Classical and folk

Kathak tals, Carnatic talas, flamenco compás, Irish jigs and reels, Balkan meter, belly dance.

Kathak

Teentaal, Jhaptaal, Rupak: tals, bols, sam and khali. Kathak on the blog

Teentaal (16)

Meter: 16 beats a cycle
Grouping: 4+4+4+4
Tempo: 20–480 BPM
Styles: kathak, hindustani

Teentaal (16), counted: Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin DhaDhaDhinDhinDhaDhaDhinDhinDhaDhaTinTinTaTaDhinDhinDha

16 matras in 4+4+4+4. Sam on 1, tali on 5 and 13, khali on 9. Vilambit, madhya and drut layas.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Jhaptaal (10)

Meter: 10 beats a cycle
Grouping: 2+3+2+3
Tempo: 40–400 BPM
Styles: kathak, hindustani

Jhaptaal (10), counted: Dhi Na Dhi Dhi Na Ti Na Dhi Dhi NaDhiNaDhiDhiNaTiNaDhiDhiNa

10 matras in 2+3+2+3. Sam on 1, tali on 3 and 8, khali on 6.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Rupak (7)

Meter: 7 beats a cycle
Grouping: 3+2+2
Tempo: 40–400 BPM
Styles: kathak, hindustani

Rupak (7), counted: Tin Tin Na Dhi Na Dhi NaTinTinNaDhiNaDhiNa

7 matras in 3+2+2. The sam on 1 is also khali (a wave), unusual among tals; tali on 4 and 6.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Ektaal (12)

Meter: 12 beats a cycle
Grouping: 2+2+2+2+2+2
Tempo: 20–480 BPM
Styles: kathak, hindustani

Ektaal (12), counted: Dhin Dhin DhaGe TiRaKiTa Tu Na Kat Ta DhaGe TiRaKiTa Dhi NaDhinDhinDhaGeTiRaKiTaTuNaKatTaDhaGeTiRaKiTaDhiNa

12 matras in six pairs. Sam on 1, khali on 3 and 7, tali on 5, 9 and 11.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Keherwa (8)

Meter: 8 beats a cycle
Grouping: 4+4
Tempo: 60–400 BPM
Styles: kathak, hindustani

Keherwa (8), counted: Dha Ge Na Ti Na Ka Dhi NaDhaGeNaTiNaKaDhiNa

8 matras in 4+4. Sam on 1, khali on 5. Common in light classical and folk.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Dadra (6)

Meter: 6 beats a cycle
Grouping: 3+3
Tempo: 60–400 BPM
Styles: kathak, hindustani

Dadra (6), counted: Dha Dhi Na Dha Ti NaDhaDhiNaDhaTiNa

6 matras in 3+3. Sam on 1, khali on 4.

Where it comes from

Hindustani tala theory as used in Kathak: theka bols with sam (x), tali (claps) and khali (0) in Bhatkhande notation
Kathak recitation (padhant) of tabla theka, Lucknow, Jaipur and Banaras gharanas

Bharatanatyam

Adi, Rupaka and Chapu talas, and speeds. Bharatanatyam on the blog

Adi tala (8)

Meter: 8 beats a cycle
Grouping: 4+2+2
Tempo: 30–120 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Adi tala (8), counted: Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi miThakadhimiThakadhimiThakadhimiThakadhimiThakadhimiThakadhimiThakadhimiThakadhimi

8 aksharas in 4+2+2: laghu (beat and three finger counts), then two drutams (beat, wave). Sollukattu 'Tha ka dhi mi' in chatusra nadai at third speed (kalam 3): four syllables per akshara. Kalam 1 and 2 are the adi-tala-kalam-1 and -2 patterns.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Adi tala, kalam 1

Meter: 8 beats a cycle
Grouping: 4+2+2
Tempo: 30–120 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Adi tala, kalam 1, counted: Tha ka dhi mi Tha ka dhi miThakadhimiThakadhimi

Adi tala at first speed: 1 syllable of 'Tha ka dhi mi' per akshara, same kriyas. Each speed doubles the syllables against the same tala; kalam 3 is adi-tala.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Adi tala, kalam 2

Meter: 8 beats a cycle
Grouping: 4+2+2
Tempo: 30–120 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Adi tala, kalam 2, counted: Tha ka dhi mi Tha ka dhi mi Tha ka dhi mi Tha ka dhi miThakadhimiThakadhimiThakadhimiThakadhimi

