”.



RHYTHMS OF THE WORLD

Indian Classical Music

Punjabi Bhangra Eastern Mediterranean and Middle Eastern and

Arabic Folk Rhythms African Drumming Calypso and Steel

Bands Samba

Characteristic Rhythms and Metres

Traditional rhythm patterns (including regular and irregular metres, syncopation and cross-

rhythms)

Origins and Cultural Context of the

Traditional Music

Musical Characteristics of

Folk Music

Impact of modern technology on

traditional music

Names of Performers and

Groups



RHYTHMS OF THE WORLD KEY WORDS

Key Word Meaning Understood

(tick) Signatures

(staff, student, parent)

Agogo Bells

Articulation

Bass Pan

Bouzouki

Cabasa

Cadence

Call and Response

Cello Pan

Chaal

Compound Time

Conga

Cross-Rhythms

Cuica

Dhol




(tick) Signatures


Djembe

Dotted Rhythms

Double Seconds

Dynamics

Expression

Guiro

Guitar Pan

Harmony

Improvise/

Improvisation

Irregular Metres

Maracas

Melody

Metre

Microtonal

Mode

Ornament(s) (-ation)




(tick) Signatures


Ostinato

Parallel Melodies

Pitch

Polyrhythm(s)

Pulse

Raga

Repinique

Repetition

Rhythm

Shakers

Simple Time

Sitar

Son Clave

Steel Pan

Structure (Phrasing)

Surdo




(tick) Signatures


Syncopation

Tabla

Tala

Talking Drum

Tambourine (Defi/Daf/Riq)

Tanpura

Tempo

Tenor Pan

Texture

Timbales

Timbre/Sonority

Tonality

Triplets

Whistle



Learning Outcomes

(Grade 1-3)

(Grade 4-6)

(Grade 7-9)

Signatures (staff, student, parent)

I can describe some of the characteristic rhythmic features and metres of

Indian Classical Music and traditional Punjabi Bhangra


Traditional Eastern Mediterranean and Arabic folk rhythms including

traditional Greek, Palestinian and Israeli music

I can describe some of the characteristic rhythmic features and metres of Traditional African Drumming


Traditional Calypso and Samba

I understand the originals and cultural context of the traditional music of

Indian Classical Music, Punjabi Bhangra, Traditional Eastern

Mediterranean and Arabic folk rhythms, Traditional African Drumming and


I understand the musical characteristics of the folk music of Indian

Classical Music, Punjabi Bhangra, Traditional Eastern Mediterranean and

Arabic folk rhythms, Traditional African Drumming and Traditional

Calypso and Samba

I understand the impact of modern technology on the traditional music of




I can name some performers and groups which compose and perform




I understand the ways in which performers work together in Indian

Classical Music, Punjabi Bhangra, Traditional Eastern Mediterranean and

Arabic folk rhythms, Traditional African Drumming and Traditional

Calypso and Samba

I can describe how a range of musical elements (instruments and timbre, pitch

and melody, rhythm and metre, tempo, dynamics, expression and articulation, texture,

structure and phrasing, harmony and tonality, repetition and ostinato and ornamentation)

are combined in Indian Classical Music, Punjabi Bhangra, Traditional

Eastern Mediterranean and Arabic folk rhythms, Traditional African

Drumming and Traditional Calypso and Samba



Learning Outcomes

(Grade 1-3)

(Grade 4-6)

(Grade 7-9)

Signatures (staff, student, parent)

I have some knowledge of techniques of performing traditional drums

I have some knowledge of traditional rhythm patterns (including regular

and irregular metres, syncopation and cross rhythms)

I have some knowledge of how texture builds with added parts

I have some knowledge of how improvised melodic lines are based on

traditional scales (including modal and microtonal ideas)

Documents

RHYTHMS OF THE WORLD...U K TIME SIGNATURES Time signatures contain two numbers: The top number indicates The bottom number is a symbol to indicate Describe the following time signatures: