Re: [Musicians] Learning/sharing/remembering rhythms

Yaron, Thanks for this distinction. I’m going to play around with these differences. ~Erik Hoffman Oakland, CA From: Musicians [mailto:musicians-bounces@lists.sharedweight.net] On Behalf Of Yaron Shragai via Musicians Sent: Friday, February 24, 2017 2:10 PM To: Musicians(a)lists.sharedweight.net Subject: Re: [Musicians] Learning/sharing/remembering rhythms The 123-123-12 rhythm appears in Middle Eastern, Balkan, and African music; I would more than suspect that its occurrence in contra dance music has come mainly via the African route, both via the slave influence in Appalachian music and via the hippy/funky influence in modern contra. The klezmer/Romanian 123-123-12 has a different inflection to it - a different articulation - the late great Balkan dance/int'l folk dance teacher Dick Crum called it a "Get your Papers Here" rhythm - more of a 2;1,2;1,2 articulation than a 3;3;2 articulation. ...Unless the rhythm you're thinking of is the rock-n-roll boom-chuckboom-boomchuck - in which case we're back to the African influence... - Yaron On Fri, Feb 24, 2017 at 3:31 AM, Erik Hoffman via Musicians <musicians@lists.sharedweight.net<mailto:musicians@lists.sharedweight.net>> wrote: Hi Max & All, Interesting that you learned the 3-3-2 rhythm as Klezmer. - Klezmer rhythm (123-123-12) So many of the people I've studied from say the 3-3-2 came from Africa. It has invaded many other genres. When I first learned about it (other than the clave), it came at me three times in one year: * A bunch of fiddle bowings used in Old-Time Appalachian tunes (highly slave influenced) * A doumbek rhythm (an Arabic drum) * In hamboning--body rhythm with African roots, from when slaves had their drums taken away. __ Erik Hoffman Oakland, CA _______________________________________________ Musicians mailing list Musicians@lists.sharedweight.net<mailto:Musicians@lists.sharedweight.net> http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net