Giving Back

Giving BackRoderick Overman2026-02-17T00:08:25-08:00

‘Giving Back’ At Home (United States)

Fremont Drum is committed to ‘giving back’ to the communities and cultures who have shared these wonderful rhythms for all to play and enjoy. We donate to the following outstanding museums because we align with their vision and purpose.

Charlestown, SC

Helping to tell and retell the untold and undertold stories of the African American Journey.

Seattle, WA

“Your story is our story.”

‘Giving Back’ Abroad (Africa)

Fremont Drum is also presently developing and contributing to ‘Giving Back’ programs in a number of locations abroad.

Our first programs are centered in Ghana. In 2007, with the help of Peace Corps Volunteer and former Fremont Drum student, Janelle Olney, Will Matthews took a group of his students to a small village in southeastern Ghana called Jordan Nu. The group took daily drum and dance classes and took daily field trips around the area to meet and share with the local people. Will made a commitment back then to continue to share with the community. That commitment has evolved into two ongoing programs:

Providing young people with Internet access. This program is made possible and administered with the help of Chris Nielson, a member of that original Drum and Dance retreat who continues to stay in touch with many of the friends he made while during that retreat.
Sponsoring children to continue their education. This program helps pay fees for secondary school to ensure as many children as possible can continue their education.

Ghana in West Africa

Interested in ways to contribute? Message us – we’re happy to explore options and ideas.

Unlimited Member Rhythm Notes

As an Unlimited member we hope you enjoy these rhythm notes in the Fremont Drum collection.

A	B	C	D	E	F	G	H	I
J	K	L	M	N	O	P	Q	R
S	T	U	V	W	X	Y	Z

Acpala: Also spelled Apala or Akpala. A Yoruban musical genre created in the 1930's in Nigeria as a cultural rejection of British colonial rule. A music that blends Islamic tradition with African characteristics. A music that has it's roots in Juju and Fuji music. Acpala rhythms are often played on talking drums (though they can be played on congas as well) and are normally accompanied by bells, shakers and the agidigbo (thumb piano) as well as call and response vocal chants. Although Acpala music is mostly played for entertainment, it is sometimes used as a rhythm to celebrate the end of Ramadan.
Afrekete: Afrekete is an Arara rhythm (see below) that is played in honor of Yemayah, the Goddess of the Ocean.
African Rumba: This West African rhythm was brought to Seattle in the mid 90's by the group, Fatala. They gave a series of workshops. This simplified version of their material continues to be a drum circle favorite.
Agbajan: An Afro-Haitian rhythm born from Gonaives, a city north of Port-Au-Prince. This rhythm is a Vodun rhythm from the Rada family. With characteristics of the rhythm Mahi, Agbajan is played on three drums: the lead or middle drum known as Maman, the high toned drum called Gwonde and the lowest pitched drum, Katabou. All Vodun rhythms are accompanied by dancing and singing. (For more in depth description of depth and meaning of Vodun, click here).
Agbe: Traditional Cuban music used in Santaria rituals. (Click here to read more about Santaria). The word 'agbe' means gourd in Yoruba. In Spanish, the word is 'guiro'. Agbe is the same as the rhythm Guiro and the musical setting is similar in form to ceremonies that use bata drums though is Agbe/Guiro ceremonies the drums are 'profane'. And the setting is less formal. The music is constructed with 3 or 4 players playing on shereres, as well as a bell player and one or two drummers playing on tumbadoras (congas).
Arara Concepts: Arara is the name of an ethnic group (made up of Ewe and Fon from modern day Benin), as well as the name of a spiritual tradition, in Cuba, blending Santeria and Vodun practices and beliefs.
Asambe: A Congolese mask dance rhythm. All the Congolese rhythms in this list come to us through the irrepressible spirit of the man who brought Congolese music, dance and song to the States, Titos Sompa. He started the first Congolese Dance Company (Tanawa) on the East Coast before eventually moving to the Bay Area where he became a magnet for the Congolese community. An artist, teacher, healer and global ambassador, Titos Sompa continues to teach self-esteem and community values to people of all ages using a circle ritual he calls Mbongi: A listening space. I highly recommend looking him up on YouTube. He has an excellent TEDx talk. Many of his student continue to carry on the music, dance and song traditions of Congolese culture.

Bak(k): These long, composed phrases are played on the Sabar drums of the Wolof people of Senegal, by all the members of the band at the same time, serving as an Intro or Invocation, before breaking into various multi-part dance rhythms.
Balakulandjan: A djembe rhythm from Guinea and Mali that is played for baptisms and circumcision rites.
Banda: An Afro-Haitian Vodun rhythm. Played in honor of Ghede, a spirit (called loa or lwa), who is a Trickster who controls cycles of death and life. Eroticism.
Bembe: An important 12/8 Cuban rhythm played to honor the pantheon of Afro-Cuban Gods and Goddesses called Orishas. Danced prayers. Saluting, praising, calling. Possession. (For more on the concept of Spirit Possession as bridge between a community and its gods, click here). The word Bembe can be used for the gathering itself as well as for the rhythm(s) played.
Bintin: A rowing rhythm for Royalty from the Akon people of Ghana.
Bisari Bia Congo: A Congolese rhythm, dance and song brought to us by Titos Sompa (see Asambe notes)
Bomba: A musical style from Puerto Rico. A blend of African, Spanish and Taino Indian culture. Like much African and Afro-Caribbean music, there is a strong relationship between the drummer and the lead dancer with the lead drummer trying to create rhythmic figures to match the movements of the energetic movements of the dancer(s). A lead singer will sing songs exploring issues of everyday life and a chorus of singers will respond. As Puerto Rico found its independence, many art forms with strong African roots were suppressed by the new government. The folk arts were pushed underground. Eventually Bomba found its way into the concert halls, with simplified rhythms and accompanied by brass instruments.
Bomba Groove: Based on one of the many Bomba rhythms from Puerto Rico.
Bonobo: A rhythm from the Lake Volta region of SE Ghana. Believed to have been created by a Christian named Mr. Nuatro, it was thought to be a rhythm that would be acceptable in the churches and is still associated with Christmas. The songs sung for Bonobo explore themes of love, death and the Christian faith.
Bumba: An Afro-Haitian rhythm from the Vodun tradition. A member of the Petro Family. Considered a 'hot' rhythm. