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The article discusses the European and North American perspective of rhythmic patterns and illusions including gaps in the rhythmic patterns of music in India. Topics discussed include the hits, beats, and rests on each gap of the rhythmic pattern considering the dotted-eight note, the two syllables THA and GA in the pattern indicating rests within the gap, and various examples which shows a group on notes with several number of beats and syllables THA.

The article offers the author's insights regarding the characteristic elements of the North Indian Hindustani and South Indian Carnatic rhythmic systems which can help Percussive Arts Society (PAS) members. The author mentions that taal is rhythm in the North Indian Hindustani tradition while adi tala is the most common meter in the South Indian Carnatic tradition. He notes that claps are used in Hindustani tradition to show the specific locations of khali and sum.

The article examines the combination of rhythm cells to make complex groupings that evolve into breathing musical phrases. It mentions that rhythm can also be divided into categories defined by drum syllables, scale value and numeric value just as human life can be categorized up from the cellular level. It states that focusing the mind on every time layer need to be fairly easy, such as fast, medium and slow speeds are each other's ratios.

The article attempts to make adaptations for the drumset of shorter North Indian Tabla phrases to be used for accompanying real-world music applications. Some general information about North Indian music are discussed, including a terminology of terms, the rhythmic cycles, and classification of Tabla bols. Examples of adaptation are included, which can be played at slow, medium and fast tempo. According to the author, one can find limitless possibilities with ancient origins of world music.

The article offers information on harmonic time. Defined as a deeply profound awareness of multidimensional layers of rhythmic activity, harmonic time sensibility can be achieved either through body kinesthetics with drum vocables which create intellectual focus on a given time structure or African bell and support patterns for achieving limb independence for applying multiple time layers on musical instruments. A basic method to achieve harmonic time is establishing three rhythm speeds, namely slow, medium and fast.

In the article, the author discusses his teaching strategy and his concept of musical time in a visual graphic using umbrella figures. Also cited are some learning/teaching techniques for the study of playing the percussion like the Suzuki method, kinesthetic approaches, and oral/aural language-based strategy, as well as such other topics as the Solkattu syllables and time umbrellas.

The article presents a guide for mallet instrumentalists on applying rhythmic concepts for music from Latin America. Playing the correct articulation is needed to get the sound right, give more definition and clarity to the lines, as well as help clarify the style of the phrase. The musician should first practice only the rhythm of his melodic line with the metronome to make sure it is being played correctly.

This article offers information on the Italian tambourine called tamburello and offers tips on playing it. Information is presented on the ancient rituals associated with the instrument. The origin of Pizzica Tarantata, a very fast 12/8 rhythm from Puglia, is discussed, along with the typical decoration of a tamburello. The hand positions in playing a tamburello is explained, as well as the playing styles.

The article provides a basic understanding of pitch and time manipulation in the editing tools in a professional audio production of music. It offers information on the pitch bend process which can be used to alter the pitch of a digital audio. Techniques when creating a slow tempo-practice track is discussed.

The article offers an expressive technique on playing lap style frame drum. Topics mentioned include the assessment of solo improvisation performance, key concepts used in the practice such as rhythm complexity and sound quality, and interpretation of three-finger roll and two-speed exercise, Persian snapping exercise in rhythm cycle, Kanjira split-hand exercise in two speeds, and mridangam strokes in two speeds.

The article offers the author's insights regarding the idea shown by American drummer Carter Beauford in his video "Under the Table and Drumming." The author says that in the video, Beauford has talked about how the quarter-, eighth-, and sixteenth-note grooves makes him feel boring to play. He mentions that the video has served a Carter-like learning experience, which helped him to enhance coordination and rhythmic accuracy.

The article provides information on the need for drumset solos to use components of effective improvisation and with sufficient structure. It mentions that using effective improvisation permits the drummer to communicate to the listener with a musical meaning, a significant element in establishing an internal dialogue between the audience and the performer. The use of motives, short rhythmic or melodic ideas compose of succession of notes, is a significant component in music improvisation.

The article discusses the tempo mapping and quantization features of Musical Instrument Digital Interface (MIDI). It is said that setting up a click track that accurately reflects the musical meter and tempo of an arrangement before recording MIDI tracks will help musicians take advantage of their sequencing software. There are three common views or visual representations of information transmitted to computers via the MIDI language, one of which is the staff view.

The article focuses on the Bembe rhythm for the percussion ensemble. A background is offered on the origin of the Bembe, its instrumentation, and performance notes. The author considers three versions of the Bembe for the conga family of drums which can be performed by a solo player and also discusses an ensemble form of the rhythm.

The article explains the 3+3+2 rhythm structure incorporated in various world music traditions. It explains the structure's cultural habitation and phrase rotation, as well as its balance and syncopation. It is noted that the 3+3+2 phrase makes up the first half of the Afro-Cuban music's son clavé. Meanwhile, in North Indian music, this rhythm structure is said to be the underlying structure within which more involved drumming patterns and ornaments are played.

The article offers information on rhythm-based fitness programs. It features Carrie Ekins, founder and creative director of the Drums Alive fitness and wellness program, Michelle Unrau, founder of the TaikoFit program, and Robert Wallace, creator of Boom! Total Rhythm. A study in the December 21, 2005 issue of the "Journal of the American Medical Association" demonstrated that one consequence of inactivity is poor cardio respiratory fitness.

This article presents examples which illustrate various voicings that are derived from the diminished scale. According to the author, any shape or voicing in the scale can be transposed up or down by a minor third. He identifies the tensions contain in the diminished scale as used on a dominant chord.

