General Facilitated Drum Circle Rhythms Set List
“Round The World in Rhythm” – Shannon Ratigan
(Please see the “Reading Drum Music” page if you are new to this.)
Warm Up Jam: (Usually) Boom_ShaLa-Ka…Boom_shala-Ka…
Heartbeat: Boom Boom chicka chicka Boom Boom….Boom Boom chicka chicka Boom Boom tap.
Beledi: D D tkt D tkt_D D tkt D tkt_
Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, –
Jewish rhythm: D t-k D t, D t-k D t,
Mother Rhythm in 6/8
Hip Hop Rhythm
Gawasi: D tkD D tkt tktk
Agilablanca: I like to eat, choc-late-cake. (Or another one I like:) Yum Yum, Tastes Like Chicken
Greek: Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek _ (pause, & repeat)
Improvisational Jam, and that’s it. End it with a big rumble. Okay that was the short list, here it is in more detail:
That was an example of a set list I would write for most of the one hour drum circles I facilitate. (More detailed notations are below.)
Once you get going, it’s surprising how fast an hour can go, so I try to keep the rhythms about 7 minutes long. One hour usually turns into 90 minutes. I’m a softie.
I like to get a warm up jam going quickly, so if anyone has nerves, they melt away. Most of the rhythms are in 4/4 time (4 counts to a measure), but I like to get at least one 6/8 rhythm in the set somewhere when it feels right.
I always start with a basic, yet grooving default drum circle beat. People can feel this groove and latch onto it quickly. It sounds like this:
Warm Up Jam: Boom_ShaLa-Ka…Boom_shala-Ka… I just start playing it and say, “Play whatever you want, just follow the beat.”
After that warm up jam, I can assess the group dynamic, and skill levels, which helps me to make changes or choices from my set list. I can hear the stronger drummers, and later ask them to play the bottom drum for me. They become the backbone. If there isn’t one, then it’s me. Sometimes I play it to get things rolling, then I move to a djembe and support the rhythm.
If they are all beginners, everybody knows Queen’s: “We Will Rock You” – Gun Dun go ! Gun Dun go ! Gun Dun go! baGun Dun go !
Or this beat: Bass – Bass _ tap tap tap _ Bass – Bass _ tap tap tap _ (bass on the 1 & 3, tones one the 1,2,3 after it. 4 is a rest. It’s very basic, but once the group has it in solid, you can gradually bring up the tempo, & both can turn in to nifty little jams.
I facilitate from the side, and mostly through the music. I adjust my set list to fit the particular group, but for the most part, this is what I use. I like to guide them around the world in drum rhythms. Early on, I mention that the rhythm I’m playing is just a starting point. Play whatever you want, play whatever feels good to you, or whatever you feel fits. Improvise, experiment, and express yourself. After the warm up jam, I spend a couple minutes on hand technique so there are no sore hands, and volume so nobody is too uncomfortable.
When I’m suggesting a rhythm to play. I like to vocalize the first few measures before I start, or as I’m playing it, and I start it out very slowly. Then I can gradually bring it up to tempo once we have a pretty solid groove going.
The reason is the analytical side of the brain processes it faster, that frees up the creative intuitive side so they can improvise. Then people can play what they feel, rather than over-thinking it. It is after all, “a drum circle” not calculus.
Interestingly, I’ve found that most people can wrap their heads around it quicker if I vocalize sounds with a “K” in them.
The count is in 4/4 time on most of these: 1e&a2e&a3e&a4e&a
Middle Eastern style: Doum tekka-doum Tek. ( abbreviated it’s D tk-d T )
Or use Babatunde Olatunji’s – Gun Dun go do pa ta style,
Or, use just how it sounds: Boom chicka-boom Chick
Or, just “scat” them out jazz style any way you can. “Boom chicka boom boom” works pretty good, seriously.
Anyway, at this point, they’re warmed up & totally got it. (We hope!) Then I usually choose what feels right from these rhythms in 4/4:
Heartbeat: Boom Boom Chicka Chicka Boom Boom….Boom Boom Chicka Chicka Boom Boom tap.
Variation: Boom ShaLa-Ka Boom Boom__Boom ShaLa-Ka Boom Boom__ (both are spiritual if you play slow, bring uptempo and it grooves.)
I keep the energy level up with either Beledi or Fanga about this point:
Beledi: D D tkt D tkt_D D tkt D tkt_ (I throw a bridge in there after it gets going.)
Sounds like this: Doum Doum TekKatek, Doum Tekkatek…Doum Doum TekKatek, Doum Tekkatek-(tekaka)Doum Doum Tekkatek, Doum Tekkatek…
Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, –
This Jewish rhythm rocks hard: D t-k D t, D t-k D t, (Basic pattern is similar to the rhythm Ayub.)
Mother Rhythm next: 6/8 time. “Follow The Yellow brick Road”, or “cabbage and broccoli, cabbage and broccoli”. “You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do-pa” etc – Anything to give them the time change feel of 6 counts.
Hip Hop or Funk Rhythm comes next. If some of them haven’t danced in the center yet, this one will make it happen.
This has kind of a hip hop feel to it. Doum Doum, kaTek-doum, kaDoum Tek_ Doum Doum, kaTek-doum, kaDoum Tek
Clave or Samba rhythm next. Remind them of the beat to the songs; “Mockingbird or Hand Jive” then think like Santana.
I do an improv jam to wrap things up, and they almost all leave wanting to play more.
If there is more time, I work in one of these 2 Rhythms:
Yum Yum tastes-like chicken. Yum_ Yum_ tastes like chic-ken. Bass_ Bass_ tone tone tone-tone
Or Agilablanca: I like to eat, piz-za-pie. I like to eat, piz-za-pie or choc-late-cake. (4 tones followed by 3 bass notes.) Anything with 3 cylinders in it works.
