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Dear Bellydancers,

Understanding the Arabic rhythms is so important; it help Bellydancers to understand the piece of music they want to perform to.  It also helps them   to simply dance to the rhythm or be in the rhythm; it adds confidence to the body.

You do not need to learn to drum if you don’t wish to; all you need is to understand that language so that you can communicate with the Arabic rhythms.

Dear Drummers,

You are about to play Tabla or Darbucka (Drum); while seated, you first hold the Tabla under your arm by placing it sideways on your lap; the head of the Tabla towards your knees.

Check your posture and do some appropriate warm up for a good preparation,

Learning Arabic rhythms is vital for both DRUMMERS and BELLYDANCERS: 

Remember to us the “BEHE” for drumming and the “BEFE” for bellydancing. (brain, ears, eyes, hands, feet).

 
About some of the Arabic Rhythms for Drummers and Dancers:

Baladi (4/4): It actually means "country".  If we say baladi Abaya (dress) for instance, we know that we mean a stylish in the countryside way. Please note that Baladi is not a rhythm.  It is a rhythmic pattern, an umbrella that regroups different rhythms such as maqsoum, masmoudi etc…

Saidi (4/4):  This rhythm of upper Egypt is used for cane dance and for “Tahteeb” dance (two men fighting with solid sticks).  The most grounded dance that reminds you of the horse dance too.  From the drummer’s angle, the Saidi rhythm is the feel of the emphasis of the DOM.

Maqsoum (4/4):  Known as the most common rhythm in the Middle East.  It is one of the most used in the baladi combination.

Wahda Kabira (4/4): Wahda Kabira because it has one Dom at the front of the rhythm.  Wahda Kabira comes first as an initial accent with varying fill.  It can be used as transitions between rhythms of various counts and fills and also as break.

Fallahi (2/4):  This rhythm was created by “Al Fellaheen” or the Egyptians farmers.  You notice that the Fellahi rhythm is performed repeatedly and quite fast.

Ayoub (2/4):  A simple fast rhythm that is often played for accelerating or energetic sections of Middle Eastern Dance performance. It is a driving rhythm that somehow "wants" to get faster and faster.

Malfuf (2/4):  Usually used for performance entrances or by a dancer to make entry but it is not always at the beginning of pieces of music. 

Masmoudi (8/4):  Masmoudi Kebir (4/4) (“Big Masmoudi”) & Masmoudi Soghayer.  When these 8/4 Masmoudi are compressed into 4/4 time they are called Masmoudi Soghayer (4/4) (“Small Masmoudi”) by traditionalists, but nearly everyone else calls them Baladi.  

Etc.