Previewing Styles

Before loading a Style you might like to hear what it sounds like. A short example of every Style (played at its original tempo) can be heard by simply choosing one in the Styles Selector and clicking Listen.

listen

If you would like to hear a preview every time you click a Style in the Styles Selector then click Auto.

General Overview

Listen is disabled when Darbuka is playing.

Style Info

When you click a Style in the Styles Selector, information such as tempo and time signature is displayed in the info display in the top center of Darbuka or as a tooltip above the Styles Selector. You can sort Styles by tempo and time signature by using the Sort List option below the Styles Selector.

Loading Styles

There are four easy ways to load a Style: 1 By double-clicking it in the Styles Selector menu on the left of Darbuka.

Styles selector

The Styles Selector.
2 Using Drag and Drop: Click the Style you want from the Styles Selector with your left mouse button, drag it anywhere to the right of the Styles Selector, and release your mouse button.

Playing Styles

When using Drag and Drop a + symbol is displayed next to your mouse pointer. 3 Highlighting a Style in the Styles Selector and clicking Load.
4 Using the usual Load Instrument menu provided by your host application.

Load instrument

The last option will probably be the slowest since you will have to navigate to the folder containing the Styles.
Now that youve loaded a Style, just play a note on your MIDI keyboard (try C2) and Darbuka will start to play at the tempo of your host application, even if it is currently stopped. Try playing another note (C#2 for example), Darbuka will change to another variation of the rhythm. If you want Darbuka to stop, play C6 on your MIDI keyboard.

Saving Styles

If you are using Darbuka in a sequencer project you dont need to save the Style you have been working on; all settings are saved with your song. If youve customized or created your own Styles and want to save them, there are two ways: 1 Click the Save button (bottom left) and youll be presented with a familiar Save dialog

Save 1

or 2 choose Save Instrument from the usual Save/Load menu provided by your host application.

Save Instrument

When you save a Style it will automatically be included in the Styles Selector listing.

The Color Keyboard

The funky looking keyboard at the bottom of Darbuka is not just a ne example of modern interface design, you can also play it by clicking your mouse on any key. The rst key at the left of the Color Keyboard is MIDI note C1 (36).

Color Keyboard display

The Color Keyboard.
Our GUI programmer chose his favorite food colors for the keyboard display. Not only are they mouth watering but they also provide a lot of useful information about what Darbuka will do when you play a MIDI key or click the Color Keyboard. Blue: The blue keys show normal rhythm grooves. The light blue color is for lighter grooves (with less instruments), the dark blue for fuller grooves. The color shading can be changed by you to help you nd the rhythms you want more quickly, particularly useful in a live situation (see Color Coding in the Performing With Darbuka chapter of this manual). Green: Green keys are for lls. Light green is for light lls or solos and dark green for fuller lls. Yellow: The yellow keys are Mute Keys. When played they will mute or unmute Tracks for easy arranging on the y. For more info check out the Performing With Darbuka chapter of this manual. Red: The red keys are the Stop and End keys. Whenever you press a blue or green key Darbuka will play, so there is no need for a start key. The rst of the red keys will play a rhythm ending and the second will stop Darbuka instantly. All color keys can be assigned to any MIDI note (see the chapter The Edit Page.
Latch The small blue square to the left of the Color Keyboard is the Latch Mode Selector.
When Latch mode is active Darbuka plays continuously from the moment you play the rst key until it receives a Stop or End. When Latch mode is off Darbuka will only play while you are holding a key down.

What Is aTrack?

A Track is the performance of a single percussionist, complete with all of the variations, lls and solos he has played for a Style. All Tracks can be loaded independently, added to an already loaded Style, or replace any loaded Track. To see the Tracks available in a Style just click the small + arrow to the left of the Style name in the Styles Selector.

Load Instrument view

Track Tabs
All Tracks loaded into Darbuka (up to fourteen) are displayed using Track Tabs.

