Foundation Course in African Music

Developmental Techniques of Cross-Rhythms

Cross Rhythmic Textures

From the earliest times, repertoires of cross rhythmic textures have been developed from which the composer draws in expressing his ideas. We will begin with the two most useful textures, six against four (6:4) and three against four (3:4), since they have the greatest use in the thematic development of Anlo-Ewe dance-drumming.

The student should learn to construct and discover the character of these cross rhythms and make them part of his way of thinking by the following exercises.

i. Construct the main beats in the proper metrical grouping bearing in mind the inherent pulsations of each main beat. A musical period of twelve pulsations, three per main beat, is chosen for these exercises because of its frequent use in the development of Anlo-Ewe dance-drumming.

ii. As the main beats are set in motion, their order of recurrence cannot be changed. It is extremely important to develop, at a very initial stage, a good subjective metronomic ability to conduct the main beats in their proper order of recurrence within the musical period. This could be achieved by numbering the accented pulsations of main beats 1, 2, 3, 4, in their order of recurrence and counting them verbally while articulating them by a foot tap and also by the weak hand on the thigh during the initial stages of the drill exercises.

iii. With the strong hand, articulate the second beat scheme by tapping it on the other thigh bearing in mind the interrelationship of the two beat schemes as the composite structure emerges.

v. Memorize the composite texture and practice until it becomes part of your way of thinking or useful rhythmic vocabulary.

Two Basic Textures

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