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1256:) show cross-beats. Observing the dancer's steps almost always reveals the main beats of the music. Because the main beats are usually emphasized in the steps and not the music, it is often difficult for an "outsider" to feel the proper metric structure without seeing the dance component. Kubik states: "In order to understand the motional structure of any music in Africa, one has to look at the dancers as well and see how they relate to the instrumental background" (2010: 78).
1165:
1562:
1073:, performers do not think of time-line patterns as 'additive rhythms,' . . . 'Additive rhythms' are the analytic construction of the musicologist." Agawu states: "Additive rhythm . . . is a highly problematic concept for African music . . . it is not in sync with indigenous conceptions of musical structure. It arises as a kind of default grouping mechanism for those transcribers who either disregard the choreography or fail to accord it foundational status."
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prefer the divisive format. Those who imagine the addition of three, then three, then two sixteenth notes will treat the well-formedness of 3+3+2 as fortuitous, a product of grouping rather than of metrical structure. They will be tempted to deny that
African music has a bona fide metrical structure because of its frequent departures from normative grouping structureâAgawu (2003: 87).
1271:
492:
1811:
994:
1188:, it is possible to count or feel it in several different ways, and divide by several different beat schemes. In the diagram below the five-stroke bell pattern is shown on top and a beat cycle is shown below it. Any or all of these structures may be the emphasis at a given point in a piece of music using the bell pattern.
1283:
The method of constructing iron bells in Cuba is identical to how it is done in Africa. Not surprising, many
African bell patterns are played in Cuba as well. The standard pattern is the most widely used bell pattern in Cuba. Some of the Afro-Cuban rhythms that use the standard pattern are: Congolese
1068:
within both cultural understanding, and by most contemporary music theoreticians. Novotney states: "The
African rhythmic structure which generates the standard pattern is a divisive structure and not an additive one . . . the standard pattern represents a series of attack points, . . . not a series
507:
is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa". The "pa"s sound the standard pattern by striking the gourd against the knee. The "ti"s sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many
African rhythms,
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form. For example, Justin London describes the five-stroke version of the standard pattern as "2-2-3-2-3", while
Godfried Toussaint describes the seven-stroke form as "2-2-1-2-2-2-1." The following example of the five-stroke standard pattern is represented within an additive structure: 2+2+3+2+3.
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For cultural insiders, identifying the . . . âdance feetâ occurs instinctively and spontaneously. Those not familiar with the choreographic supplement, however, sometimes have trouble locating the main beats and expressing them in movement. Hearing
African music on recordings alone without prior
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to be the two simplified forms of the standard pattern. Pattern 2 was the first
African bell pattern to be transcribed. Pattern 2 contains exactly the same pattern of attack-points as Pattern 1, but begins on a different stroke, has a different relationship to the main beats, and therefore, is a
1103:
Although the difference between the two ways of notating this rhythm may seem small, they stem from fundamentally different conceptions. Those who wish to convey a sense of the rhythmâs background , and who understand the surface morphology in relation to a regular subsurface articulation, will
947:
Some bell patterns are single-celled and therefore, not key patterns. A single-celled pattern cycles over two main beats, while a two-celled key pattern cycles over four main beats. The most basic single-celled pattern in duple-pulse structure consists of three strokes, known in Cuban music as
1479:
The following 24-pulse bell pattern is used in the ararĂĄ rhythm afrekete. The ArarĂĄ are Cuban descendants of the Fon/Ewe ethnic group, so it's perhaps not surprising that it is the same pattern as the bell part used in the Ewe rhythm kadodo, shown earlier in this article. However, as used in
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related, but different key pattern. Pattern 3 is another variant of the standard pattern, one which contains exactly the same pattern of attack-points as the standard pattern, but in a different relationship to the main beats. The geographical border of
Pattern 3 seems to be the
1001:
1418:
The following 24-pulse bell pattern is used in the ararĂĄ rhythm afrekete. The first measure simply sounds the four main beats. Notice that the first five strokes of the second measure are identical to the first five strokes of the standard pattern.
1083:(consisting of three pulses each), with a remainder of a partial cross-beat (spanning two pulses). In other words, 8 Ă· 3 = 2, r2. Tresillo is a cross-rhythmic fragment. It contains the first three cross-beats of the four-over-three cross-rhythm.
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1407:
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2189:"We find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak" Grenet, Emilio, translated by R. Phillips (1939).
1226:) represents the correct count and ground of the bell pattern. The four dotted quarter-notes across the two bottom measures are the main beats. All key patterns are built upon four main beats. The bottom measures on the other two examples (
104:
Bantu migrations: 1 = 2000â1500 BC origin; 2 = ca.1500 BC first migrations; 2.a = Eastern Bantu; 2.b = Western Bantu; 3 = 1000â500 BC Urewe nucleus of
Eastern Bantu; 4â7 = southward advance; 9 = 500 BCâ0 Congo nucleus; 10 = 0â1000 AD last
179:. Kubik further states that key patterns represent the structural core of a musical piece, something like a condensed and extremely concentrated expression of the motional possibilities open to the participants (musicians and dancers).
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of durational values." Kubik concurs: "Although on the level of structural analysis it cannot be denied that different 'distances' of strokes, combining two or three elementary pulses, are 'added up' within the
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grounding in its dance-based rhythms may not convey the choreographic supplement. Not surprisingly, many misinterpretations of
African rhythm and meter stem from a failure to observe the danceâAgawu (2003).
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Kubik observes that "at the broadest level," the various key patterns "are all interrelated." Key patterns exist in their own right, as well as in relation to the three inner reference levels of elementary
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Throughout Africa, wherever these gongs have occurred they have been manufactured by the same process of welding the two halves together along a wide flange. This indicates a common origin.
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the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the
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bell patterns based on "slow" cycles of three beats across four or eight main beats. The three-beat cycle is represented as half-notes in the following example for visual emphasis.
