H H . X . H .

L . This pattern is widespread throughout the African Diaspora and is central to many rhythms.

. * . X . H . :|BELL  X . L . .

| . L . . * . H .

* . .

* . This is an easy combination – most of the strokes are in common.

* . . * .

. * . L L . | . L L . . * . X . He then builds the rhythms back up again in such a way that you get to hear every relationship between each of the parts played by the different instruments. H . * .

* .

H H . * . (Except of course they are MUCH easier to use, and work in your car! X . :|AGOGO H H . * .

In this lesson I teach you the bell pattern that forms the base of Yan Valu. . H .

If I were going to learn how to play agogo bells well, I would think it is a little stiff to clink together, but we just wanted the bell sound as background for a choir. * .

.

", "I've had some great fun and learning from Kim Atkinson's CD's. .

* . . X X. Samba4/4  |: . H .

3) Orient Yourself – Syllables with the Pulse: Next, clap the pulse while speaking the syllables. * . * . * . * . . * .

X XX X . X . The very famous Partido Alto that one hears all the time4/4  |: . L .

H . X . . H H .

... this has made my enjoyment of salsa music and dancing that much better. X . * . For a full breakdown on these patterns, please see my Clave Consciousness Series. * .

:|AGOGO L . * . In the second half of this lesson I show how this bell pattern relates to Clave. H . | .

* .

. H H H . * . * . The CB Percussion 8674 Percussion Kit is a perfect learning tool for the beginning percussionist. * .

(You can do this without a drum, but make sure you’re saying the syllables out-loud. . . * . L . . | .

X . H .

L L . L L, Ijexa variation #24/4  |: . L . . .

X X . * . X . L . . * . X . * . . H . Now learn the syllables for a drum pattern (for example, the tumba for Afoxé).

L L . This pattern is similar to others used throughout the African diaspora but its unique structure could be considered the signature of many Haitian styles. L L . :|AGOGO L .

* . H H. unnamed samba #24/4  |: . * . I spent about two hours enjoying and learning from your CD.. :|AGOGO L .

Kim!! :|BELL X .

| .

* . * .

L L L . * . Say and play the drum rhythm. * . .

:|BELL .

Another 2/3 Samba4/4  |: . * . * .

H H . I find this to be one of the most useful patterns I know.

X .

Do this many times – you’re learning a kinesthetic language – connecting your voice and your hands. These are indicated by “H” for the high, “M” for the medium and “L” for low pitches. • Speaking of Rhythm deeply involves YOU in the process of learning and expressing rhythm.

H . .

X . X . * . * .

.

| .

X .

.

* . * .

X . . * .

. L . >>      .

* . In the second half of this lesson I show how the bell pattern fits with Clave, the key rhythm. * .

. .

* . . * . .

X .

* .

.

>>      X . * . L .

| . . L L L H . * .

.

. | . H H . This pattern is part of several rhythm styles from the northeast of Brazil and is played on a variety of instruments including tamborim, agogo, and caxia as well as guitar and keyboards.

* . :|BELL  X .

Make sure you keep the four pulse in your body in a relaxed manner while you play the bell. Rumba Clave (2-3)4/4 |: . X .

Rumba Clave (3-2)4/4 |: . Cuban (rumba)12/8 |: . H .

. L . . L .

X . * . It is the same essential 5 clave strokes plus two others, which give it a very circular and mysterious feeling. . * .

Cuban (Yesa)4/4 |: . * .

Cuban (palo)12/8 |: . X . If you need help with achieving this, please check out my Clave Consciousness lessons.

The sound was great for what we were doing. X . H . H . * . * . Only logged in customers who have purchased this product may leave a review.

4/4 Bell Patterns                                       One Bar4/4 |: .

* . L . . .

X . . Bell patterns are usually foundation patterns in this kind of music.The sound of the bell is distinct from the drums and guides the whole ensemble, and becomes the default measure of time. :|BELL  X . L L . Agogo Bell order This bell was exactly what I was looking for. * . BELL PATTERNS.

The pattern can be translated to marimba or numerous other instruments including bass drum and snare drum for “Afrobeat”.

I was TRULY impressed with the format and success it gave me and will give others... YOU DID IT! . H L . . . * . . X .

* . * . L . * . Carnaval Spirit Bateria – Grooves To Live In – Kim Atkinson Package, Carnaval Spirit Bateria – Grooves To Live In – Brazilian Package, Carnaval Spirit Bateria – Grooves To Live In, If you need to review the syllables, hand positions and sounds on your drum, click here, Click here to purchase audio of this show and support the SEVA Foundation. The bell usually plays a simple pattern. Samba patterns for Agogo bells Note that “H” indicates that the smaller high pitched Agogo bell is to be played and that “L” indicates that the larger low pitched is to be played . L .

H .

* . L . X .

| . .

L, Ijexa variation #34/4  |: . * .

L .

In this lesson I show the Bembe bell pattern, which is the rhythm I call “12 Bell”. . * . | . Samba da Rua pattern in 2/34/4  |: . X .

X . * . . An agogô (Yoruba: agogo, meaning bell) is a single or multiple bell now used throughout the world but with origins in traditional Yoruba music and also in the samba baterias (percussion ensembles).

X . * .

H H. Afoxe4/4  |: . :|AGOGO H .

. * .

. Ijexa4/4  |: . . L .

H H . | .

| .

* . * .

:|BELL . H H . | .

It is the 4/4 form of what is known in ethnomusicology as the standard pattern, and known in Cuba as clave.Pattern 1 is used in maculelê and some Candomblé and Macumba rhythms.

.

* . L . . * . * . X . H L. Gahu4/4 |: . Garden variety ago-go pattern for Samba in 2/3 arrangement4/4  |: . * . . * . X .

The sound of the bell stands out from the drums and rattle and forms the basic reference point or time line of the groove. X . * . H . X . . * . unnamed samba #14/4  |: . Each pattern we will learn for this rhythm has it own entry point in the bell phrase. H . * . L L. Samba do Morro pattern built around Partido Alto in 2/34/4  |: . Practice each drum stroke separately and speak the syllable as you hit the drum.

This is an ancient rhythm from Nigeria, and it shows up many places in African Diaspora music, with different starting points and melodies. . :|BELL  X .

| . This very useful pattern is used in many forms of music, you may have heard it as bass line. * .

This mimics the parts of the ensemble and you deeply feel how music works.

* .

* . .

* . L .

It is a form of the Clave rhythm when played in 12 over a main beat of 4.

. L L, Mambo4/4  |: . * . * . >>      .

. | . It was helpful to really get inside clave rhythms too.

* .

. You will learn the universal “cinquillo” rhythm, two common “seis por ocho” patterns, and several variations on the Clave rhythm. * .

Haiti (Ibo, Congo)4/4 |: . * . H .

:|BELL X .

H . . X .

.

* . . X . * .

. .

In this lesson I play three variations of Clave on a double bell.

H .

* . H . X . L L . Ijexa4/4  |: . . L . .

.

H . Ghana4/4 |: .

X . .

Ijexa variation #14/4  |: .

H . You go at your own rate. The bells are sounded to send messages, make announcements, and perform divination. In his Speaking of Rhythm series, Kim takes this concept to the next level. Haitian4/4 |: . L . .

. Posted in 1-4 patterns, Patterns Tune 3 – Conga Samba. .

Web design by Dream-Create-Communicate.com. :|AGOGO L . | .

* .

* . The agogô may be the oldest samba instrument and was based on West African Yoruba single or double bells. . * .

* . * . L L .

L L . .

X .

. * .



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