Adi tala at second speed: 2 syllables of 'Tha ka dhi mi' per akshara, same kriyas. Each speed doubles the syllables against the same tala; kalam 3 is adi-tala.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Rupaka tala (6)

Meter: 6 beats a cycle
Grouping: 2+4
Tempo: 40–160 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Rupaka tala (6), counted: Tha ka Tha ka dhi miThakaThakadhimi

6 aksharas: drutam (beat, wave) then laghu of 4. Often felt as 3 beats of two.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Misra chapu (7)

Meter: 7 beats a cycle
Grouping: 3+2+2
Tempo: 60–200 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Misra chapu (7), counted: Tha ki ta Tha ka dhi miThakitaThakadhimi

7 counts in 3+2+2, recited 'Tha ki ta Tha ka dhi mi'.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Khanda chapu (5)

Meter: 5 beats a cycle
Grouping: 2+3
Tempo: 60–220 BPM
Styles: bharatanatyam, carnatic, kuchipudi

Khanda chapu (5), counted: Tha ka Tha ki taThakaThakita

5 counts in 2+3, recited 'Tha ka Tha ki ta'.

Where it comes from

Carnatic tala system: Adi (chatusra jati triputa), Rupaka and the chapu talas, kept with kriyas (beat, finger counts, wave)
Bharatanatyam nattuvangam and sollukattu syllables as taught in the Pandanallur, Vazhuvoor and Kalakshetra styles

Flamenco

The 12-count compás: soleá, alegrías, bulerías, seguiriyas. Flamenco on the blog

Soleá

Meter: 12 beats a cycle
Grouping: 3+3+2+2+2
Tempo: 90–140 BPM
Styles: flamenco, soleá

Soleá, counted: 1 2 3 4 5 6 7 8 9 10 11 12123456789101112

12-count compás, accents on 3 6 8 10 12. Slow and grave. The groups 3+3+2+2+2 count from 1, so each group closes on its accent (the compás is felt from 12).

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Alegrías

Meter: 12 beats a cycle
Grouping: 3+3+2+2+2
Tempo: 120–180 BPM
Styles: flamenco, alegrías, cantiñas

Alegrías, counted: 1 2 3 4 5 6 7 8 9 10 11 12123456789101112

Same 12-count compás as soleá, faster and in a major key.

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Bulerías

Meter: 12 beats a cycle
Grouping: 3+3+2+2+2
Tempo: 180–280 BPM
Styles: flamenco, bulerías

Bulerías, counted: 1 2 3 4 5 6 7 8 9 10 11 12123456789101112

Fast 12-count compás, accents 3 6 8 10 12. Dancers often start the count on 12.

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Seguiriyas

Meter: 12 beats a cycle
Grouping: 2+2+3+3+2
Tempo: 120–200 BPM
Styles: flamenco, seguiriyas

Seguiriyas, counted: 1 2 3 4 5 6 7 8 9 10 11 12123456789101112

12 pulses in 2+2+3+3+2, accents on 1 3 5 8 11 (five uneven beats).

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Tangos

Meter: 4/4
Grouping: 4+4
Tempo: 90–140 BPM
Styles: flamenco, tangos

Tangos, counted: 1 2 3 4 5 6 7 812345678

Binary compás of 4, counted in pairs of bars.

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Tientos

Meter: 4/4
Grouping: 4+4
Tempo: 60–90 BPM
Styles: flamenco, tientos

Tientos, counted: 1 2 3 4 5 6 7 812345678

Slow, heavy tangos with a lilting, almost triplet feel.

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Fandangos de Huelva

Meter: 3/4
Grouping: 3+3+3+3
Tempo: 120–180 BPM
Styles: flamenco, fandangos, sevillanas

Fandangos de Huelva, counted: 1 2 3 4 5 6 7 8 9 10 11 12123456789101112

3/4 counted in four bars of three, accent on each bar's 1.

Where it comes from

Flamenco compás as taught in academies and peñas in Andalusia: 12-count cycles with accents, palmas sordas and fuertes

Irish dance

Reels, jigs, slip jigs and hornpipes. Irish dance on the blog

Irish reel

Meter: 4/4
Grouping: 4+4
Tempo: 110–120 BPM
Lead-in: 5 6 7 8
Styles: irish dance, reel, ceili

Irish reel, counted: 1 & 2 & 3 & 4 & 5 & 6 & 7 & 8 &1&2&3&4&5&6&7&8&

4/4 reel; a step is 8 bars (4 cycles of this 8). Competition speed 113.