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140:' languages are spoken, with offshoots into the Lower Zambezi valley and the Nyasa/Ruvuma area in southeast Africa" . Use of the patterns has since spread throughout the greater
1316:
750:
rhythm kadodo. The three single strokes are muted. The kadodo bell pattern is an embellishment of three "slow" cross-beats spanning two measures, or three-over-eight (3:8).
2176:"The time span of the bell rhythm and its division into beats establish meter, a concept that implies a musical period" Locke, David "Improvisation in West African Musics"
1495:. Notice that the first five strokes are identical to the first five strokes of the standard pattern. Like the kadodo bell, this pattern is an embellishment of the 3:8, or
1079:
is often interpreted as an additive rhythm because of the irregular grouping of its strokes: 3+3+2. However, tresillo is generated through cross-rhythm: 8 pulses Ă· 3 = 2
2112:
Gerhard Kubik cited by Agawu, Kofi (2006: 1-46). âStructural Analysis or Cultural Analysis? Comparing Perspectives on the âStandard Patternâ of West African Rhythmâ
3464:
3357:
1380:. Note that the standard bell pattern is the clave but with and pickups before the first and third notes, and the hi-hat marks the main beats (quarter-notes).
730:
Three cross-beats across two main beat cycles (two measures). This is the cross-rhythmic ratio of 3:8, or within the context of a single measure, 1.5:4. (
1784:
and his Afro-Cubans was the first band to employ the triumvirate of congas, bongos and timbales, the standard battery of percussion used in contemporary
608:
There are many different triple-pulse bell patterns found in sub-Saharan Africa. These are but a small sample. Bell patterns 1 and 2 are considered by
120:
notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where
201:. They typically consist of 12 or 16 pulses, and have a bipartite structure, which evenly divides the pattern into two rhythmically opposed
1123:
correctly identified the importance of this key pattern, but he mistook its accents as indicators of meter rather than the counter-metric (
3619:
2254:
3548:
2069:, v. 55, pp. 20-23 Feb. For more on early iron-working and the Bantu migrations see: Newman, James, L. (1995: 107-109, 140-149.)
3504:
3554:
1788:. In the montuno section the bongo bell and the timbale bell parts are sounded simultaneously in a contrapuntal interplay.
3332:
1022:
487:
Standard bell pattern (top) with accompanying axatse part (bottom). The axatse begins on the second stroke (in parentheses)
1384:
In the Yoruba-based, Afro-Cuban rhythms agbe (toque gĂŒiro) and bembĂ©, standard pattern variations are used spontaneously.
707:
contradictive, and extraordinarily dynamic cross-rhythms found in African music. Within the context of a single four-beat
1065:
1030:
1026:
1795:" developed the technique of simultaneously playing timbale and bongo bell parts when he held the timbales chair in the
1689:
bell parts. During the mambo era of the 1940s, bongo players began regularly using a large hand-held cowbell during the
3574:
121:
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2678:
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2571:
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2529:
2508:
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2134:
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2044:
1981:
634:
1846:
Afro-Brazilian music uses a variety of bell patterns, many of which are different than the patterns used in Cuba.
1662:
and on the heads of the timbales. The slashed noteheads are muted tones and the regular noteheads are open tones.
1654:
in written music. The baqueteo consists of the son clave strokes, plus four additional strokes. Not technically a
1468:
The bell pattern is also played in a displaced position, beginning on 4a, the pulse immediately preceding beat 1.
2842:
113:
Use of African bell patterns is found primarily within the NigerâCongo language family (yellow and yellow-green).
1029:. However, perhaps because of their seemingly asymmetric structure, bell patterns are sometimes perceived in an
723:
is 1.5:4. The three cross-beats, spanning 24 pulses, are represented as whole-notes below for visual emphasis.
3580:
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3156:
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2180:, Vol. 66, No. 5, (Jan., 1980), p. 125-133. Published by: MENC: The National Association for Music Education.
3419:
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3327:
3285:
2358:
Ancient Traditions Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India
1728:
The rhythmic basis for one of the most enduring Latin jazz tunes comes from a cĂĄscara variant adopted as a
1108:
In divisive form, the strokes of tresillo contradict the beats. In additive form, the strokes of tresillo
3614:
3609:
3265:
1780:
Patterns 3 and 4 are timbale bell parts that were introduced in mambo big bands. During the early 1940s
183:
express the rhythmâs organizing principle, defining rhythmic structure, as scales or tonal modes define
1674:
3454:
3362:
3255:
978:
The five-stroke "cinquillo" (Cuban term) is a common single-celled variant (two additional strokes).
145:
133:
3526:
3516:
3489:
3459:
3379:
3245:
2511:. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest.
1131:, he did not correctly identify its metric structure. King represented the pattern in a polymetric
1127:) phenomena they actually are. Similarly, while Anthony King identified this five-stroke figure as
3624:
3137:
3569:
3404:
3230:
3215:
3192:
1924:
and can be thought of as pattern 1 embellished with four additional strokes. Bell 3 is used in
1678:
323:
1461:
This bell pattern, an embellishment of the three-beat cycle, is used in the Afro-Cuban rhythm
3521:
3484:
3399:
3197:
2907:
1049:, thus only quarter and dotted-quarter notes rather than only eighth notes and eighth rests.
959:
The "tresillo" (Cuban term) is the most basic single-celled figure in duple-pulse structure.
310:
The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in
1558:
bell patterns have spread worldwide due to the global success of Cuban-based popular music.
