World Rhythm Library
- Handpan Edition

Arabic & Turkish

These two Middle Eastern music traditions are closely related. Both use the Maqam system and they share many of the same rhythms, so they are included together here. Performed on instruments such as the Darbuka, Riq, Bendir and Davul, the clear structure of low accents (Doum) and high accents (Tak) make these rhythms are extremely versatile. From dance rhythms, such as Maqsoum, Malfuf and Belledi, to classical rhythms, such as the spacious 10-beat Samai, the grooves transfer beautifully to the handpan and can be a never-ending source of inspiration.

Persian

Iran’s classical and folk music is performed on traditional instruments such as the tar, setar, ney, santoor and voice. Traditional Iranian drums are the tonbak/tombak/zarb (goblet drum) and daf (frame drum). The tonbak being the main drum used in classical and folk music and the day is the main drum for spiritual/sufi music. Persian drumming uses a variety of unique finger techniques such as the riz-e-por (9-finger roll) and pelang (finger snapping) that add to the characteristic sound of Persian rhythms.

Greek

Greece has a rich folk music and dance tradition and many of the Greek rhythms such as Zeybek, Tsamiko and Kalamantiano are named after, and performed for, specific folk dances. Many of the traditional percussion instruments of Greece such as the daouli, toubeleki, zilia, tympanum and tambourien, have closely related counterparts in Turkey and the Arabic world (darbuka, zills, bendir, riq). Part of the rhythm repertoire is also shared with those musical traditions.

Spanish (Flamenco)

Originally, hand claps were the only percussive element used in Spanish flamenco music. But when Paco de Lucia’s percussionist Rubem Dantas was handed a cajon while touring in Peru, it didn’t take long until the wooden box was slightly modified with some guitar strings to add a snare effect. Since then it has become a staple in modern Flamenco music. Buleria, Tango, Rumba Flamenco and Fandango rhythms serve as accompaniment for virtuoso guitar performances and these rhythms translate very nicely to the handpan.

North Indian (Hindustani)

Like South Indian (Carnatic) music, North Indian (Hindustani) music is based on a system of ragas (melodic frameworks for improvisation and composition) and talas (cyclic metric patterns of sometimes great complexity, which are measured by a clap, beat or strike). Hindustani music is mostly improvised and the rhythmic accompaniment is traditionally played on the tabla (North Indian classical drum), an instrument of great technical complexity. The first beat of the tala, and usually the most accentuated, is called sam and marked by a clap. Talas are structured by accentuated segments called thali, which are also marked by claps, and non-accentuated, ‘empty’ segments called khali, which are marked by a wave.

West African

Percussion plays a big role in West African culture, music and dance. The djembe is the most popular drum of this region. According to the Bambara people in Mali, the name “Djembe” comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace". The Djembe is a goblet drum, can produce a wide variety of sounds and is often played as part of large percussion ensembles. A characteristic aspect of African percussion are the heavily polyrhythmic grooves played by several djembes, bass drums and bells.

North-African

There are many popular folk music styles in North Africa, such as the Moroccan Chaabi, Algerian Rai and the Berber and Bedouin music of Tunisia. North African rhythms are traditionally performed on bendir (frame drum, often with snare strings), tar (tambourine) and sometimes goblet drums. Some of the most important musical influences in the region are Andalusian music, Muslim music from Baghdad, Istanbul and Egypt, and music from other parts of the African continent.

Afro-Cuban

On Cuba, music and dance are an integral part of everyday life. Cuban Salsa is played in Big Bands around the world and has influenced popular music for decades. Cuban Rumba is performed, danced, sung and improvised on the streets of Cuba. Spiritual rhythms stemming from African heritage, such as Bembé, Abakuá and Palo, are performed in religious ceremonies. The Afro-Cuban percussion tradition is rich and varied and has its own unique language with many dialects.

Brazilian

The music of Brazil encompasses various regional styles, with Samba being the most popular. Big percussion ensembles march the streets during carnival and rival Samba schools hold contests to compare skills and creativity. The more mellow Bossa Nova is also popular around the world. Besides these styles, Brazil has various beautiful indigenous music traditions, such as Maracatu and Capoeira - the Brazilian martial art masked as dance.

Drum Set Grooves

The drum set (drum kit) is the most common percussive instrument in popular music today. Nowadays, the kit is truly a global instrument, played all over the world. Its grooves are influenced by countless musical traditions, but the most characteristic drum set rhythms are backbeat grooves. These are defined by a high accent on the snare drum on the 2nd and 4th beats of the 4/4 bar. They work great on the handpan and are easily understood by anyone, so they make a great starting point for jams.

Odd-Metre Rhythms

The most common time signatures in classical and popular music styles in the western world are 4/4, 2/4, 3/4 and 6/8. Other time signatures, such as 5/8, 7/8 and 9/8, are defined as odd-metre or uneven rhythms. Time signatures such as 10/9 or 14/8 are usually included here, even though they don’t technically have an uneven number of beats. Odd-metre grooves take a while to get used to, but once you make them your own, they can be a never-ending source of inspiration. Since they are quite rare in most parts of the world, they make for interesting and unconventional music. If you want to learn more about odd-metre grooves, how they are structured and how to play them on the handpan, check out our Level 2 course.

Cross-Rhythms

The term "cross rhythm" was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980), who spent a lot of time in Zambia and Uganda for his research. His definition goes as follows: ‍ Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged.— The New Harvard Dictionary of Music (1986: 216) A specific type of cross rhythm happens when you layer two regular patterns with a different amounts of beats over each other, adjusting the timing so both loop exactly at the same time. The most common example of this practice are 2 against 3 and 3 against 4.