Where it comes from

Irish dance: An Coimisiún le Rincí Gaelacha (CLRG) feis music speeds; steps of 8 bars, counted '1 2 3' and 'hop 2 3'

Light jig

Meter: 6/8
Grouping: 2
Tempo: 112–124 BPM
Styles: irish dance, light jig, scottish country jig

Light jig, counted: 1 2 3 4 5 6123456

6/8 counted '1 2 3 4 5 6', two dotted beats per bar. Tempo in dotted beats.

Where it comes from

Irish dance: An Coimisiún le Rincí Gaelacha (CLRG) feis music speeds; steps of 8 bars, counted '1 2 3' and 'hop 2 3'

Slip jig

Meter: 9/8
Grouping: 3
Tempo: 108–120 BPM
Styles: irish dance, slip jig

Slip jig, counted: 1 2 3 4 5 6 7 8 9123456789

9/8 in three groups of three: '1 2 3 4 5 6 7 8 9'.

Where it comes from

Irish dance: An Coimisiún le Rincí Gaelacha (CLRG) feis music speeds; steps of 8 bars, counted '1 2 3' and 'hop 2 3'

Treble jig

Meter: 6/8
Grouping: 2
Tempo: 70–92 BPM
Styles: irish dance, treble jig, heavy jig

Treble jig, counted: 1 2 3 4 5 6123456

Heavy-shoe jig in 6/8; slow (73) and traditional (92) speeds.

Where it comes from

Irish dance: An Coimisiún le Rincí Gaelacha (CLRG) feis music speeds; steps of 8 bars, counted '1 2 3' and 'hop 2 3'

Hornpipe

Meter: 4/4
Grouping: 4+4
Tempo: 110–144 BPM
Lead-in: 5 6 7 8
Styles: irish dance, hornpipe

Hornpipe, counted: 1 & 2 & 3 & 4 & 5 & 6 & 7 & 8 &1&2&3&4&5&6&7&8&

Dotted, swung 4/4 for heavy shoes; slow (113) and traditional (138) speeds.

Where it comes from

Irish dance: An Coimisiún le Rincí Gaelacha (CLRG) feis music speeds; steps of 8 bars, counted '1 2 3' and 'hop 2 3'

Balkan and Greek folk

7/8, 9/8 and 11/8 groupings. Balkan and Greek folk on the blog

5/8 paidushko (2+3)

Meter: 5/8
Grouping: 2+3
Tempo: 300–720 BPM
Styles: bulgarian folk, paidushko, pajdushko, balkan

5/8 paidushko (2+3), counted: 1 2 3 4 512345

Paidushko horo: quick-slow, a limping two. Dancers count it '1 2' with the 2 long. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps
Bulgarian and Macedonian dance meters as taught by Yves Moreau and in Bulgarian horo collections

7/8 (3+2+2)

Meter: 7/8
Grouping: 3+2+2
Tempo: 280–560 BPM
Styles: greek folk, kalamatianos, balkan

7/8 (3+2+2), counted: 1 2 3 4 5 6 71234567

Kalamatianos: slow-quick-quick. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps

7/8 (2+2+3)

Meter: 7/8
Grouping: 2+2+3
Tempo: 280–520 BPM
Styles: macedonian folk, lesnoto, balkan

7/8 (2+2+3), counted: 1 2 3 4 5 6 71234567

Lesnoto and many Bulgarian rachenitsa-like dances: quick-quick-slow. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps

9/8 (2+2+2+3)

Meter: 9/8
Grouping: 2+2+2+3
Tempo: 360–720 BPM
Styles: bulgarian folk, daychovo, balkan

9/8 (2+2+2+3), counted: 1 2 3 4 5 6 7 8 9123456789

Daychovo horo: quick-quick-quick-slow. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps

11/8 kopanica (2+2+3+2+2)

Meter: 11/8
Grouping: 2+2+3+2+2
Tempo: 400–720 BPM
Styles: bulgarian folk, kopanica, gankino, balkan

11/8 kopanica (2+2+3+2+2), counted: 1 2 3 4 5 6 7 8 9 10 111234567891011

Kopanica / gankino: quick-quick-slow-quick-quick. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps

11/8 gankino, counted in 5 (2+2+3+2+2)

Meter: 11/8
Grouping: 2+2+3+2+2
Tempo: 400–720 BPM
Styles: bulgarian folk, gankino, kopanica, balkan