Instrument Tabs

The Track Tabs.
Track Tabs are shown on all pages of Darbuka and display each Tracks name, a level meter and the Tracks Solo and Mute status. Every Track can be independently edited in a multitude of ways. To select a Track for editing, just click its tab; all other Track Tabs become unselected (gray).

Instrument selection

Your computers [arrow left] and [arrow right] keys select Tracks to the left and right. The [Home] and [End] keys take you to the rst and last Track Tabs.

Scrolling Track Tabs

Darbuka displays up to eight Track Tabs at a time but a Style may have as many as fourteen Tracks. There are two ways to see Tracks not currently displayed: Place your mouse pointer above any Track Tab and use your mouse wheel. Click the scroll arrows at the right of the Track Tabs.

Scroll arrows

The Track scroll arrows.

The Instrument Symbols

Below the Track Tabs is a dark rectangular area containing a colored symbol for the percussion instrument played by a Track. This area also contains a few functions that are worth mentioning.

Instrument Display Area

The Instrument Symbols area.
Track Volumes: Although most of your mixing will happen on the Mix Page weve hidden a handy little feature that no-one except you guys who read manuals will know about. Using your mouse wheel in the instrument symbol area allows you to control Track volumes on the Play Page. Give it a try, its pretty useful. Hold [Shift] for ne adjustment. Track Info: Right-clicking (Mac: [Ctrl]-Click) in the instrument symbol area will open an information box with a picture and description of the instrument played on that track. This information is always displayed in English but is also available in other languages in The Instruments chapter of this manual.

Adding Tracks

Darbuka
Track Mute Status: When a track is muted the instrument symbol changes from colored to grey. This way you always have an overview of all muted instruments.
When you load or add a Track to a Style, you are adding all of the properties it formerly had, including information about what is played by which MIDI keys and sound edit settings. To add a Track either: Double click it in the Styles Selector menu or drag and drop the Track anywhere to the right of the Styles Selector (except onto an existing Track Tab) and release your mouse button or select the Track in the Styles Selector and click Load.

Replacing Tracks

To replace a Track simply drag and drop the new Track onto the tab of the Track you wish to replace. This works for Tracks listed in the Styles Selector as well as for Track Tabs.

Copying Tracks

To make a copy of a Track click and drag the Track Tab to an empty place in the Track Tabs display.

Moving Tracks

To move a Track to a different Tab position hold [Shift] and drag and drop the Tab.

Deleting Tracks

To delete or remove an already loaded Track click its Track Tab, drag it above or below the Tabs strip and release your mouse button.
Sorting Styles in the Styles Selector
To help you nd the Style you need quickly and easily Darbuka has three sorting modes. Name: With this option selected Styles are displayed in alphabetical order. Region: All of the percussion grooves in Darbuka come from particular geographical regions. When you choose Sort List By Region you can view Styles according to their area of origin. Tempo: Although Darbuka plays Styles at any tempo, sometimes you might like to choose a Style that was recorded at something close to your song tempo, or play a Style at its traditional tempo. The Tempo option collects all Styles of a similar original tempo and groups them into folders by bpm (beats per minute). Time Sig.: When this option is selected all Styles are sorted and displayed in their recorded traditional time signatures.

Variance

Variance is a sophisticated feature with a very simple control. What it does is replace percussion hits within each Track with other percussion hits that sound similar from within the Style, in effect adding variation to each Track. A setting of Max replaces a lot of hits with similar hits and the Off setting plays the groove exactly as the original percussionists played it.

Timing

The Timing control might also be called humanize or even quantize. Setting Timing to the center value of fty percent plays the percussion grooves with all the natural anticipations and feel of the real players, increasing the value towards Tight quantizes the timing to strict machine like precision, and decreasing towards Loose exaggerates the natural live timing.

Quantize

Quantize sets a maximum musical timing resolution. Any percussion hits that fall outside of this timing grid are removed. For example you may like a particular Style but there are a lot of 32nd and 64th note rolls and lls and what youd really like is for the groove to be simpler. Try setting Quantize to a value of 1/16th, all of the busy lls are removed and only the notes that fall close to a 16th note in the bar remain, in effect simplifying the groove. Of course you can simplify Styles quite a lot, right down to a 1/4 note value. Experimenting with combinations of the Tempo and Quantize features can lead to interesting and useful rhythmic variations.
Swing is a feature most are familiar with. This control pushes the timing of all Tracks in a Style from their original position in a groove towards a triplet timing. In some cases a Style is already naturally playing a triplet feel in which case the Swing control pushes the triplet beats to an even later position in the bar.

Muting Track Types

Instrument group mute
The Tracks activation section is a handy time saving feature and useful in many situations. All Tracks have been grouped together by type. The different buttons allow you to quickly activate or deactivate families of Tracks. This can be useful when previewing Styles or Patterns, when mixing, or maybe you only want to use particular percussion instruments in your composition. Using the Tracks activation section will denitely save you time.

Choose front rear balance
No Vertical Axis (None): When this option is chosen, vertical movement of a Symbol in the Stage has no effect on the Track. Level: When Level is selected, vertical movement in the Stage controls individual Track volumes. Ambience: This option allows you to visually mix Ambience Send amounts for each Track via the Stage. Front/Rear: This may be the fastest and most intuitive setting for creating a surround panorama. The top of the Stage becomes the front left and right, the bottom becomes the rear left and right. Room Mode: Just imagine youre in a room, surrounded by percussion instruments. Simply put, thats what we call Room Mode. While in all other modes the Stage is a X/Y coordinate system, here the Stage represents a top view on a real recording room with the listener in the center and the instruments around him. The borders of the Stage acting like real walls. Of course, the Room Mode is most realistic in Surround Mode, because only there are the front and rear positions reected in the resulting audio signal. In Room Mode, Level, Ambience and Pan controls are linked together to emulate the natural acoustic behaviour of a room. I. e. when you move an instrument away from the center (listeners position) to the top right corner, the following things happen at the same time: Level slightly decreases. Ambience increases in level (less direct signal, more reections from the walls) and changes in character to match the surround position as well as the exact distances between listener, instrument and walls. Pan moves all the way to the right. Front/Rear moves all the way to the front. You can regard the listenerwhich in fact is the audio outputas being a surround microphone setup at the listener position.
Horizontal Movement Horizontal movement of Tracks on the Stage will always affect the panning of the Tracks. Occasionally Tracks may obscure each other on the stage. To select and bring a Track to the front simply click its Track Tab. Anytime a Track is moved on the Stage the relevant parameter knobs will move to reect the changes.

The Track Mixer

Each Track used in a Style has its own Track Mixer containing the most common and useful features youll need to set your Track mix. To choose a Track to mix just click its Track Tab.

Mixing Strip

The Track Mixer for the snare is displayed.
You might nd the Track Solo and Mute buttons useful when balancing your mix. Most of the Track Mixer features are just like what you would nd on a mixing console or in your host application mixer. EQ Each Track has its own three band equalizer. To EQ a Track simply click and hold your left mouse button over any of the three blue handles in the EQ display. Moving your mouse horizontally adjusts the center frequency of the equalizer band, vertical movement controls the volume of the frequency area.
Holding the [Alt] key and moving horizontally while holding the left mouse button allows you to dene the Q setting (or range of frequencies affected) for the middle band of the equalizer. [Control]-clicking a blue handle (Mac: [Cmd]-click) resets the Equalizer band level to zero.
The EQ on/off button (top left corner) could be useful for comparing the effect of your equalization on the original signal. Punch Punch is a very powerful and creative control, allowing you to change the shape of an instruments attack and body. This could be used for example to subtly emphasize the attack of a Douhola, to make the dynamic range of the Sagat less extreme or to make a Bendir sound more processed and electronic.
Punch has four modes, each with a distinctive character and sound shaping quality. To emphasize the effect of the Punch feature just turn the knob clockwise; gain reduction is displayed by the meter surrounding the Punch knob.
Power: As its name suggests Power will make a Track sound more powerful by controlling the volume of the attack portion of the instruments in a Track and raising the level of the body of the instruments. Snap: This mode is useful to accentuate the attack of instruments, to make them poke out of the mix. Hard: This a very strong compression setting that really forces the quieter aspects of each percussion hit to become very loud. Soft: For a gentle amount of Punch control over a Track use the Soft mode. This affects the attack and the body in equal amounts but doesnt have the force of the other Punch modes. Using extreme amounts of Punch can lead to some surprising and interesting results. Level The Level control in the Track Mixer allows you to set the general volume of each Track in the Style. This control (as with all others in the Track Mixer) affects the whole Track for all Patterns used in a Style. To change the volume of a Track for a particular Pattern, take a look at the Part Parameters section of this manual. Pan Places a Track within the stereo image and controls the left/right position when working in surround mode. Graphical stereo panning and surround position placement is possible using the Stage. Ambience To set the send amount for any Track to the Master Ambience, use the Ambience Send feature in the Track Mixer. The controls for the Master Ambience are found on the Play Page.