3449:
3444:
3429:
3314:
3026:
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beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in
129:
74:
1698:
8:
3564:
3511:
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3170:
3151:
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390:) structure. Many North American percussionists refer to the triple-pulse form as the
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2504:
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2074:
2040:
1977:
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Different ways to count the five-stroke bell pattern, the first of which is correct
3469:
3250:
1677:
introduced this development. Later, multiple cowbells, a cymbal and the occasional
1387:
1042:
2148:
Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics
1961:
Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics
1932:
bell and can be thought of as pattern 1 embellished with four additional strokes.
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1737:
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149:
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Walton, James (1955: 22) 1955 âIron Gongs from the Congo and Southern Rhodesiaâ
3374:
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3175:
3084:
2942:
2912:
2828:
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King, Anthony (1960). âThe Employment of the Standard Pattern in Yoruba Musicâ
1941:
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Classification and Phylogenetic Analysis of African Ternary Rhythm Timelines
408:. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.
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44:
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The 3:2 Relationship as the Foundation of Timelines in West African Musics
1909:
1682:
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Pattern 1 is son clave, usually played on wooden claves. Pattern 2 is the
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81:. In band music, bell patterns are also played on the metal shell of the
1064:
The bell pattern, and every aspect of the overall rhythm, is considered
1037:
152:. The spread of the African bell patterns is probably similarly linked.
3309:
2968:
2892:
2882:
2501:
Struggling to Define a Nation: American Music and the Twentieth Century
2279:. The International Society of the Arts, Mathematics, and Architecture.
2127:
The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
2056:
Kubik, Gerhard (2010: 57). Theory of African Music v. 2. Chicago Press.
1974:
The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins
1803:. The example below shows the combined bell patterns (written in a 2-3
1741:
1704:
1510:
1324:
1124:
1120:
1080:
696:
214:
198:
3144:
1993:
Gerstin, Julian (2013) "Rhythmic Structures in the African Continuum"
753:
187:. . . Put simply, key patterns epitomize the complete rhythmic matrix.
3322:
3161:
3079:
3036:
3011:
2990:
2983:
2947:
1792:
1748:. The rhythm of the melody in the A section is identical to a common
913:
893:
747:
504:
218:
40:
3048:
3004:
2566:, p.22. Sameer Singh, Maneesha Singh, Chid Apte, Petra Perner, eds.
1647:
1462:
1191:
1094:
1086:
955:
617:. Kubik states that east of the Niger, Pattern 3 is used "among the
43:
family, to make it emit a sound at desired intervals. It is often a
3132:
3060:
3041:
3016:
2978:
2973:
2872:
2090:
A.M. Jones (1959: v. 1: 211). Cited by Kubik, Gerhard (2010: 60).
1929:
1925:
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1350:
922:
630:
236:
225:
100:
86:
82:
70:
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2714:
Representing African Music: Postcolonial Notes, Queries, Positions
2636:
Representing African Music: Postcolonial Notes, Queries, Positions
2008:
Representing African Music: Postcolonial Notes, Queries, Positions
1921:
1849:
1839:
1693:
section in son groups. This bongo bell role was introduced in the
1659:
1516:
997:
In some rhythms the bell just plays repeating cycles of offbeats.
148:
is linked to the early iron-making technology spread by the great
66:
3235:
1913:
1781:
1744:
in 1947, is the first jazz standards to be rhythmically based on
1690:
791:
668:
658:
626:
184:
109:
16:
Rhythmic pattern of striking a hand-held bell or other instrument
1665:
In the 1940s the cowbell was added to the timbales in the first
1561:
1422:
3055:
2532:. Shown with tied sixteenth & eighth note rather than rest.
1834:
1810:
642:
638:
89:
78:
32:
757:
kadodo bell pattern built upon the 3:8 or 1.5:4 cross-rhythm.
514:
See: standard bell with accompanying axatse part. Atsiagbekor.
909:
897:
720:
650:
500:
168:
19:
2392:
Music in West Africa; Experiencing Music, Expressing Culture
2067:
Royal Anthropological Institute of Great Britain and Ireland
2927:
2867:
2851:
2810:(Dizzy Gillespie). Phantom Sound & Vision CD (c. 1948).
993:
726:
646:
36:
1270:
1129:
the âstandard patternâ in its simplest and most basic form
1963:, UnlockingClave.com. Urbana, IL: University of Illinois.
1017:
491:
2820:
2420:, (Ladzekpo brothers). Makossa phonorecord 86011 (1982).
1775:
1045:
in additive form, with the notes sustained between each
3099:
3070:
3046:
1681:
were added to the timbale setup. Patterns 3 and 4 are
3002:
2988:
2522:
Cuba and Its Music: From the First Drums to the Mambo
2244:
2242:
1814:
Two interlocking cowbells, the "Changuito Special."
1184:
Because this triple-pulse pattern is generated from
2071:
The Peopling of Africa, A Geographic Interpretation
1480:afrekete, the part begins in the second measure of
1465:. It consists of three sets of three strokes each.
920:. Patterns 3 and 5 are used in the Ghanaian rhythm
889:standard pattern) is played on the head of a small
746:The following 24-pulse bell pattern is used in the
205:of 6 or 8 pulses each. The key pattern defines the
2239:
144:language family. The use of iron bells (gongs) in
1430:
1115:
65:), in most cases it is a metal bell, such as an
3601:
2039:. Jackson, MS: University Press of Mississippi.
1354:Triple-pulse rumba clave written as triplets in
661:. It is also used in the Cuban-Congolese rhythm
480:e & a || X . . X . . X X . . X . X . . X ||
942:
695:bell patterns based on "slow" cycles of three
3142:
2836:
2114:Journal of the American Musicological Society
1701:. Pattern 5 is the basic bongo bell pattern.
1098:Tresillo written in additive form: 3 + 3 + 2.
3295:
2740:PercisiĂłn Folklorico PercusiĂłn mayor y menor
2470:Drum Gahu: An Introduction to African Rhythm
2031:
2029:
703:. Three-over-eight (3:8) is one of the most
322:The standard pattern is expressed in both a
95:
2703:v. 2. Chicago: University of Chicago Press.