11/8 gankino, counted in 5 (2+2+3+2+2), counted: 1 & 2 & 3 & a 4 & 5 &1&2&3&a4&5&

The same 11 pulses as kopanica, counted the way dancers say it: five steps '1 & 2 & 3 & a 4 & 5 &', the 3 long. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps
Bulgarian and Macedonian dance meters as taught by Yves Moreau and in Bulgarian horo collections

13/8 (2+2+3+2+2+2)

Meter: 13/8
Grouping: 2+2+3+2+2+2
Tempo: 400–720 BPM
Styles: bulgarian folk, balkan

13/8 (2+2+3+2+2+2), counted: 1 2 3 4 5 6 7 8 9 10 11 12 1312345678910111213

Thirteen pulses: quick-quick-slow-quick-quick-quick. Groupings of 13 vary by region; this one puts the slow third. Tempo is in eighths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps
Bulgarian and Macedonian dance meters as taught by Yves Moreau and in Bulgarian horo collections

15/16 bučimiš (2+2+2+2+3+2+2)

Meter: 15/16
Grouping: 2+2+2+2+3+2+2
Tempo: 400–720 BPM
Styles: bulgarian folk, bučimiš, bucimis, balkan

15/16 bučimiš (2+2+2+2+3+2+2), counted: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15123456789101112131415

Bučimiš: four quicks, a slow, two quicks. Very fast; most dancers feel it as seven uneven steps. Tempo is in sixteenths.

Where it comes from

Balkan and Greek folk dance: additive (aksak) meters counted in quick (2) and slow (3) pulses, as taught in folk dance ensembles and camps
Bulgarian and Macedonian dance meters as taught by Yves Moreau and in Bulgarian horo collections

Belly dance

Maqsum, baladi, saidi and more: Dum and Tek. Belly dance on the blog

Maqsum

Meter: 4/4
Grouping: 4
Tempo: 80–140 BPM
Styles: belly dance, raqs sharqi, middle eastern

Maqsum, counted: Dum Tek _ Tek Dum _ Tek _DumTekTekDumTek

D T - T D - T -: the everyday 4/4 rhythm of Egyptian music.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Baladi

Meter: 4/4
Grouping: 4
Tempo: 70–120 BPM
Styles: belly dance, raqs sharqi, middle eastern

Baladi, counted: Dum Dum _ Tek Dum _ Tek _DumDumTekDumTek

D D - T D - T -: maqsum with a doubled Dum, earthy.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Saidi

Meter: 4/4
Grouping: 4
Tempo: 90–140 BPM
Styles: belly dance, raqs sharqi, middle eastern

Saidi, counted: Dum Tek _ Dum Dum _ Tek _DumTekDumDumTek

D T - D D - T -: from Upper Egypt, used for cane dance.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Malfuf

Meter: 2/4
Grouping: 2
Tempo: 100–160 BPM
Styles: belly dance, raqs sharqi, middle eastern

Malfuf, counted: Dum _ _ Tek _ _ Tek _DumTekTek

D - - T - - T -: fast 2/4 for entrances and spins.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Ayyub

Meter: 2/4
Grouping: 2
Tempo: 80–160 BPM
Styles: belly dance, raqs sharqi, middle eastern

Ayyub, counted: Dum _ _ ka Dum _ Tek _DumkaDumTek

D - - k D - T -: trance-like 2/4 used in zar.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Chiftetelli

Meter: 8/4
Grouping: 4+4
Tempo: 60–120 BPM
Styles: belly dance, raqs sharqi, middle eastern

Chiftetelli, counted: Dum _ _ Tek _ Tek _ _ Dum _ Dum _ Tek _ _ _DumTekTekDumDumTek

Slow 8/4 for floor work and taqsim-style dancing, felt in two halves of four, each opening on a Dum: 'Dum, tek, tek | Dum Dum, tek'.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Karsilama

Meter: 9/8
Grouping: 2+2+2+3
Tempo: 240–480 BPM
Styles: belly dance, raqs sharqi, middle eastern

Karsilama, counted: Dum _ Tek _ Dum _ Tek _ TekDumTekDumTekTek

9/8 in 2+2+2+3, Turkish and Greek; tempo in eighths. The Dums fall on 1 and 5; the groups on 3 and 7 open with a Tek. Players vary the ornaments.