Choosing All Parts in a Pattern There are three easy ways to select all Parts in a Pattern: Clicking in the Pattern menu.

Scene Menu Selection

Clicking a key on the Color keyboard.

Scene keyboard Selection

Playing a note on your MIDI keyboard or host application. Choosing a Whole Track To choose a whole Track click the Track Tab.

Selecting Parts

Scene Instrument selection
All Parts for a Track have been selected for editing.
Choosing a Single Part To choose a single Part click it in the Pattern Arranger.

Scene Part selection

A similar drop down menu to the one in the Pattern Arranger is used to select Parts within a Track. Right-click (Mac: [Ctrl]-click) a Part to open the menu and choose from the list.

Part Menu

Special Options in the Part Menu
Included in the Part Menu are some special options. None: Choosing None in the Part menu means that nothing will be played in the Track for that Pattern. No Change: means that the Track will continue to play the previously playing Pattern chosen. Mute: Any key in every Style can be assigned to mute any Tracks. These are called Track Mute Keys and are colored yellow on the Color Keyboard. Using this option in the Part Menu will mute the chosen Track for that Part. Mute Keys are particularly useful for arranging and performing and you can very easily arrange favorite Track mute groups. Mute Keys for each Track (from 1 to 14) are assigned to notes C4 to C#5 by default. Simplify: Simplify is only available for Fill Patterns. When active the Part is automatically thinned out, allowing you to use the same lls to create variations. Quantize: Quantize is also only available for Fill Patterns and works in the same way as the Quantize feature on the Play Page. Technically Quantize removes all percussion hits busier than an 1/8th note timing.

The Part Parameters

The same global features for the whole instrument found on the Play Page are also available for individual Parts, Patterns and Tracks, as well as a few more. You may be surprised at just how much you can shape and mould each performance in every Style. To edit Part Parameters you must rst select the Parts, Tracks, or Patterns you wish to change.

Part Editor

The rst row of features in the Part Parameters should already be quite familiar to you since a lot of them exist on the Play page as global controls. Timing: This governs the tightness of the playing of the selected Parts. The default setting of 50 percent leaves the original percussion players performance unchanged, increasing towards the Tight setting gradually quantizes the timing until all hits are precisely in time and decreasing towards Loose exaggerates the natural feel. Quantize: sets the highest possible note value, all percussion hits outside of this value are removed. For example when 1/8 is set, all 16th notes are removed, they dont fall within the 8th note timing grid. Swing: pushes the timing of the selected Tracks towards a triplet feel. In the situation where an Track is already naturally playing a triplet feel, the Swing control will push the triplet beats to an even later position in the bar. Complexity: This parameters thins out the Part removing the less important percussion hits. An algorithm automatically evaluates the most important percussion hits based on volume and bar position. Coupled with Quantize, the Complexity feature allows a lot of exibility for making variations of grooves while arranging.