2352:
2350:
2167:v. 2. Chicago: University of Chicago Press.
665:. The figure is sometimes referred to as a
2843:
2829:
1168:Anthony King's polymetric representation (
904:of Nigeria. Pattern 3 is the bell part in
653:. Pattern 4 is a bell pattern used by the
2248:Novotney, Eugene D. (1998: 155). Thesis:
2154:.com. Urbana, IL: University of Illinois.
2026:
1524:
1090:Tresillo written in divisive form: 8 Ă· 3.
77:, or a hollowed piece of wood, or wooden
2347:
2073:. New Haven, CT: Yale University Press.
1848:
1833:
1809:
1754:
1703:
1560:
1515:
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1421:
1386:
1349:
1269:
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1085:
1036:
992:
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954:
926:. Patterns 2 and 3 are known in Cuba as
790:
752:
725:
536:
490:
482:
235:
108:
99:
18:
1916:rhythms. Pattern 1 is known in Cuba as
1829:
1708:Cuban bongo bell pattern, with 2-3 son
1658:pattern, the baqueteo is played on the
221:array of attack-points contradicts the
3602:
2671:Salsa Guidebook for Piano and Ensemble
2342:Songs and Tales from the Dark Continen
2298:Alan Dworsky and Betsy Sansby (2001).
1018:Divisive rhythm versus additive rhythm
900:. Pattern 2 is used by the Yoruba and
444:& a || X . X . X X . X . X . X ||
3555:Glockenmuseum Stiftskirche Herrenberg
2824:
2274:
2265:. Urbana, IL: University of Illinois.
1776:Timbale bell and bongo bell interplay
1278:
3549:Dove's Guide for Church Bell Ringers
2673:. Petaluma, California: Sher Music.
2472:Tempa, Arizona: Whitecliff Media Co.
2431:Yoruba Drums from Benin, West Africa
2394:. New York: Oxford University Press.
2119:
1995:Analytical Approaches to World Music
518:
2564:Pattern Recognition and Data Mining
1265:
1012:
772:
231:
197:Key patterns are generated through
13:
2774:AnthogoĂa de la mĂșsica afro-cubana
2457:Traditional Dance Rhythms of Ghana
2446:. Van Nuys, CA: Alfred Publishing.
14:
3636:
3620:Percussion performance techniques
2816:
2618:p. xxx. Redway, CA: Bembe Books.
2499:Garrett, Charles Hiroshi (2008).
2405:Analytical Studies in World Music
1791:In the 1970s José Luis Quintana "
1391:Standard bell pattern variations
240:Standard pattern in duple-pulse (
2444:West African Rhythms for Drumset
2407:p. 102. Oxford University Press.
1959:Novotney, Eugene N. (1998: 165)
635:Democratic Republic of the Congo
35:pattern of striking a hand-held
2800:
2779:
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2745:
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2719:
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2196:
2183:
2170:
2157:
2140:
2106:
2097:
1457:three-against-four cross-rhythm
1274:Cuban-style mountable cowbells.
645:." The pattern is also used in
2753:Afro-Cuban Rhythms for Drumset
2649:Yoruba Sacred Music from Ekiti
2459:v. 1. Everett, PA: Honey Rock.
2433:. Smithsonain CD 04294 (1980).
2234:American Music Society Journal
2163:Kubik, Gerhard (2010: 62-63).
2084:
2059:
2050:
2013:
2000:
1987:
1966:
1953:
1853:Afro-Brazilian bell patterns.
1431:Three-beat cycle bell patterns
1116:Counter-meter versus polymeter
676:Three-beat cycle bell patterns
512:nature of the overall rhythm.
1:
3581:Freedom Bell, American Legion
3157:Russian Orthodox bell ringing
23:Ghanaian iron gankoqui bells.
3560:Liberty Bell Memorial Museum
3286:Bells of Notre-Dame de Paris
2562:Toussaint, Godfried (2005).
2442:Hartigan, Royal (1995: 63).
2403:Tenzer, Michael ed. (2006).
2340:Curtis, Natalie (1920: 98).
2211:Jones, A.M. (1959: 210-213)
2146:Novotney, Eugene D. (1998).
2125:Peñalosa, David (2009: 51).
1972:Peñalosa, David (2012: 255)
1685:cĂĄscara patterns adopted as
1650:and the first expression of
1475:AbakuĂĄ bell pattern variant.
1335:; "Haitiano" (Fon, Yoruba):
912:). Pattern 4 is used by the
7:
3495:Saarlouiser GlockengieĂerei
3100:
3071:
3047:
3003:
2989:
2776:. Egrem CD boxed set 0011.
2699:Kubik, Gerhard (2010: 78).
2592:Kubik, Gerhard (2010: 58).
2390:Stone, Ruth M. (2005: 82).
2377:Kubik, Gerhard (2010: 82).
2019:Nketia, Kwabena (1961: 78)
1935:
943:Single-celled bell patterns
39:or other instrument of the
10:
3641:
3420:Pieter and François Hemony
2787:The city of musical memory
2651:. Ibadan University Press.
2455:Kofi, Francis (1997: 42).
2356:Montfort, Matthew (1987).
2300:Hip Grooves for Hand Drums
2103:Kubik, Gerhard (2010: 60).
2035:Kubik, Gerhard (1999: 54)
1947:
1904:Bell pattern 1 is used in
1759:Top: opening measures of "
1646:, the key pattern used in
1023:Sub-Saharan African rhythm
699:across four or eight main
192:David Peñalosa, (2009: 51)
3540:
3348:
3256:Ivan the Great Bell Tower
3208:
3122:
2956:
2858:
2850:
2647:King, Anthony (1961:14).
2344:t. New York: Dover Press.
2321:Studies in African Music.
