Instrument Music and Description Time

1. Adufe

Listen¹:
1. Religious Adufe music from Monsanto, Portugal
"Divina Santa Cruz (Devine Saint Cruz)" in four counts, is an important song of the Festa do Castelo, to which the text refers. It is sung during ritual moments during a procession to the castle in Monsanto, or Castelo Branco. A sample of the opening words translates, "Oh, Devine Saint Cruz, and I am going there, my soul is already there, my heart is arriving..." (from a CD titled Musical Traditions of Portugal by the International Institute for Traditional Music on Smithsonian Folkways 40435, track #7)
1:33

2. Social Adufe music from Monsanto, Portugal
"Arvoredo" in three counts, has a text that refers to a sentimental relationship (from Smithsonian Folkways 40435, track #10)
1:26

Play Along²:
3. Ritmo passo - four counts with the 16" drum
Ritmo passo - four counts with the 14" drum
Ritmo passo - four counts with the 12" drum
1:12

4. Ritmo passo - four counts with ensemble
0:12

5. Ritmo passo - eight counts with the 16" drum
Ritmo passo - eight counts with the 14" drum
Ritmo passo - eight counts with the 12" drum
1:09

6. Ritmo passo - eight counts with ensemble
0:12

7. Ritmo roda - three counts with the 16" drum
Ritmo roda - three counts with the 14" drum
Ritmo roda - three counts with the 12" drum

0:52

8. Ritmo roda - three counts with ensemble
0:09

9. Ritmo roda - six counts with the 16" drum
Ritmo roda - six counts with the 14" drum
Ritmo roda - six counts with the 12" drum

0:53

10. Ritmo roda - six counts with ensemble
0:10

2. Bongos
Listen: 11. Rumba guaguanco ensemble with clave rhythm from Cuba "Las Leyendas de Grecia (The Legend of Greece)" is a familiar type of rumba that is danced by a flirtatious couple that includes interaction and competition. The lead singer punctuates the quinto drum's rhythms. A translation of the lyrics begins, "Come wise ones, and poets. Come here everyone. I'm going to talk to you seriously about history and concrete things. Everyone talks of history and of the Gods, without really knowing the origin of how they were formed. The legend of Greece and of her devine gods..." (from a CD titled Cuba in Washington on Smithsonian Folkways LC 9628, track #2)	1:33
12. Bongos playing martillo rhythm in the son rhythm of a Cuban ensemble "Yo Canto en el Llano (I Sing on the Plains)" shows the close relationship between the son and rumba rhythms through the interlocking bongo and bell rhythms. The son is a rhythm that connects other rhythms together like the martillo and rumba. A translation of the lyrics begins, "Over the hill I met a pretty woman from Guantánamo. Because of her bewitching look I got involved right there..." (from Smithsonian Folkways LC 9628, track #9)	2:03
Play Along: 13. Rumba guaguanco - clave rhythm	0:32
14. Rumba guaguanco - palitos rhythm	0:25
15. Rumba guaguanco - guiro rhythm	0:26
16. Rumba guaguanco - bongos rhythm	0:26
17. Rumba guaguanco - quinto rhythm	0:25
18. Rumba guaguanco - conga rhythm	0:26
19. Rumba guaguanco - tumba rhythm	0:26
20. Rumba guaguanco - ensemble	0:18
21. Bongos martillo - basic rhythm	0:28
22. Bongos martillo - solo variation #1	0:28
23. Bongos martillo - solo variation #2	0:25
24. Bongos martillo - solo variation #3	0:28

3. Buhai
Listen: 25. Buhai ox sounds from Tartarusi, Romania "Plugusor" with recitation, bell (imitating the bell around an ox's neck), flute, bass drum, and buhai during the Christmas and New Year's Festival (from field recordings in Romania by Ann Briegleb Schuursma 1971-72, located at Ethnomusicology Archive, University of California, Los Angeles)	2:01
26. Buhai ox sounds from Tartarusi, Romania "Buhai alone" (from field recordings by Ann Briegleb Schuursma 1971-72)	0:40
27. Buhai with calls, shouts, and oxen bell and whip sounds from Popesti, Romania "Plugusor" (from field recordings by Ann Briegleb Schuursma 1971-72)	1:12
Play Along: 28. Buhai - notation of ox sounds (playing a homemade buhai)	0:50

