Clásico y folclórico

Tals de kathak, talas carnáticos, flamenco, jigs y reels, compases balcánicos y danza del vientre.

Kathak

Teentaal, Jhaptaal, Rupak: tals, bols, sam y khali. Kathak en el blog

Teentaal (16)

Compás: 16 tiempos por ciclo
Agrupación: 4+4+4+4
Tempo: 20–480 BPM
Estilos: kathak, hindustani

Teentaal (16), contado: 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.

De dónde viene

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)

Compás: 10 tiempos por ciclo
Agrupación: 2+3+2+3
Tempo: 40–400 BPM
Estilos: kathak, hindustani

Jhaptaal (10), contado: 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.

De dónde viene

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)

Compás: 7 tiempos por ciclo
Agrupación: 3+2+2
Tempo: 40–400 BPM
Estilos: kathak, hindustani

Rupak (7), contado: 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.

De dónde viene

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)

Compás: 12 tiempos por ciclo
Agrupación: 2+2+2+2+2+2
Tempo: 20–480 BPM
Estilos: kathak, hindustani

Ektaal (12), contado: 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.

De dónde viene

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)

Compás: 8 tiempos por ciclo
Agrupación: 4+4
Tempo: 60–400 BPM
Estilos: kathak, hindustani

Keherwa (8), contado: 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.

De dónde viene

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)

Compás: 6 tiempos por ciclo
Agrupación: 3+3
Tempo: 60–400 BPM
Estilos: kathak, hindustani

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

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

De dónde viene

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

Los talas Adi, Rupaka y Chapu, y las velocidades. Bharatanatyam en el blog

Adi tala (8)

Compás: 8 tiempos por ciclo
Agrupación: 4+2+2
Tempo: 30–120 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

Adi tala (8), contado: 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.

De dónde viene

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

Compás: 8 tiempos por ciclo
Agrupación: 4+2+2
Tempo: 30–120 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

Adi tala, kalam 1, contado: 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.

De dónde viene

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

Compás: 8 tiempos por ciclo
Agrupación: 4+2+2
Tempo: 30–120 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

Adi tala, kalam 2, contado: 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.

De dónde viene

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)

Compás: 6 tiempos por ciclo
Agrupación: 2+4
Tempo: 40–160 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

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

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

De dónde viene

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)

Compás: 7 tiempos por ciclo
Agrupación: 3+2+2
Tempo: 60–200 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

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

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

De dónde viene

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)

Compás: 5 tiempos por ciclo
Agrupación: 2+3
Tempo: 60–220 BPM
Estilos: bharatanatyam, carnatic, kuchipudi

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

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

De dónde viene

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

El compás de 12 tiempos: soleá, alegrías, bulerías, seguiriyas. Flamenco en el blog

Soleá

Compás: 12 tiempos por ciclo
Agrupación: 3+3+2+2+2
Tempo: 90–140 BPM
Estilos: flamenco, soleá

Soleá, contado: 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).

De dónde viene

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

Alegrías

Compás: 12 tiempos por ciclo
Agrupación: 3+3+2+2+2
Tempo: 120–180 BPM
Estilos: flamenco, alegrías, cantiñas

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

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

De dónde viene

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

Bulerías

Compás: 12 tiempos por ciclo
Agrupación: 3+3+2+2+2
Tempo: 180–280 BPM
Estilos: flamenco, bulerías

Bulerías, contado: 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.

De dónde viene

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

Seguiriyas

Compás: 12 tiempos por ciclo
Agrupación: 2+2+3+3+2
Tempo: 120–200 BPM
Estilos: flamenco, seguiriyas

Seguiriyas, contado: 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).

De dónde viene

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

Tangos

Compás: 4/4
Agrupación: 4+4
Tempo: 90–140 BPM
Estilos: flamenco, tangos

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

Binary compás of 4, counted in pairs of bars.

De dónde viene

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

Tientos

Compás: 4/4
Agrupación: 4+4
Tempo: 60–90 BPM
Estilos: flamenco, tientos

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

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

De dónde viene

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

Fandangos de Huelva

Compás: 3/4
Agrupación: 3+3+3+3
Tempo: 120–180 BPM
Estilos: flamenco, fandangos, sevillanas

Fandangos de Huelva, contado: 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.

De dónde viene

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

Baile irlandés

Reels, jigs, slip jigs y hornpipes. Baile irlandés en el blog

Irish reel

Compás: 4/4
Agrupación: 4+4
Tempo: 110–120 BPM
Entrada: 5 6 7 8
Estilos: irish dance, reel, ceili

Irish reel, contado: 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.

De dónde viene

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

Compás: 6/8
Agrupación: 2
Tempo: 112–124 BPM
Estilos: irish dance, light jig, scottish country jig

Light jig, contado: 1 2 3 4 5 6123456

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

De dónde viene

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

Compás: 9/8
Agrupación: 3
Tempo: 108–120 BPM
Estilos: irish dance, slip jig

Slip jig, contado: 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'.

De dónde viene

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

Compás: 6/8
Agrupación: 2
Tempo: 70–92 BPM
Estilos: irish dance, treble jig, heavy jig

Treble jig, contado: 1 2 3 4 5 6123456

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

De dónde viene

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

Hornpipe

Compás: 4/4
Agrupación: 4+4
Tempo: 110–144 BPM
Entrada: 5 6 7 8
Estilos: irish dance, hornpipe

Hornpipe, contado: 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.