2129:. Redway, CA: Bembe Inc.
1976:. Redway, CA: Bembe Inc.
1763:" melody. Bottom: common
1211:The example on the left (
810:) African bell patterns (
621:, and the large group of
556:) African bell patterns (
161:James Walton, (1955: 22)
146:sub-Saharan African music
96:Sub-Saharan African music
3490:John and William Rufford
3246:Great Bell of Dhammazedi
2712:Agawu, Kofi (2003: 73).
2634:Agawu, Kofi (2003: 87).
2614:Peñalosa, David (2010).
2418:Ritual Music of the Yeve
2319:Jones, A.M. (1959: 212)
2213:Studies in African Music
1337:vodĂș-radĂĄ, yanvalĂș, nagĂł
2701:Theory of African Music
2594:Theory of African Music
2541:London, Justin (2012).
2379:Theory of African Music
2202:Peñalosa (2009: 65-67).
2178:Music Educators Journal
2165:Theory of African Music
2092:Theory of African Music
2006:Agawu, Kofi (2003: 73)
1675:Arcaño y sus Maravillas
916:(Ghana) for the rhythm
680:There is a category of
3570:National Bell Festival
3400:Gillett & Johnston
3296:
3231:Bell of King Seongdeok
3216:List of heaviest bells
3193:Bolognese bell ringing
3143:
2893:Bell tower / Campanile
2736:Percussion Afro-Cubana
2734:Coburg, Adrian (2004)
2520:Sublette, Ned (2007),
2021:African Music in Ghana
2010:. New York: Routledge.
1901:
1843:
1826:
1772:
1725:
1639:
1521:
1476:
1458:
1427:
1415:
1381:
1275:
1263:
1208:
1181:
1106:
1099:
1091:
1061:
1009:
990:
971:
871:
769:
743:
719:), the cross-rhythmic
625:speakers from eastern
605:
496:
488:
307:
195:
164:
114:
106:
24:
3575:Ringing organizations
3198:Veronese bell ringing
2690:Peñalosa (2009: 1-3).
2660:Novotney (1998: 250).
2583:Novotney (1998: 158).
2275:Toussaint, Godfried.
2193:New York: Bourne Inc.
1852:
1837:
1813:
1758:
1707:
1579:Afro-Cuban patterns.
1564:
1520:afrekete bell pattern
1519:
1474:
1456:
1425:
1390:
1353:
1273:
1258:
1194:
1167:
1101:
1097:
1089:
1041:The example above is
1040:
996:
977:
958:
794:
756:
729:
540:
494:
486:
239:
181:
154:
134:BenueâCongo languages
112:
103:
63:asymmetrical timeline
22:
3465:GlockengieĂerei Otto
3430:Franciscus Illenfeld
2785:Waxer, Lise (2002).
2751:Thress, Dan (1994).
2716:New York: Routledge.
2669:MauleĂłn (1993: 47).
2638:New York: Routledge.
2596:v. 2. Chicago Press.
2490:Peñalosa (2009: 55).
2481:Hartigan (1995: 29).
2468:Locke, David (1998)
2381:v. 2. Chicago Press.
2094:v. 2. Chicago Press.
2037:Africa and the Blues
1920:. Bell 2 is used in
1830:Afro-Brazilian music
267:) and triple-pulse (
213:, and the second is
209:; the first cell is
3565:Liberty Bell Museum
3475:Petit & Fritsen
3261:Japanese Peace Bell
3171:Full circle ringing
3152:Ellacombe apparatus
2772:"Toque de gĂŒiros,"
2289:Peñalosa (2009: 55)
2191:Popular Cuban Music
1928:. Pattern 4 is the
1543:A variety of Cuban
1539:Cuban bell patterns
1296:; LucumĂ (Yoruba):
1047:interonset interval
633:, down to southern
3615:Bells (percussion)
3610:Musical techniques
3425:Christopher Hodson
2742:Bern, Switzerland.
2263:UnlockingClave.com
2257:2012-03-05 at the
2023:. Accra: Longmans.
1902:
1844:
1827:
1773:
1767:bell pattern (2-3
1726:
1640:
1522:
1477:
1459:
1435:There are several
1428:
1426:ararĂĄ bell pattern
1416:
1382:
1276:
1209:
1182:
1100:
1092:
1062:
1010:
991:
972:
872:
770:
744:
606:
497:
489:
308:
300:Play both together
228:of the two cells.
185:harmonic structure
115:
107:
25:
3597:
3596:
3328:World Peace Bells
3226:Bell of Good Luck
2725:Walton (1955: 60)
2605:Agawu (2003: 94).
1736:," co-written by
1699:Arsenio RodrĂguez
1031:additive rhythmic
171:, main reference
55:phrasing referent
49:(also known as a
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1314:
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1279:Standard pattern
1266:Afro-Cuban music
1255:
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1177:
1175:
1161:time signature.
1160:
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1056:
1013:Metric structure
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629:through western
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316:standard pattern
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232:Standard pattern
193:
162:
150:Bantu migrations
132:' of the I.A.5 (
3640:
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3635:
3634:
3633:
3631:
3630:
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3600:
3599:
3598:
3593:
3536:
3502:
3390:Kashpir Ganusov
3385:Royal Eijsbouts
3360:
3350:
3344:
3340:Yongle Big Bell
3221:Balangiga bells
3204:
3118:
2952:
2860:
2859:Background and
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2543:Hearing in Time
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2259:Wayback Machine
2247:
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1738:Dizzy Gillespie
1732:bell pattern. "
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1027:divisive rhythm
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3625:African rhythm
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3480:Richard Phelps
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3375:Andrey Chokhov
3372:
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3349:Bell founders
3346:
3345:
3343:
3342:
3337:
3336:
3335:
3325:
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3307:
3305:Sigismund Bell
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3276:Maria Gloriosa
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3195:
3190:
3189:
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3186:Method ringing
3183:
3176:Change ringing
3168:
3167:
3166:
3165:
3164:
3154:
3149:
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3126:
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3123:Ringing styles
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2943:Striking clock
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2817:External links
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2323:1978 edition:
2312:
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2156:
2152:UnlockingClave
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2012:
1999:
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1951:
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1942:Change ringing
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1774:
1752:bell pattern.