4. Djembé
Listen: 29. Djembé ensemble from Guinean tradition "Aconcon" (from a CD titled Djimbe [alternate spelling] - Leon Mobley on Djimbe Records DJ-005, track #6)	1:33
30. Djembé ensemble from Guinean tradition "Doundounbah" [alternate spelling] (from Djimbe Records DJ-005, track #5)	1:33
Play Along: 31. Djembé 1 - drum call	0:31
32. Aconcon - djembé 1	0:21
33. Aconcon - djembé 2	0:22
34. Aconcon - bell	0:25
35. Aconcon - bass	0:25
36. Aconcon - ensemble	0:19
37. Doundoumba - djembé 1	0:25
38. Doundoumba - djembé 2	0:26
39. Doundoumba - bell	0:28
40. Doundoumba - bass	0:28
41. Doundoumba - ensemble	0:21

5. Dondo
Listen: 42. Dondo in drumming from Ghana, West Africa "Adowa mpre" is a light form of Adowa music, which is a type of popular band that was especially created for funerals. The donno (plural of dondo) are the first drums heard on the track after the adawia bell begins. The song translates, "Death is invading my home, I cannot go to sleep. Wherever I go, I am sure to meet death. It is invading my home, I cannot go to sleep" (from a CD titled Music of the Ashanti of Ghana on Smithsonian Folkways FE 4240, track #3)	3:02
Play Along: 43. Atumpan drum (or dondo) call in speech rhythm	0:25
44. Adowa atene - adawia	0:28
45. Adowa atene - apentemma	0:28
46. Adowa atene - petia	0:21
47. Adowa atene - dondo #1 Adowa atene - dondo #2 Adowa atene - dondo #3 Adowa atene - dondo #4 Adowa atene - dondo #5	2:08
48. Adowa atene - atumpan	0:28
49. Adowa - ensemble 1	0:23

6. Kakko
Listen: 50. Gagaku ensemble from Japan "Jo (Prelude)" is a composition based on the piece Goshoraku. This opening part of togaku music is in free rhythm with eight long cycles separated by strong taiko drum beats and clear kakko hits (from a CD titled Reigakusha Sukeyasu Shibaon on Celestial Harmonies LC 7869, track #2)	3:11
Play Along: 51. Free rhythms - sei, one hit with space	0:23
52. Free rhythms - mororai, fast, steady roll	0:30
53. Free rhythms - katarai, acceleration or bouncing ball rhythm	0:50
54. Measured rhythms - yatra-byoshi, shoko rhythm	0:36
55. Measured rhythms - yatra-byoshi, kakko rhythm	0:34
56. Measured rhythms - yatra-byoshi, taiko rhythm	0:30
57. Measured rhythms - yatra-byoshi of togaku ensemble	0:38

7. Lakota Drum
Listen: 58. Regular beat performed by six singers from the Northern Plains Indians "Grass Dance Theme Song," or "Omaha," is danced primarily for enjoyment. It is sung with high vocal tension, has the form AA' BCB' C' and ends with five hard beats. This was recorded in 1975 by the Los Angeles Northern Singers (from a CD titled Powwow Songs - Music of the Plains Indians, produced by Charlotte Heth for the Musical Heritage Society, Inc. on ARC Music 5166949, track #6)	1:33
59. Heartbeat rhythm performed by thirteen singers from the Southern Plains "Round Dance" is a song that gives everyone, even visitors, a chance to participate. The group's enthusiasm generates spirited shouts and enjoyment. This was recorded in 1975 at the sixth annual Kihekah Steh Powwow, Skiatook, in Oklahoma (from ARC Music 5166949, track #4)	1:33
Play Along: 60. Regular beat	0:39
61. Honor beat/ parade beat	0:38
62. Two beat/ round dance	0:34
63. Combination rolling beat and fast regular beat	0:39
64. Lakota drum - lead drummer's signal	0:19

8. . Naqqara
Listen: 65. Mehter, military music from Istanbul, Turkey "Mehter" is military music that combines Turkish classical and folk music. In the 1700's this music traveled north as far as Vienna and influenced European composers like Mozart and Beethoven. This is in the slow eight count chiftetelli rhythm (from a CD titled Songs and Dances of Turkey on Smithsonian Folkways FW08801, track #19)	2:09
66. Karsilama, dance music from Izmir, Turkey "Zeybek" is a nine count rhythm played by clarinet and davul and typical of the Agean region of Turkey. In this form, dancers imitate the eagle, spreading their arms in wide gestures (from Smithsonian Folkways FW08801, track #3)	1:03
Play Along: 67. Ayub - naqqara rhythm	0:39
68. Ayub - davul rhythm	0:33
69. Ayub - zils rhythm	0:33
70. Ayub - kös rhythm	0:33
71. Ayub - ensemble	0:23
72. Karsilama - naqqara rhythm	0:34
73. Karsilama - davul rhythm	0:29
74. Karsilama - zils rhythm	0:29
75. Karsilama - kös rhythm	0:29
76. Karsilama - ensemble	0:26