De dónde viene

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

Folclor balcánico y griego

Agrupaciones de 7/8, 9/8 y 11/8. Folclor balcánico y griego en el blog

5/8 paidushko (2+3)

Compás: 5/8
Agrupación: 2+3
Tempo: 300–720 BPM
Estilos: bulgarian folk, paidushko, pajdushko, balkan

5/8 paidushko (2+3), contado: 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.

De dónde viene

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)

Compás: 7/8
Agrupación: 3+2+2
Tempo: 280–560 BPM
Estilos: greek folk, kalamatianos, balkan

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

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

De dónde viene

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)

Compás: 7/8
Agrupación: 2+2+3
Tempo: 280–520 BPM
Estilos: macedonian folk, lesnoto, balkan

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

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

De dónde viene

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)

Compás: 9/8
Agrupación: 2+2+2+3
Tempo: 360–720 BPM
Estilos: bulgarian folk, daychovo, balkan

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

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

De dónde viene

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)

Compás: 11/8
Agrupación: 2+2+3+2+2
Tempo: 400–720 BPM
Estilos: bulgarian folk, kopanica, gankino, balkan

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

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

De dónde viene

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)

Compás: 11/8
Agrupación: 2+2+3+2+2
Tempo: 400–720 BPM
Estilos: bulgarian folk, gankino, kopanica, balkan

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

De dónde viene

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)

Compás: 13/8
Agrupación: 2+2+3+2+2+2
Tempo: 400–720 BPM
Estilos: bulgarian folk, balkan

13/8 (2+2+3+2+2+2), contado: 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.

De dónde viene

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)

Compás: 15/16
Agrupación: 2+2+2+2+3+2+2
Tempo: 400–720 BPM
Estilos: bulgarian folk, bučimiš, bucimis, balkan

15/16 bučimiš (2+2+2+2+3+2+2), contado: 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.

De dónde viene

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

Danza del vientre

Maqsum, baladi, saidi y más: Dum y Tek. Danza del vientre en el blog

Maqsum

Compás: 4/4
Agrupación: 4
Tempo: 80–140 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Maqsum, contado: Dum Tek _ Tek Dum _ Tek _DumTekTekDumTek

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

De dónde viene

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

Baladi

Compás: 4/4
Agrupación: 4
Tempo: 70–120 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Baladi, contado: Dum Dum _ Tek Dum _ Tek _DumDumTekDumTek

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

De dónde viene

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

Saidi

Compás: 4/4
Agrupación: 4
Tempo: 90–140 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Saidi, contado: Dum Tek _ Dum Dum _ Tek _DumTekDumDumTek

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

De dónde viene

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

Malfuf

Compás: 2/4
Agrupación: 2
Tempo: 100–160 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Malfuf, contado: Dum _ _ Tek _ _ Tek _DumTekTek

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

De dónde viene

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

Ayyub

Compás: 2/4
Agrupación: 2
Tempo: 80–160 BPM
Estilos: belly dance, raqs sharqi, middle eastern

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

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

De dónde viene

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

Chiftetelli

Compás: 8/4
Agrupación: 4+4
Tempo: 60–120 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Chiftetelli, contado: 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'.

De dónde viene

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

Karsilama

Compás: 9/8
Agrupación: 2+2+2+3
Tempo: 240–480 BPM
Estilos: belly dance, raqs sharqi, middle eastern

Karsilama, contado: 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.

De dónde viene

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

Bhangra y Bollywood

Dhol chaal y 8-counts. Bhangra y Bollywood en el blog

Bhangra (dhol chaal)

Compás: 4/4
Agrupación: 4+4
Tempo: 85–110 BPM
Entrada: 5 6 7 8
Estilos: bhangra, bollywood, punjabi folk

Bhangra (dhol chaal), contado: 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 '&'.

De dónde viene

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

También en esta familia

Strathspey

Compás: 4/4
Agrupación: 2+2
Tempo: 112–136 BPM
Entrada: 1 2 3 4
Estilos: scottish highland, scottish country, strathspey

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

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

De dónde viene

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

Highland reel

Compás: 2/2
Agrupación: 2+2
Tempo: 108–124 BPM
Entrada: 1 2 3 4
Estilos: scottish highland, scottish country, reel

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

Reel in 2/2, two beats per bar.

De dónde viene

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

Highland jig

Compás: 6/8
Agrupación: 2
Tempo: 100–124 BPM
Estilos: scottish highland, highland jig, scottish national

Highland jig, contado: 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.

De dónde viene

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

West African 12/8 bell

Compás: 12/8
Agrupación: 4
Tempo: 90–140 BPM
Estilos: west african, agbekor, bembe

West African 12/8 bell, contado: 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).

De dónde viene

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

Capoeira ginga

Compás: 2/4
Agrupación: 2+2
Tempo: 60–160 BPM
Estilos: capoeira, capoeira angola, capoeira regional, ginga

Capoeira ginga, contado: 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.

De dónde viene

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

Hula kaholo

Compás: 4/4
Agrupación: 4+4
Tempo: 60–110 BPM
Entrada: 5 6 7 8
Estilos: hula, polynesian, hula auana

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

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

De dónde viene

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

Square dance 8

Compás: 4/4
Agrupación: 4+4
Tempo: 120–132 BPM
Entrada: 5 6 7 8
Estilos: square dance, modern western square

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

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

De dónde viene

CALLERLAB square dance calling standards (calls timed in beats)

Contra / ceilidh 16

Compás: 4/4
Agrupación: 8+8
Tempo: 110–124 BPM
Entrada: 13 14 15 16
Estilos: contra dance, ceilidh, barn dance

Contra / ceilidh 16, contado: 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.

De dónde viene

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