Music
Raqs Al Almeh - Academy Of Middle Eastern Dance
MIDDLE EASTERN RHYTHMS
2/4 Rhythms
Ayoub
The Ayoub rhythm is very similar to the Malfouf but feels bigger and chunkier. Dancers find this rhythm works well for short sharp movements such as body locks and other convulsive movements.
It is a "one-and-two-and-one-and-two-and" rhythm.
If a drum could speak the Ayoub would say...
2/4 Rhythms
Ayoub
The Ayoub rhythm is very similar to the Malfouf but feels bigger and chunkier. Dancers find this rhythm works well for short sharp movements such as body locks and other convulsive movements.
It is a "one-and-two-and-one-and-two-and" rhythm.
If a drum could speak the Ayoub would say...
| 1 | and | 2 | and | 1 | and | 2 | and |
| Dum | Dum | Tek | Dum | Dum | Tek |
|---|
Fellahy
This rhythm is named for the fellahin, or the farmers. This rhythm is very rural and just makes you want to dance. It's fast and will inspire shimmies, bouncy movements, and fast travelling steps. Otherwise it is limiting to dancers and is used sparingly. One cannot listen to this rhythm and stay unhappy.
It is a "a-one-and-a-two-and-one-and-a-two" rhythm
It says...
| 1 | and | a | 2 | and | 1 | and | a | 2 | and |
| Dum | Tek | Ka | Dum | Tek | Dum | Tek | Ka | Dum | Tek |
|---|
Khalegy
Khaleegy. (Pronounced "kuh LEE jee".) Sometimes spelled Khaleeji or Khaliji. In Arabic, this word means "gulf", and belly dancers use it to refer to the style of music and dance from the Persian Gulf area. It uses a particular rhythm that American musicians and dancers often call "Saudi".
It is a "one-and-a-two-and-one-and-a-two-and" rhythm.
The Khaleegy says...
| 1 | and | a | 2 | and | 1 | and | a | 2 | and | ||||
| Dum | Ka | Dum | Ka | Tek | Ka | Dum | Ka | Dum | Ka | Tek | Ka |
|---|
Malfouf
This is the rhythm that is most used for entrances and exits. Of the basic 2/4 rhythms, this is the easiest to dance to, both with and without a veil. It can sometimes be confused with the Ayoub, but is lighter in feel.
It is a "one-and-two-and-one-and-two-and" rhythm.
If a drum could speak the Malfouf would say...
| 1 | and | 2 | and | 1 | and | 2 | and |
| Dum | Tek | Tek | Dum | Tek | Tek |
|---|
4/4 Rhythms
Beledi
Beledi. (Pronounced "BELL uh dee".) Alternate spellings include Baladi, Beledy, and Balady. In Arabic, Beledi means "of the country", "the village", or "my home". For dancers, the word Beledi has a different meaning. For us, it is another name for the Maqsoum rhythm, which is a folkloric rhythm, and asking a musician to play a "Beledi" means you're asking for a song that uses that particular rhythm.
It is a "one-and-two-and-three-and-four-and" rhythm.
If a drum could speak the Beledi would say...
| 1 | and | 2 | and | 3 | and | 4 | and |
| Dum | Dum | Tek | Ka-Tek | Dum | Tek | Ka-Tek |
|---|
Debke
This is a rhythm that differs from country to country. It is most used for the line dance of the same name. The Debke dance is most popular in Lebanon. It is sort of like the arabic equivalent of the Hokey Pokey, although it is not comical like the "Pokey". Dancers stomp their feet with the music and move sideways on certain counts.
It is a "one-and-two-and-three-and-four-and" rhythm.
If a drum could speak the Debke would say...
| 1 | and | 2 | and | 3 | and | 4 | and |
| Dum | Dum | Tek | Dum | Dum | Tek |
|---|
Maksoum (Wahda Wa Noss)
Maqsoum. (Pronounced "mock SOOM".) Also spelled Maksoom or Maksoum. It can also be called Masmoudi Saghir which means "little Masmoudi". (There is a different rhythm which is known as "big Masmoudi".) The maqsoum rhythm is often called "Beledi", even though they are not exactly the same.
It is a "one-and-two-and-three-and-four-and" rhythm.
If a drum could speak the Maksoum would say...
| 1 | and | 2 | and | 3 | and | 4 | and |
| Dum | Tek | Tek | Dum | Tek |
|---|
Saidi
This rhythm is named for the "Said" region, or upper Egypt, which incidently, is southern Egypt. It is heard in modern pop music but was traditionally used in folk dances, most notably, the cane dance.