9. Ranât Êk
Listen: 77. Ranât Êk solo music from Thailand "Phaya sok (The Sorrowful King)" played by Prof. Prayong Ramawong at Natasin Roi-et, High School for the Arts in Roi-et, Thailand (from field recordings by Dr. Terry Miller 1989, Kent State University, Kent, Ohio)	1:29
78. Pi-Phat ensemble music from Thailand "Sathukan (Greeting)" played by students (without the pi nai) of Natasin Roi-et (from field recordings by Dr. Terry Miller 1989)	1:32
Play Along: 79. Sathukan rhythms - pi nai	0:45
80. Sathukan rhythms - Ranât Êk	0:41
81. Sathukan rhythms - khong wong yai	0:41
82. Sathukan rhythms - ching	0:41
83. Sathukan rhythms - taphon	0:41
84. Sathukan rhythms - klong that	0:41
85. Sathukan - ensemble	0:26

10. Sajat
Listen: 86. Dance song from Thebes, Egypt "Baheya" is sung by a male singer known locally for his impassioned high vocal style. The rhythm begins as wahed wa nusf and ends with saaidi mashi. The sajat are played by the dancer (from a CD titled Music of the Fellahin recorded by Aisha Ali in 1973 on Discs Araf DA 702, track #3)	0:59
87. Ghawazee dance song from the Nile, Egypt "Banat Mazin Song" is performed by the Maazin sisters who also play sajat. It begins with saaidi mashi and ends with wahed wa nusf rhythms (from Discs Araf DA 702, track #4)	1:04
88. Ghawazee dance piece from the Nile, Egypt "Ghawazee Dance" is played by the Ra'is Qinnawi mizmar band. This is a medley of songs in different tempos but all in the rhythm wahed wa nusf. The sajat are played by the Banat Maazin (from Discs Araf DA 702, track #8)	1:04
Play Along: 89. Wahed wa nusf	0:35
90. Maqsoum	0:35
91. Masmoudi #1	0:40
92. Zaffah	0:36
93. Saaidi	0:32
94. Fallah	0:31
95. Curcurna	0:33
96. Kas rhythms - player #1 Kas rhythms - player #2 Kas rhythms - player #3 (playing classroom/student cymbals) Kas rhythms - player #4 (playing pie tins)	2:14
97. Kas - ensemble	0:25

¹All musical examples in the "Listen" section are used with permission from the issuing authority.
²All "Play Along" examples were recorded by Dr. Craig Woodson with Tommy Wiggins, recording engineer.

Contact information for musical examples:
Aisha Ali, for musical examples of the sajat
Disc Araf, 3270 Kelton Ave., Los Angeles, CA 90034
Phone: 310-474-4867
Website: aisha-ali.com

ARC Music, for musical examples of the Lakota Drum.
Website: www.arcmusic.co.uk

Celestial Harmonies, for musical examples of the kakko.
P.O. Box 30122,
Tucson, Arizona 85751-0122
Email: celestial@harmonies.com
Website: www.harmonies.com

Dr. Terry Miller, for musical examples of the ranat ek.
The Center for the Study of World Musics,
Kent State University
Kent, Ohio 44242

Leon Mobley, for musical examples of the djembé
P.O. Box 2001
Van Nuys, California 91404
Office: 818-363-5958
Email: LeonMobley@aol.com
Website: www.leonmobley.com

Smithsonian Folkways, for musical examples of the adufe, the bongos, the dondo, and the naqqara.
Smithsonian/Folkways Records
Center for Folklife Programs and Cultural
Studies, 955 L'Enfant Plaza, Suite 2600,
Smithsonian Institution
Washington DC 20560

UCLA Ethnomusicology Archive, for musical examples of the buhai from Ann Briegleb Schuursma's field recordings in Romania.
Ethnomusicology Archive
P.O. Box 951616
University of California
310-825-1695