Where it comes from

Middle Eastern percussion (darbuka / tabla) rhythm names with Dum (low, centre) and Tek (high, rim) strokes, as taught in raqs sharqi classes

Bhangra and Bollywood

Dhol chaal and 8-counts. Bhangra and Bollywood on the blog

Bhangra (dhol chaal)

Meter: 4/4
Grouping: 4+4
Tempo: 85–110 BPM
Lead-in: 5 6 7 8
Styles: bhangra, bollywood, punjabi folk

Bhangra (dhol chaal), counted: 1 & 2 & 3 & 4 & 5 & 6 & 7 & 8 &1&2&3&4&5&6&7&8&

8-counts on the dhol chaal: a bouncing, swung 'DHA-ga' beat with the lift on the '&'.

Where it comes from

Punjabi bhangra and dhol teaching: chaal rhythm, 8-count choreography in team bhangra

Also in this family

Strathspey

Meter: 4/4
Grouping: 2+2
Tempo: 112–136 BPM
Lead-in: 1 2 3 4
Styles: scottish highland, scottish country, strathspey

Strathspey, counted: 1 & 2 & 3 & 4 &1&2&3&4&

Slow 4/4 with the 'Scotch snap' (short-long). Setting steps counted '1 2 3 4'.

Where it comes from

Royal Scottish Country Dance Society (RSCDS) and Highland dancing (SOBHD) music conventions

Highland reel

Meter: 2/2
Grouping: 2+2
Tempo: 108–124 BPM
Lead-in: 1 2 3 4
Styles: scottish highland, scottish country, reel

Highland reel, counted: 1 & 2 & 3 & 4 &1&2&3&4&

Reel in 2/2, two beats per bar.

Where it comes from

Royal Scottish Country Dance Society (RSCDS) and Highland dancing (SOBHD) music conventions

Highland jig

Meter: 6/8
Grouping: 2
Tempo: 100–124 BPM
Styles: scottish highland, highland jig, scottish national

Highland jig, counted: 1 2 3 4 5 6123456

The Highland (character) jig in 6/8, counted '1 2 3 4 5 6' per bar: two dotted beats. Tempo in dotted beats.

Where it comes from

Royal Scottish Country Dance Society (RSCDS) and Highland dancing (SOBHD) music conventions

West African 12/8 bell

Meter: 12/8
Grouping: 4
Tempo: 90–140 BPM
Styles: west african, agbekor, bembe

West African 12/8 bell, counted: 1 _ a 2 & a 3 & _ 4 _ a1a2&a3&4a

Standard 7-stroke bell (x.x.xx.x.x.x) over four dotted beats: dancers step the 4 while the bell implies 3 (4-over-3).

Where it comes from

West African (Ewe, Yoruba) and Afro-Cuban 12/8 standard bell pattern, as described by A. M. Jones and in ethnomusicology texts

Capoeira ginga

Meter: 2/4
Grouping: 2+2
Tempo: 60–160 BPM
Styles: capoeira, capoeira angola, capoeira regional, ginga

Capoeira ginga, counted: 1 & 2 & 3 & 4 &1&2&3&4&

Ginga in 4 counts: step back right (1), back to base (2), step back left (3), base (4), kept on the berimbau toque. Slow toques (Angola) sit near 60-80, fast ones (São Bento Grande) well above 120.

Where it comes from

Capoeira teaching in Angola and Regional academies: the ginga counted in 4 against the berimbau toque

Hula kaholo

Meter: 4/4
Grouping: 4+4
Tempo: 60–110 BPM
Lead-in: 5 6 7 8
Styles: hula, polynesian, hula auana

Hula kaholo, counted: 1 2 3 4 5 6 7 812345678

Kaholo: step, together, step, tap in 4 counts, repeated each way for an 8.

Where it comes from

Hawaiian hula teaching (hālau practice): kaholo in 4- and 8-counts

Square dance 8

Meter: 4/4
Grouping: 4+4
Tempo: 120–132 BPM
Lead-in: 5 6 7 8
Styles: square dance, modern western square

Square dance 8, counted: 1 2 3 4 5 6 7 812345678

Calls are given in 8- and 16-count units, ahead of the beat.

Where it comes from

CALLERLAB square dance calling standards (calls timed in beats)

Contra / ceilidh 16

Meter: 4/4
Grouping: 8+8
Tempo: 110–124 BPM
Lead-in: 13 14 15 16
Styles: contra dance, ceilidh, barn dance

Contra / ceilidh 16, counted: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1612345678910111213141516

Figures fill 16 counts (8 bars); the caller prompts before each 16.

Where it comes from

New England contra dance and ceilidh calling (16-count figures, 64-count tunes)