It is a "one-and-a-two-and-three-and-a-four" rhythm
It says...
| 1 | and | a | 2 | and | a | 3 | and | a | 4 |
| Dum | Tek | Ka | Tek | Ka | Dum | Dum | Tek | Ka | Tek |
|---|
8/4 Rhythms
Al Zaffa
This rhythm is most used at weddings. It is the Arabic "Wedding March". Often, the dancer will "dance in" the bride and groom. The dancer leads the wedding party into the celebration, while the guests "zaghreet", clap their hands, and yell well wishes.
It is a "one-two-and-three-four-five-six-seven-eight" rhythm
It says...
| 1 | 2 | and | 3 | 4 | 5 | 6 | 7 | 8 |
| Dum | Tek | Ka | Tek | Tek | Dum | Tek | Tek |
|---|
Chiftitelli
Chiftitelli. (Pronounced "shift uh TELL lee".)
There are two ways the Chiftitelli rhythm is played--as a fast, upbeat ryhthm, which is usually in Turkish music, or as a slow, sensuous melody. It is most often, the slow Chiftitelli, which used for floor work, balancing swords, or stationary undulations.
It is a "one-two-three-and-four-five-six-seven-eight" rhythm.
It says...
| 1 | 2 | 3 | and | 4 | 5 | 6 | 7 | 8 |
| Dum | Dum | Dum | Dum | Dum |
|---|
Masmoudi
This rhythm is a great deal like the Beledi rhythm when played fast, although this one is spread out over 8 counts, instead of the Beledi's four counts. This one has a more important, or stately personality, and is downright haunting when played slow. It is used slow for floorwork, and sharp convulsive accents, such as body locks. It is my personal favorite slow rhythm.
It is a "one-two-three-four-five-six-seven-eight" rhythm.
It says...
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
| Dum | Dum | Dum |
|---|
Other Rhythms
Samahi
This is a very dramatic rhythm, it has ten counts and can rarely shows up in dance music.
It is a "one-two-three-four-five-six-seven-eight-nine-ten" rhythm.
It says...
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| Dum | Tek | Dum | Dum | Tek |
|---|
Karsilama
This is a hard rhythm for new students to get used to. It has 9 counts per bar. There are two ways to count this one easily. The first is " one-two-three-four-onetwothreefourfive". The second is "one-two-three-onetwothree". Box steps and 3/4 shimmies work well here.
It is a "one-two-three-four-five-six-seven-eight-nine" rhythm.
It says...
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
| Dum | Dum | Dum | Tek | Tek | Tek |
|---|
Musical Instruments
Arghul
This is not a musical instrument that is used in western music. It resembles a clarinet, with two reeds. One is a drone, and one is a chanter. It is used in folk music, not usually in large orchestrated musical pieces. Think of all the pictures of snake charmers that you have seen. It sort of looks like the instrument you see in those pictures.
Douf (Def, Bendir)
The Def is a rather large tambourine-like drum used in some forms of middle eastern music. It is most popular with folk musicians, but is also used with Sufi music.
Doumbek (Darbouka, Tabla, Dumbek)
This drum has been lovingly adopted by the western world. It is usually made of metal, though some of the smaller ones are beautifully glazed clay. Historically, they were clay with goat of fish skin heads. The metal drums can either be finely inscribed with intricate details or covered with leather. The skins are usually made of plastic which gives them their unique voice. When hit in the center, the drum makes a deep ‘dum’ sound, and when hit near the edge, it makes more of a ‘tek’ sound.
Kanoun (Qanoon)
Upon first look, most westerners mistake this instrument for a Hammer Dulcimer. The two are similar and share the same ancestry. It rests on the musicians lap, and is played with pics placed on the fingertips. An accomplished musician can play extremely fast and dancers use the faster melodies for shimmy solos. The Hammer Dulcimer is played with small wooden hammers and is used for more northeastern European music. The tuning between the two is slightly different.
Kawala
This is an instrument in the flute family, with a deeper sound than the Nay. It seems to have been born in Egypt, and is used in Beledi, and more modern music.
Mizmar
This is an instrument that not many westerners can listen to for any length of time. It is a member of the Oboe family of musical instruments and resembles a Zurna. The sound it makes is rather like a cross between a screaming pterodactyl and a full set of fingernails scraping down a chalkboard. You can see a mizmar in any snake charmer picture.