Right click controllers

The top line of the menu displays the name of the feature youve selected (in this case the Ambience Mix). The second line shows the MIDI Controller number assigned to the feature, in this case Controller number 46. If no MIDI Controller is assigned No CC will be displayed. The third line displays the Learn option. Many keyboards these days have the possibility to output MIDI Controller information via their knobs etc. When you select Learn, Darbuka waits for you to send Controller information, this is usually a matter of turning a knob or pushing a pedal. Darbuka assigns this Controller to the feature you have selected and now your knob controls it, fast and simple.

Performing with Darbuka

The last menu option is Forget. When you click this option any Controller assignment linked to a feature will be removed.
Default MIDI Controller Settings
The following table describes the default MIDI Controller assignments. These can be changed at any time and saved/loaded or reset via the Default MIDI CC Assignments feature on the Setup Page (For more information see the Setup Page section of this manual).
CC Default Assignment Master Complexity Master Variance Master Volume Master Ambience Time Master Dynamics Density Master Quantize Master Swing Master Timing Master Tempo Master Ambience Mix

MIDI Channels 2 to 15

MIDI channels 2 to 15 can be used to play individual Tracks. Notes played on channel 2 select the current Pattern for Track 1, channel 3 selects Patterns for Track 2, and so on. This provides an alternative method of conducting the playback using MIDI channels to control each Track independently, rather than controlling all Tracks at once using MIDI channel 1.
MIDI Controllers for channels 2 to 15
As well as having many assignable MIDI Controller parameters, there are some parameters permanently hard wired to MIDI channels 2 to 15 (Tracks 1 to 14).
CC Default Assignment Track Level Track Front/Rear Balance Track Pan Track Ambience Amount

Using Track Mute Keys

Whether in a live situation or in the studio, using Track Mute keys gives you a lot of versatility to arrange your performance in real time on the y. In the factory library all Tracks are assigned their own individual Mute keys, starting with Track one on MIDI note C4, Track two on MIDI note C#4 and so on. As well as the default settings every Pattern (MIDI Key) can be set by you to mute or unmute any Track (s) just check out the Part Menu Options section of this manual.

Host: Darbuka uses your host applications preference if available. Circular: Knobs are moved by clicking and dragging in a circular motion. A knobs value can be set instantly by clicking anywhere along its circular edge. Linear: To move a knob, click on it and drag up or down with the mouse button pressed, like a vertical slider.

Tooltips

Tooltips are common in many computer applications and simply display information about a feature when your mouse pointer is hovering above it. When Tooltips are switched off this information is displayed in the Style Name display area at the top of Darbuka.

Setup Tooltips

Save As Defaults
When you have chosen the Setup Page settings that best suit the way you like to work, just click this button and these settings will be used in all future songs and when you load factory Styles.

Setup Save as defaults

XXL and Auto Listen settings are also included when using Save As Defaults. The default settings are not applied to previously saved projects or user saved Styles.
Default MIDI CC Assignments
Using MIDI Controllers (CCs) will give you a lot of performance possibilities. Once you have assigned Controllers to parameters this feature allows you to save them as a default set for all future projects. Default Controller assignments do not affect your previously saved songs, they are only applied when starting a new project.

Setup CCs

Save: Saves your current MIDI Controller settings as default set for future songs and for the factory Styles. Load: Loads the default MIDI Controller settings into the currently loaded Style, replacing any custom settings. Reset: Loads the factory default settings (listed in the Performing With Darbuka section of this manual) into the current Style. Clicking the Save option after Reset will restore the factory settings as the default settings for future songs and factory Styles.
8 The Producer and Percussionists
The recordings for Darbuka were produced by Lothar Krell and recorded by Stempel (one of Germanys best known engineers) over a period of four months at Klangwelt Studios in Frankfurt. Prior to recording Lothar and Ethnomusicologist Basem Darwisch-Schrmann researched and discussed the project with many Arabic and Turkish musicians and musicologists and resourced all available recorded traditional music archives.