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1125:cross-rhythmic
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1011:
944:
941:
939:respectively.
880:
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788:
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717:musical period
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541:Triple-pulse (
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130:western stream
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3590:
3589:
3588:All the Bells
3585:
3583:
3582:
3578:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3556:
3553:
3551:
3550:
3546:
3545:
3543:
3539:
3533:
3532:Geert van Wou
3530:
3528:
3525:
3523:
3520:
3518:
3515:
3513:
3510:
3506:
3501:
3498:
3496:
3493:
3491:
3488:
3486:
3483:
3481:
3478:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3456:
3453:
3451:
3448:
3446:
3443:
3441:
3438:
3436:
3433:
3431:
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3376:
3373:
3371:
3370:Bilbie family
3368:
3364:
3359:
3356:
3355:
3353:
3351:and foundries
3347:
3341:
3338:
3334:
3331:
3330:
3329:
3326:
3324:
3321:
3319:
3317:
3313:
3311:
3308:
3306:
3303:
3300:
3299:
3294:
3292:
3289:
3287:
3284:
3282:
3279:
3277:
3274:
3272:
3269:
3267:
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3247:
3244:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3213:
3211:
3209:Notable bells
3207:
3199:
3196:
3194:
3191:
3187:
3184:
3182:
3179:
3178:
3177:
3174:
3173:
3172:
3169:
3163:
3160:
3159:
3158:
3155:
3153:
3150:
3147:
3146:
3141:
3139:
3136:
3134:
3131:
3130:
3128:
3127:
3125:
3121:
3115:
3114:Tubular bells
3112:
3110:
3109:Tintinnabulum
3107:
3104:
3103:
3098:
3096:
3095:Standing bell
3093:
3091:
3088:
3086:
3083:
3081:
3078:
3075:
3074:
3069:
3067:
3064:
3062:
3059:
3057:
3054:
3051:
3050:
3045:
3043:
3040:
3038:
3035:
3033:
3030:
3028:
3025:
3023:
3020:
3018:
3015:
3013:
3010:
3007:
3006:
3001:
2999:
2996:
2993:
2992:
2987:
2985:
2982:
2980:
2977:
2975:
2972:
2970:
2967:
2965:
2962:
2961:
2959:
2955:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2933:Ring of bells
2931:
2929:
2926:
2923:
2919:
2916:
2914:
2911:
2909:
2906:
2904:
2901:
2899:
2896:
2894:
2891:
2889:
2886:
2884:
2881:
2879:
2876:
2874:
2871:
2869:
2866:
2865:
2863:
2857:
2853:
2846:
2841:
2839:
2834:
2832:
2827:
2826:
2823:
2809:
2803:
2796:
2795:0-8195-6442-7
2792:
2788:
2782:
2775:
2769:
2762:
2761:0-89724-574-1
2758:
2754:
2748:
2741:
2737:
2731:
2722:
2715:
2709:
2702:
2696:
2687:
2680:
2679:0-9614701-9-4
2676:
2672:
2666:
2657:
2650:
2644:
2637:
2631:
2625:
2624:1-4537-1313-1
2621:
2617:
2611:
2602:
2595:
2589:
2580:
2573:
2572:9783540287575
2569:
2565:
2559:
2552:
2551:9780199744374
2548:
2544:
2538:
2531:
2530:9781556526329
2527:
2523:
2517:
2510:
2509:9780520254862
2506:
2502:
2496:
2487:
2478:
2471:
2465:
2458:
2452:
2445:
2439:
2432:
2426:
2419:
2413:
2406:
2400:
2393:
2387:
2380:
2374:
2367:
2366:0-937879-00-2
2363:
2359:
2353:
2351:
2343:
2337:
2330:
2329:0-19-713512-9
2326:
2322:
2316:
2309:
2308:0-9638801-5-2
2305:
2301:
2295:
2286:
2278:
2271:
2264:
2260:
2256:
2253:
2252:
2245:
2243:
2235:
2229:
2222:
2221:0-19-713512-9
2218:
2214:
2208:
2199:
2192:
2186:
2179:
2173:
2166:
2160:
2153:
2149:
2143:
2136:
2135:1-886502-80-3
2132:
2128:
2122:
2115:
2109:
2100:
2093:
2087:
2080:
2079:0-300-07280-5
2076:
2072:
2068:
2062:
2053:
2046:
2045:1-57806-145-8
2042:
2038:
2032:
2030:
2022:
2016:
2009:
2003:
1996:
1990:
1983:
1982:1-886502-80-3
1979:
1975:
1969:
1962:
1956:
1952:
1943:
1940:
1939:
1933:
1931:
1927:
1923:
1919:
1915:
1911:
1907:
1897:
1885:
1873:
1861:
1851:
1847:
1841:
1836:
1822:
1812:
1808:
1806:
1802:
1798:
1794:
1789:
1787:
1783:
1770:
1766:
1762:
1757:
1753:
1751:
1747:
1743:
1739:
1735:
1731:
1720:
1711:
1706:
1702:
1700:
1696:
1692:
1688:
1684:
1680:
1676:
1672:
1668:
1667:danzĂłn-mambos
1663:
1661:
1657:
1653:
1649:
1645:
1635:
1623:
1611:
1599:
1587:
1573:
1563:
1559:
1552:
1533:
1518:
1514:
1512:
1489:
1473:
1469:
1466:
1464:
1455:
1451:
1444:
1424:
1420:
1411:
1399:
1389:
1385:
1376:
1363:
1352:
1348:
1346:
1342:
1338:
1334:
1330:
1326:
1322:
1318:
1309:
1299:
1295:
1291:
1287:
1272:
1262:
1257:
1250:
1235:
1220:
1203:
1193:
1189:
1187:
1176:
1166:
1162:
1155:
1146: +
1140:
1130:
1126:
1122:
1113:
1111:
1105:
1096:
1088:
1084:
1082:
1078:
1074:
1072:
1067:
1057:
1048:
1044:
1039:
1035:
1032:
1028:
1024:
1005:
995:
986:
976:
967:
957:
953:
951:
940:
938:
937:
933:
929:
925:
924:
919:
915:
911:
907:
903:
899:
895:
892:
883:
866:
854:
842:
830:
818:
804:
795:Duple-pulse (
793:
787:bell patterns
781:
765:
755:
751:
749:
738:
728:
724:
722:
718:
714:
710:
706:
702:
698:
689:
678:
677:
673:
671:
670:
664:
660:
656:
652:
648:
644:
641:and northern
640:
636:
632:
628:
624:
620:
616:
611:
600:
588:
576:
564:
550:
539:
533:bell patterns
527:
516:
515:
511:
506:
502:
493:
485:
479:
475:
471:
467:
463:
456:
443:
439:
435:
431:
427:
420:
409:
407:
400:
384:
369:
359:
350:
335:
325:
321:
317:
313:
302:
290:
276:
263:
249:
238:
229:
227:
224:
220:
216:
212:
208:
204:
200:
188:
186:
180:
178:
174:
170:
157:
153:
151:
147:
143:
139:
135:
131:
127:
126:Kwa languages
123:
119:
118:Gerhard Kubik
111:
102:
93:
91:
88:
84:
80:
76:
72:
68:
64:
60:
56:
52:
51:guide pattern
48:
47:
42:
38:
34:
30:
21:
3586:
3579:
3547:
3395:Vanden Gheyn
3315:
3298:Petersglocke
3291:Olympic Bell
3271:Liberty Bell
3266:Justice Bell
3241:Freedom Bell
3181:Call changes
3090:Servant bell
2998:Bicycle bell
2888:Bell pattern
2887:
2878:Bellfounding
2807:
2802:
2786:
2781:
2773:
2768:
2752:
2747:
2739:
2735:
2730:
2721:
2713:
2708:
2700:
2695:
2686:
2670:
2665:
2656:
2648:
2643:
2635:
2630:
2616:Rumba Quinto
2615:
2610:
2601:
2593:
2588:
2579:
2563:
2558:
2542:
2537:
2521:
2516:
2500:
2495:
2486:
2477:
2469:
2464:
2456:
2451:
2443:
2438:
2430:
2425:
2417:
2412:
2404:
2399:
2391:
2386:
2378:
2373:
2357:
2341:
2336:
2320:
2315:
2299:
2294:
2285:
2276:
2270:
2262:
2250:
2233:
2228:
2212:
2207:
2198:
2190:
2185:
2177:
2172:
2164:
2159:
2151:
2147:
2142:
2126:
2121:
2116:v. 59, n. 1.
2113:
2108:
2099:
2091:
2086:
2070:
2066:
2061:
2052:
2036:
2020:
2015:
2007:
2002:
1994:
1989:
1973:
1968:
1960:
1955:
1917:
1903:
1845:
1790:
1779:
1727:
1695:son conjunto
1673:orchestras.
1666:
1664:
1655:
1643:
1641:
1571:
1550:
1542:
1531:
1511:cross-rhythm
1487:
1478:
1467:
1460:
1442:
1434:
1417:
1383:
1361:
1344:
1336:
1332:
1328:
1320:
1307:
1297:
1293:
1289:
1282:
1259:
1248:
1233:
1218:
1210:
1186:cross-rhythm
1183:
1153:
1138:
1128:
1119:
1109:
1107:
1102:
1075:
1063:
1021:
946:
934:
931:
927:
921:
917:
905:
881:
873:
802:
779:
745:
687:
679:
675:
674:
666:
655:Hausa people
607:
548:
525:
499:The axatse (
498:
477:
473:
469:
465:
454:
446:
441:
437:
433:
429:
418:
410:
398:
391:
382:
367:
348:
333:
324:triple-pulse
319:
315:
309:
274:
247:
219:asymmetrical
199:cross-rhythm
196:
182:
165:
155:
116:
62:
58:
54:
50:
45:
29:bell pattern
28:
26:
3527:Whitechapel
3503: [
3460:Olsen Nauen
3455:John Murphy
3410:Miles Graye
3361: [
3316:Temple Bell
3281:Mingun Bell
3085:Ship's bell
3066:Jingle bell
3032:Crotal bell
3022:Church bell
2938:Strike tone
2918:Campanology
2903:Bell shrine
2898:Bell-ringer
2861:terminology
2360:, p.16-17.
1807:sequence).
1801:Los Van Van
1409:Play bottom
1112:the beats.
1081:cross-beats
928:rumba clave
902:Igbo people
874:Pattern 1 (
697:cross-beats
667:horizontal
623:Benue-Congo
615:Niger River
610:A. M. Jones
358:duple-pulse
142:NigerâCongo
128:) and the '
46:key pattern
3604:Categories
3517:Hugh Watts
3310:Swan Bells
2969:Altar bell
2883:Bell-gable
2806:"Manteca"
2416:"Kadodo,"
1838:Brazilian
1742:Chano Pozo
1121:A.M. Jones
705:metrically
637:, eastern
476:e & a
472:e & a
468:e & a
215:consequent
211:antecedent
3500:Schilling
3440:Marinelli
3405:Grassmayr
3358:Bergholtz
3323:Tsar Bell
3251:Great Tom
3162:Blagovest
3080:Mini-ring
3037:Dead bell
3012:Call bell
2991:Bianzhong
2984:Bell tree
2948:Zvonnitsa
2789:, p.239.
