The Boogie woogie style is played in 4/4 with each beat divided in 3 . In this kind of figuration, the chord to be played is broken into two parts. The left hand continually plays the root and fifth of the chord on the last third of each beat as a lead-in to a repeated 4 beat sequence of intervals which is played with stronger emphasis on the beat. On the first beat the right hand plays the major third and perfect fifth. On the second beat, the right hand plays the perfect fourth and major sixth. On the third beat, it plays the perfect fifth and minor seventh. On the fourth beat, it plays the perfect fourth and major sixth again. This oscillating sequence of intervals intrerlocking with the repeated root to perfect fifth interval in the left hand outlines a dominant 7th chord.

This is a C Blues chord accompaniment which uses the rhythmic figures typical of boogie woogie that are frequently used in Black Gospel music. This is a variation on the basic blues boogie.

This boogie variant changes the left hand figure played on the last third of the fourth beat that leads into beat one of the next measure. Instead of playing the two note interval consisting of the chord root and perfect fifth, on this fourth beat lead in, the piano player plays the root and flatted fifth with the left hand and adds at the same time the minor third in the right hand. This interval provides the blue notes usually expected in a blues which slide into the major third and perfect fifth used throughout the rest of the figure.

In this blues, the pattern visits the chords C7, F7 and G7 in the usual twelve bar blues form: C7 C7 C7 C7 F7 F7 C7 C7 G7 F7 C7 C7

Senegalese rhythm popular with American djembe players. Played at 100 beats per minute.

Contributed by Richard Darsie (darsie@cs.ucdavid..edu) to   The Rhythm Catalog where you can find the rhythm notated.

The effect of the rhythm is to visit the onbeats for a little bit more than half of the cycle and then the offbeats for a little less than half of the cycle. Since there are more onbeat hits than offbeat and since it is usually played by a bell, this is called the Long Bell pattern.

The effect of the rhythm is to visit the onbeats for a little bit less than half of the cycle and then the offbeats for a little more than half of the cycle. Since there are fewer onbeat hits than offbeat and since it is usually played by a bell, this is called the Short Bell pattern.