Lothar Krell

(Producer) As a musician, producer, keyboard player and composer, Lothar Krell is regarded as one of the most innovative professionals in Germany. Since recording his rst album in 1978, Lothar has toured and recorded exhaustively with many of Germanys biggest artists and established his own record label Music Of One World in 1997. Lothar is considered to be one of the most knowledgeable and experienced producers of world music in Europe. http://www.oneworld-media.com/english/index.htm

Suat Borazan

(Darbuka, Douhola, Bendir) Born and raised in Istanbul (Turkey), after completing his Masters degree in Percussion, Suat Borazan collected a wealth of live playing experience not only in Turkey, but also in Greece, Egypt and other Arabic countries. Suat ranks today as one of the most famous virtuosos of eastern percussion instruments and has very extensive knowledge of Arabic, Turkish, Egyptian and Afro-Nubian rhythms. A much in demand studio musician, Suat has recorded with the best known artists in Turkey (such as Nurai
The Producer and Percussionists
Haftac, Ibrahim Tetlisis, Tarkan) and Egypt (with artists like Samira Saiid, Latifa, Mohamed Fouad) as well as with his own percussion group Harem who have sold in excess of 5 million units world wide. Suat lives today between Istanbul, Cairo and Frankfurt.

Mohamed Zaki

(Bendir, Riqq, Sagat, Tura, Bongos) Originating from Alexandria (Egypt), Mohamed Zaki began drumming at the age of six and was already working with dancers by the age of ten. Through his varied career Mohamed has worked in Egypt with its best known musicians and dancers (such as Dandash and Hindela or Hanan and Mustapha Amar), in Germany (with artists like Mohamed Askari, Sharazad, Rita Sherif, Beata and Horacio Cifuentes, Zahrah, Nabila and Sabina Zaida) in Poland with the Philharmonia of Opole and Hann, in Paris with Natasha Atlas and in 2001 he accompanied the world renowned author Gnter Grass project Novemberland as it toured through Germany.

Basem Darwisch-Schrmann

(Co-ordination and research) Born in Egypt, Basem studied Ethnomusicology in Cairo. Since moving to Germany 17 years ago he has been very active as a studio musician and adviser to labels and production companies for Arab and Afro Nubian music. Among Basems clients are Arabic news station Al Jazeera, Arabic radio Largoland Frankfurt, Gnther Baby Sommer, Gnter Grass, Matthias Frey, Bdi Siebert und Lothar Krell. In Egypt he was co-founder of the group Rahalah, worked as an advisor for the Free Music label and as Soloist with artists such as Mohamed Mounier, Mohamed Mohey, Fathy Salama and the Sharkiat Group.

9 The Instruments

Also known as the Tablah or Dumbak, the Darbuka is a single-headed hollow hand-drum found in most Middle Eastern and Arabic music ensembles. The cylindrical body (goblet-shaped with a narrow waist) is held under the arm and across the players lap and played with the ngers of both hands, one from above and one from the side. Usually the right hand plays the center of the Darbuka to produce the resonating lower tones (know as the dum tones) or slaps the edge to produce brighter, crisper tones (known as the bek tones). The ngers of the left hand generally play closer to the drum edge for lls. Syncopated rhythms and rolls are common. The Darbuka was traditionally made from red clay and the head from goat, calf, or sh skin, stretched and glued to the body. A modern Darbuka is likely to have a cast iron body and a Mylar head with adjustable skin tension. These plastic heads are favored in contemporary performances because they are louder and cut through.

The Instruments

Darbukas are almost always ornately decorated with wood, tile or bone inlays, etched metal, or Middle Eastern paintings and designs.

Douhola

Also known as Bass Darbuka or Dallukah, the Douhola is a slightly larger and deeper version of the Darbuka. Although looking quite similar to the Darbuka, the Douhola is tuned lower and its function in the group is to act as the bass drum pulse.