The article focuses on rhythmic reading in percussion music. It explains that some methods for rhythmic reading are composed of exercises that progress through several pages and sections. It presents a method that enables the students to advance their reading skills and offers professional players a quick thorough review. The first part of the method is defining basic rhythmic motive or cell while the second part involves muscle memory. Exercises involved in rhythmic reading include composing, rolling and soloing, among others.

The article discusses the use of improvisation in music. Topics covered include the popularity of pianist Franz Liszt in improvising variations on any theme, the life improvisation that is identical to how a jazz musician or students of North Indian classical music create and the invention of tabla grooves in contemporary music settings. Also mentioned is the influence of mathematics on the rhythm system of South Indian music.

The article offers information on the author's clinic/performance focusing on the use of rhythm and melody to unify cross-cultural composition to be presented at the 2015 Percussive Arts Society International Convention to be held in San Antonio, Texas from November 11-14.

The article offers information on the 2015 Percussive Arts Society International Convention (PASIC) featuring the research paper session to be presented by the PAS Scholarly Research Committee to be held in San Antonio, Texas from November 11-14 including the improvement of rhythm perception.

The article offers the author's insights on the ability of musicians to read and perform music on sight, along with strategies in introducing rhythmic values and the increase of pitch recognition's range and speed. Topics include the approach of some musicians in reading music as text which results to the deterioration of the meaning of words, the logical philosophy of rhythmic and metric groupings, and the book "The Snare Drum Plays the Zoo," by Brian J. Harris.

The article offers the author's insights regarding his Percussive Arts Society International Convention (PASIC) clinic "Advanced Djembe Immersion: Dununba Family and Mamady Keïta Innovations" and Tam Tam Mandingue Djembe Academy (TTM) founded by Mamady Keïta. Topics discussed by the author include TTM certification, djembe music, and rhythm history.

The article focuses on the application of a Korvai by Thanjavur Vaidyanatha Iyer to the drumset. Kornai in South Indian Carnatic music refers to the designation of a pattern or composition that is usually played three times. The Korvai can be viewed in Western terms as two measures of 5/4 but it can also be approached as a reduction.

The article describes the outcome-based rhythm and drumming activities facilitated by the author with adolescent and child psychiatric patients at Children's Hospital in Birmingham, Alabama. The goals of such activities include establishing positive peer interaction and developing social skills, among others. An ocean drum was introduced by the author at the start of the session to establish a few key concepts passed from person to person. Activities utilizing hand drums include rhythm question and answer, expressive drumming and group rhythm.

In this article, the author offers ideas for selecting the right implement for playing music. The author advises musicians to identify the rhythmic demands of the music and the color of music the composer is trying to achieve. He suggest to consider the limitation of the musical instrument. In addition, the author notes that there is an implement that would make the performance technically easier.

In this article, the author discusses the three components of Indian music: tuning, timing and tala or form. According to the author, tuning is not solely restricted to properly tuning an instrument. He notes that once the instrument is finely tuned the player must achieve the proper sound and resonance for the instrument. Next, he refers timing to the musician's ability to maintain a given tempo regardless of any rhythmic tension that might exist between performers. He also notes that the concept of tala is present in every style of music.

The article explores the evolution of the jaba beat into the modern flamacue. The modern Haitian jaba is described as being played on a single drum called the tambour Martinique or tambour Juba, a barrel-shaped drum with a relatively small opening at the bottom. The juba could have started as two separate lines of a common rhythm.

A teacher's guide to writing original compositions is presented. It offers information on a musical intro, and offers some example. It explains a rhythmic motif. It compares a musical idea with the cheer-chant rhythms at a basketball game. It describes a strategy for helping students discover how easy it is to come up with ideas for their rhythm composition.

This article describes the 6/8 tempo in playing drum music. It cites the interpretation of roll passages as the challenging aspect of performing snare drums. The hand motions needed for achieving a good quality of sound are discussed, along with the style aspects. Information is presented on a parallel interpretation.

The article offers information on research conducted by research facility Music, Acoustic, Perception and Learning (MAPLE) Lab on the association between body movement and musical timing in playing percussions. Topics mentioned include a description of MAPLE Lab's projects such as musical performance and perception and assessment of marimbists' gestures while playing percussions, the rhythm perception of percussionists, and trials on movement and no-movement of percussionists.

The article offers the author's insights regarding tihais concept in East Indian rhythmic compositions. Topics discussed by the author include the first duo record with Pete titled "Rhythm-Sphere," music style of East Indian violinist L. Subramaniam, and the tour with Subramaniam's band which include Larry Coryell, Stanley Clarke, and George Duke.

The article offers information on the Music, Acoustics, Perception, and Learning (MAPLE) Lab rhythm perception experiment at the Percussive Arts Society International Convention (PASIC).

The article features tabla player Pandit Yogesh Samsi and his musical style. Samsi is known for emphasizing on power rather than speed in order to preserve the quality of his sound while his note separation has a high level of clarity that it is noticeable from fast to slow speeds. He is capable of retaining khali-bhari relationships and the cycle's inner structure even when playing in odd time taals.

The author describes the format for the rhythmic modulation of rudiments. He refers to rhythmic modulation as the direct movement from one gradation of rhythm to another, while maintaining the constancy of the basic tempo. An example showing the format for the rhythmic modulation of rudiments with sticking groups of four or eight notes is offered. When playing the double paradiddle, it is advised to play the right hand on the tom-toms while keeping the left hand on the snare, and vice-versa.

The article offers ideas on performing music practice as a form of meditation. A relaxed posture is important in ensuring that there are no obstacles affecting the flow of energy. Preparation strategies for a practice are discussed, along with some warm-up exercises. A slow tempo is needed when learning new materials.