Then the deeper list:
Gawasi: D tkD D tkt tktk
Jaark variation: D tkt-tkDDtkt-tk
Masmuudii variation: D—D—t-k-t-k-D–tktk tktk
Gunazi: Boom sha-ka Boom Boom, shakala, Slap! Boom sha-ka Boom Boom, shakala, Slap! (or some accent tone at the end)
Karsilama 3: It has a triplet at the end: D-kkT-kkD-kkT-T-T (2+2+2+3)
Kids like this one: Boom – che-boom_che-boom-a-choc_o_late__choc_o_late,
Saiidi: Doum tekka tekka doum doum tekka-Tek _ Doum tekka tekka doum doum tekka-Tek
Zaffah: (As far as I know, an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
One of my favorite drum rhythms:
Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek _ (pause, & repeat)
Tabla rhythm, but try on djembe or doumbek: da-di ki na doum, da-di ki na doum doum doum.
Greek line dance in 2/4: Doum-tekkatek-tek, Doum-tekkaDoum-tek.
Good 4/4 jam: Gun Dun godo padaTa_ Gun Dun godo padaTa_ (Ta is a slap tone)
(I use “da” as a closed tone note, or as a different softer lower pitched sound between “pa” and “ta slap tones”.)
Another: Gun pa go-do, Gun pa da-pa,
More: Gun Dun godo pa-ta-pa, Gun Dun godo pa-ta-pa (or) Doum Doum tekka ka-tek-ka, Doum Doum tekka ka-tek-ka
A Waltz or 6/8 rhythm Darj:
An Irish rhythm: Boom-ba-da-ba, Boom-ba-da-ba Boom,
Chifitelli variation (played slow) Doum, tek-ka tek-ka doum doum Tek _ Doum, tek-ka tek-ka doum doum Doum _ (repeat)
Cuckoo: Say & play it: Cuckoo for Cocoa Puffs – Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
– – – – – – – –
During the set, I try to share some back story on a few of the rhythms. Where it’s from, how used, etc. Not too much, just a little here and there. It makes it more interesting for them, and gives me a chance to shift gears to next rhythm. I always mention it’s to the best of my knowledge, and that we should respect the other cultures, and the rhythms. I keep the set list in my gig bag, so I can glance at it if I need to. And sometimes I do.
I usually have to leave out one or two, because a few of them get in the pocket. Got to let those go longer, right?
Many times the vibe takes me in another direction as far as rhythms to suggest, but the list gives me a good outline. There are many different ways to facilitate drum circles, this is just how I approach them. I hope some of it is of help to you. If you REALLY liked it, please pick up my book, “A Practical Guide To Hand Drumming And Drum Circles”. $8 on Amazon Kindle
When I’m working with beginners I like to use this notation style, and at some point during the set explain the sounds like this:
Doum (D) – Right hand, clear, low tone, (from center of drum – like you’re bouncing a basketball, or on a trampoline)
tek (t) & ka (k) – Right and Left hand, crisp high tone (sharply striking the edge of the drum head) Some say to pretend like you are hitting the bottom of a hot frying pan. I don’t like to say that, because right away, it associates drumming with pain. That’s not something I want to do.
Tek (T) – Usually played with the dominant hand. Reverse hands if you are left-handed, like me. The accented strokes (or slaps) are in caps.
If I work with a group on a regular basis, I eventually work in how to traditionally read music, and music theory. Whole notes, half notes, quarter notes, time signatures, and so on. If I work it in a little at a time during the circle – even 8 year olds can pick it up pretty fast. I just don’t want to overwhelm them with too much right away, or make it feel like a school class. (Even if that’s what it is.)
I played the tympani in the school band and loved it. I played the piano for a few years before that, so when band started I went for those kettle drums. I liked the foot eye hand co-ordination. The problem later in life was that my classical training was so strict structured, and rigid that I couldn’t seem to loosen up to improvise, (which you need to play in jazz bands or even at a drum circle for that matter. I spent a few years having to UN-learn a lot before I could actually earn a living playing music.
Lots of times when I work with a group for the first time, there are people who have never touched a drum before. Some are nervous, scared, and self-conscious, and others are so excited they can’t wait to start the drumming.
My experience is, that no matter whether it’s with children, adults, or mixed ages, with almost every kind drum circle, the best thing to do is get them playing as soon as I possibly can. Then all the nerves, anxiety, whatever it is – just melts away.
All I do is spend a few minutes on proper hand technique so nobody gets injured, a bit about loud volume so nobody is overly uncomfortable, and away we play. A warm up rhythm gets them out of their head, and the circle flows like the:
Miss-iss-ipp-i_riv-er…Miss-iss-ipp-i_riv-er (all tones then bass on riv-er).
If you would consider picking up my 101 Drum Circle Rhythms DVD, hand drumming and drum circles book, or possibly some of my drum circle jam CDs – mp3s – I would appreciate that. It would help out a little bit with the work I do in our community. Many of the groups I work with have very limited recreational budgets. A hundred bucks for 2 – 45 minute drum circles is a stretch for most of them. Thanks in advance if you do purchase something from me. My 2 hour DVD will show you how to play over 120 different rhythms for $15. It’s on Amazon Instant Video for $14. It helps out the most, if you buy direct from me. Please visit my site drumcircles.net for my 101 Rhythms DVD, book, drumming music, and more.
Shannon – drumcircles.net & drumcircleworld.com
If you’re a filmmaker or video / TV producer all of my drumming and drum circle music tracks are licensed. Check CDBaby.com & listen to a few. There’s a wide variety of cultures, styles, and tempos to choose from. Helps to set that perfect mood for a scene. Here’s the website url:
Or, click the CDbaby.com link below:
My CD Baby Artist Page
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