Bendir

The Bendir, known in Turkey as the Tr, is a narrow bodied circular drum with a diameter of between 10 and 24 inches and has a string snare running across the head under the frame. The Bendir is held in front of the player with both hands, the skin side away from the body and is played using the ngertips. Traditionally the head was made from goatskin, but modern drums also use plastic. Bendir drums are traditionally used for religious music and wedding processions.
The Riqq, or Daff in Turkish, is a small Tambourine style frame drum of around 8 or 9 inches in diameter and 2 or 3 inches deep. The Riqq usually has ve double pairs of brass cymbals spaced evenly around its curved edge and was traditionally covered with goat or sh skin. Modern instru-
ments may be constructed from aluminum or wood and have a Mylar head. The riqq can produce a large variety of sounds by tapping the skin with the ngers, shaking, tapping the cymbals themselves or any combination.
Sagat are small brass nger-cymbals, ranging in size from 1_ to 4 inches in diameter. Fastened to the middle nger and thumb of both hands, Sagat are traditionally used for religious and dance ceremonies.
Tura are a much larger version of the Sagat, roughly double the size. Although played in a similar manner to the Sagat, the Tura are traditionally used only for rituals and ceremony and not as a street instrument.

Bongos

A pair of small single headed wooden hand drums yoked together, Bongos are usually held between the knees and played in a sitting position. Typically these high-pitched drums are about 6 and 8 inches in diameter and 6 inches tall. Bongos are typically tuned at an interval of a fourth and are played with a combination of nger and open hand techniques.

Shaker

Shakers come in many shapes and forms and can be constructed from plastic, metal tubing, hard wood and even bone. The lling is also varied; anything from seeds, steel shot, beans or pebbles can be used.

Reversed

The Reversed instrument is a backwards Douhola or Darbuka which you may nd useful in your tracks. The reversed instrument plays at different bar positions depending on which part you select in the Scene Editor.

10 Style Information

Iqa means rhythm and rhythms play a very important role in the Arab, Turkish and Nubian cultures. Whether its work, celebration, mourning, dancing, praying, religious rites or ceremonies everything in everyday life has a connection with rhythm.
Style Karachi Rai Wahrani Baio Daza Rumba Khaligi Su
Region Algeria Algeria Algeria Arabian Gulf Arabian Gulf Arabian Gulf Arabian Gulf
Original Tempo Additional Info 100 A rhythm originating from India and Pakistan. Probably the most popular Algerian rhythm, well known outside of northern Africa. A traditional rhythm originating from the city of Wahran in Algeria. 2/4 rhythm from the Arabian Gulf. Traditional Arabian Gulf rhythm. Arabian Rumba. A mystical rhythm with purely religious use played in the fasting month of Ramadan in contemplation of the pilgrimage to Mecca. Tura and Bendir play an important role. Named Hiob in the Koran and a synonym for patience and religious dedication. This rhythm is played to drive evil spirits away and has deeply rooted religious elements. A classic ancient Egyptian spiritual rhythm used with religious songs. Meaning farmer rhythm. Originates from the Nile Delta and Fayoum Oasis. Often performed for female ceremonies, the night before a wedding, births etc.

Ayoub/Zar

Darig Fallahi

Egypt Egypt

100 110
Style Information Original Tempo Additional Info 110 One of the most popular rhythms in the modern Arab music and a standard in nearly all contemporary Arab recordings. Means Rondo or rhythm. Meaning the big Masmoudy, an important religious rhythm. Egyptian Rumba. Meaning upper-Egyptian. Played in the south of Egypt, this rhythm expresses originality and tradition and comes from the deepest Al Saieed. Meaning hearing, the feature instrument is the Riqq. Meaning one. A classic Arabic rhythm used in ancient Egyptian music. The traditional wedding rhythm. It is played by large groups of Bendir players who accompany the bridal pair on their traditional parade. A rarely played ancient Arabic rhythm, one of the most difcult rhythms to play. Typical Lebanese traditional rhythm often used for weddings. Lebanese 6/8 rhythm used for traditional dancing. Typical traditional rhythm of Libya originating from the nomadic Bedouin. The most typical Moroccan traditional rhythm. Traditional Nubian rhythm from West Asswan. Nubian Reggae. Nubian Samba.