Nay (Ney)
The nay is probably the most prominent instrument in middle eastern music aside from the drums. It is a flute like instrument that is made from young bamboo reeds. Each key nay is made from a different size reed. There are records (written, not recorded) going back almost five thousand years that describe the Nay. It is used in Sharki, Sufi, Turkish, and Egyptian Folk music.
Oud (Ud)
The oud is the ancestor of the European lute and modern guitar. It is the classical guitar of the east. The sound is soft and melodious, and with it’s 11 strings the variety of notes is substantial There are no frets as you see on guitars, and the strings are both plucked and played with a plectrum (Pic).
Rebaba (Kemengeh)
This is a beautiful sounding instrument. It sounds like a somber violin with deeper notes. It is actually shaped like a small violin,
and is played by the musician while he is seated. There is a long sticklike foot attached to the bottom so that the instrument is
raised almost a foot off the floor.
The photo by on the right is by Roger Fenton. It was taken in 1858, and is part of a series called
Oriental Suite. The man seated on the left is playing a Rebaba. Behind him on the table is Riqq next to a ceramic vase. The female
dancer is playing zills high above her head, while the man in the center relaxes with a Shisha (Hookah Pipe).
Riqq (Reque, Riq)
This is simply, a tambourine, well, not really. It looks like a tambourine, it may have either skin or plastic for it’s head, and is usually larger and heavier than it’s western relative. It is a little more difficult to play middle eastern style, than our western style. Where we would just hammer it against our hip on the even accents, middle eastern musicians actually play it more like a drum. Riqq players in Egypt are thought to be sexy and all-manly, sort of like rock guitarists are in the west.
Sagat (Zills)
The term ‘sagat’ means ‘small metal trays’. ‘Zills”, (the Turkish word for cymbals) are played more in Turkish style music. They are worn on the thumb and middle finger. Oh, our beloved finger cymbals. See the ‘Props’ section for more.
Saz
The saz looks like a small lute. It is shaped like a gourd, and has frets, unlike the Oud, which has none. The frets can be adjusted for each maqam to play quarter tones.
This is simply, a tambourine, well, not really. It looks like a tambourine, it may have either skin or plastic for it’s head, and is usually larger and heavier than it’s western relative. It is a little more difficult to play middle eastern style, than our western style. Where we would just hammer it against our hip on the even accents, middle eastern musicians actually play it more like a drum. Riqq players in Egypt are thought to be sexy and all-manly, sort of like rock guitarists are in the west.
Sagat (Zills)
The term ‘sagat’ means ‘small metal trays’. ‘Zills”, (the Turkish word for cymbals) are played more in Turkish style music. They are worn on the thumb and middle finger. Oh, our beloved finger cymbals. See the ‘Props’ section for more.
Saz
The saz looks like a small lute. It is shaped like a gourd, and has frets, unlike the Oud, which has none. The frets can be adjusted for each maqam to play quarter tones.
UNUSUAL MUSIC SEGMENTS FOUND IN THE ORIENTAL DANCE ROUTINE
Awwady. (Pronounced "uh WAHD dee".)
In Arabic music, this refers to the free-form improvised instrumental solo that has no underlying rhythm. This is often used for the opening few phrases of music played for a belly dancer, and it is then followed by the fast- or medium-tempo entrance music.
Taqsim. (Pronounced "tack SEEM".)
You may also see it spelled Taksim, Taxsim, Taxim, or Takasim. It is an Arabic word which means "division", and refers to the section of music where a specific instrument is playing a solo. The Arabic taqsim is improvised—in a restricted sense—according to traditional patterns, and is almost never played in the same way twice. Musically speaking, any solo instrument improvising in the Arabic taqsim structure is playing a taqsim, including the drum taqsim that dancers usually call the drum solo.
Me-Attaa. (Pronounced "may AHT tah".)
In traditional Arabic music, this refers to the question-and-answer that goes back and forth between a melody instrument and a drummer. This generally appears at the beginning of a song, immediately after a very brief opening taxim played by the melodic instrument, and serves as the prelude just before launching fully into the rhythm of the song to come. The word means "broken up bits of music and rhythm.
CLASSICAL MUSIC
Of all the classical music out there for us to dance to, there are a few greats that no dancer or student should be without!
Hossam Ramzy - One of Bellydances' most important musicians, each student should have a few of his C.D.'s. Egyptian born and living in England for many years, Hossam even worked with Jimmy Page & Robert Plant on their "Unleaded" album and tour.