2545:, p.155.
2524:, p.134.
1918:son clave
1910:Candomblé
1908:and some
1793:Changuito
1683:guaguancĂł
1679:woodblock
1323:; ArarĂĄ (
914:Ga people
894:bata drum
505:Ewe music
169:pulsation
41:idiophone
3333:Kentucky
3318:(Boston)
3133:Carillon
3129:Chiming
3061:Handbell
3042:Doorbell
3017:Cat bell
2979:Babendil
2974:Aluphone
2873:Bell-cot
2503:, p.54.
2429:"Ogogo"
2302:, p.77.
2255:Archived
1936:See also
1930:maracatu
1926:batucada
1906:maculelĂȘ
1671:charanga
1644:baqueteo
1397:Play top
1345:columbia
1077:Tresillo
1066:divisive
950:tresillo
923:kpanlogo
711:(single
631:Cameroon
501:Ghanaian
440:& a
436:& a
432:& a
356:) and a
282:) form (
226:symmetry
223:metrical
190:â
159:â
87:drum kit
83:timbales
71:gankoqui
59:timeline
33:rhythmic
3541:Related
3485:Rudhall
3470:Paccard
3450:Meneely
3445:McShane
3435:Juutila
3236:Big Ben
3145:CanpanĂČ
3027:Cowbell
2913:Bourdon
2808:Manteca
2755:, p.9.
2150:, Web.
1948:Sources
1914:Macumba
1782:Machito
1761:Manteca
1734:Manteca
1712:above.
1691:montuno
1669:of the
1504:⁄
1315:form),
1294:triallo
1043:notated
713:measure
669:hemiola
659:Nigeria
627:Nigeria
314:as the
136:), or '
90:cymbals
75:cowbell
3522:Warner
3512:Taylor
3380:Cockey
3056:Ghanta
3049:DĆtaku
3005:BonshĆ
2908:Belfry
2793:
2759:
2738:v. I,
2677:
2622:
2570:
2549:
2528:
2507:
2364:
2327:
2306:
2219:
2133:
2077:
2043:
1980:
1859:Play 1
1648:danzĂłn
1585:Play 1
1463:abakuĂĄ
1339:; the
1333:egbado
1329:sabalĂș
906:fufume
891:Yoruba
816:Play 1
643:Zambia
639:Angola
562:Play 1
510:cyclic
495:Axatse
320:bembé.
294:, and
217:. The
85:, and
79:claves
3507:]
3415:Hatch
3365:]
3138:Chime
2964:AgogĂŽ
2957:Types
2922:index
2852:Bells
1922:afoxĂȘ
1842:bell.
1840:agogo
1805:clave
1799:band
1797:songo
1786:salsa
1769:clave
1765:mambo
1750:mambo
1746:clave
1730:mambo
1710:clave
1687:mambo
1660:gĂŒiro
1652:clave
1343:form
1341:rumba
1317:bembé
1298:iyesĂĄ
1286:Bantu
1071:cycle
936:clave
910:Ghana
898:Benin
721:ratio
709:cycle
701:beats
651:Haiti
318:, or
203:cells
177:cycle
138:Bantu
122:I.A.4
105:phase
73:, or
67:agogĂŽ
61:, or
31:is a
3102:Suzu
3073:Kane
2928:Peal
2868:Bell
2791:ISBN
2757:ISBN
2675:ISBN
2620:ISBN
2568:ISBN
2547:ISBN
2526:ISBN
2505:ISBN
2362:ISBN
2325:ISBN
2304:ISBN
2217:ISBN
2131:ISBN
2075:ISBN
2041:ISBN
1978:ISBN
1912:and
1820:Play
1740:and
1718:Play
1656:bell
1403:and
1374:Play
1321:agbe
1290:palo
1241:and
1201:Play
1174:Play
1055:Play
1003:Play
984:Play
965:Play
930:and
918:gahu
763:Play
736:Play
663:palo
649:and
647:Cuba
619:Igbo
406:bell
288:Play
261:Play
173:beat
37:bell
1697:of
1509::4
1327:):
1325:Fon
1288:):
1110:are
1025:is
932:son
896:in
748:Ewe
715:or
657:of
447:In
411:In
375:or
341:or
255:) (
3606::
3505:de
3363:sv
2349:^
2261:,
2241:^
2028:^
1889:,
1877:,
1865:,
1771:).
1627:,
1615:,
1603:,
1591:,
1513:.
1347:.
1331:,
1319:,
1292:,
1180:).
952:.
858:,
846:,
834:,
822:,
672:.
592:,
580:,
568:,
462::
426::
92:.
69:,
57:,
53:,
27:A
2924:)
2920:(
2844:e
2837:t
2830:v
2797:.
2763:.
2681:.
2574:.
2553:.
2368:.
2331:.
2310:.
2236:.
2223:.
2137:.
2081:.
2047:.
1997:.
1984:.
1895:4
1883:3
1871:2
1724:.
1633:5
1621:4
1609:3
1597:2
1572:4
1551:4
1532:4
1506:2
1502:1
1499:+
1497:1
1488:8
1443:8
1362:4
1308:8
1300:(
1284:(
1249:4
1234:2
1219:8
1207:.
1154:8
1139:8
908:(
882:4
870:)
864:5
852:4
840:3
828:2
803:4
780:4
742:)
688:8
604:)
598:4
586:3
574:2
549:8
526:8
478:4
474:3
470:2
466:1
455:4
442:4
438:3
434:2
430:1
419:8
399:8
383:2
368:4
360:(
349:8
334:8
326:(
306:.
275:8
248:4
124:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