Jahlilas Raks
Sharki Series - Each dancer should have all of these C.D.s. They are some of the best versions of some of the best tunes ever made!
Wash Ya Wash Series - There are other great C.D.s here as well. The Rhythm ones by Nourhan are great for practice and for learning rhythms ad different speeds with different accents.
Mohammed Ali Ensemble - Delicious orchestrations, and a flair for the old style music. I get mine at Peko Records.
Wash Ya Wash Series - There are other great C.D.s here as well. The Rhythm ones by Nourhan are great for practice and for learning rhythms ad different speeds with different accents.
Mohammed Ali Ensemble - Delicious orchestrations, and a flair for the old style music. I get mine at Peko Records.
Eddie Kochak - A real 'Old School' kinda guy who plays the 'Ameraba' style like
nobody's business.
John Bilezikjian - His is very happy, chirpy music, sort of Greek-Turkish-Armenian all drunk on Ouzo. It can also be sad and haunting. Good stuff for advanced dancers.
Suhaila - She has C.D.s that have really great rhythms.
TRIBAL MUSIC
This style of music is exceptional for its' booming drums and unusual instruments. If you are a fan of classical oriental music, you may find this style fairly repetitive. For practicing at home, it's second to none.
Sirocco - One of the original Tribal music bands, they also have great drum music for practice and class.
- I have all of their C.D.'s and am proud to have them among my good friends. They are a must for performance, and dancing around the house with the vacum cleaneras well.
This is a wonderful song that has been around forever. It was written by Mohammed Abdel Wahab and made famous in the movie "Zannoubia" and was danced by the wonderful Samia Gamal.
Aziza
This song was also written by Mohammed Abdel Wahab, but for the movie Zeina. This time, it was Naaima Aakif who danced in the movie. Every student will dance to this song, even if only in class, I know all of my students have.
Tamra Henna (Henna Flower)
This song was used in the movie "Journey Of The Gypsy Dancer" and was memorable for the dance by Samia Gamal. Find it also on "Wash Ya Wash Volume 1".
Hazar Fazar
Find this song on the C.D. Wash Ya Wash - Volume 1". It's a must have!!!
Ghanili Schwaye Schwaye (A Little Slower)
Also on the C.D. Journey Of The Gypsy Dancer, this song is has great tempos and is wonderful for adding your own fave accents. This is my fave version of this song. I like my music a little on the traditional side.
Simarik (Spoiled Girl) - Tarkan
This one is known to the general public as "Kiss Kiss". You can hardly go to a student recital without seeing this one done. It's modern, poppy, and fast.
Enta Omri (You Are My Life)
Hossam Ramzy did the most popular version of this song and is found on his "Best Of Hossam Ramzy" and his "Best Of Oum Kolthoum" C.D.s. It is also on Amar 14 - Jalilah's Raks Sharki 2.
Batwannes Beek (I Desire You) - Warda
Slow, sultry, and yearning, here is a song that can melt the coldest heart.
Sallam Allay (My Lover Greeted Me)
If you like traditional and folkloric music, then this is one for you.
Lissa Fakir (Do You Still Remember?)
Oum Kolthoum did this one beautifully. It is a sad song of lost love and betrayal. This is absolutely not a song to dance to at weddings!
Habibi Ya Nour El Ein (You Are The Light In My Eye)
The most famous rendition of this song is done by Amr Diab. It has a slightly Spanish flavour and works well with zills.
Habibi Ya Eini (My Love, My Eye)
This song is absolutely delightful. It is flirty, happy, and tends to get the best out of dancers.
Alf Leila Wi Leila (One Thousand And One Nights)
This is one of the most classical songs for a dancer to use.
Habena (Love Us) - Originally by Farid Wl Atrache
Most versions of this song are a little on the traditional side. I would love to hear a rockin' modern version
Ayeela Tayha (Lost Daughter) - Rachid Taha
Even though the title is "Lost Daughter" it is actually about a man who can't be with the young woman he wants to marry, or so the translated lyrics read...
Bahlam Beek (I saw You In My Dreams)
This lovely tune was written by Abdel Halim Hafiz, and has been done by almost everyone, it has been danced by almost everyone, and will probably be danced at some point by almost everyone.....
Gamil Gamal (Such Beauty)
Absolutely everybody and his drummer have done a version of this song. It is very classical and has several rhythm changes that keep it fresh. Hossam Ramzy does a 7 minute version that is just lovely.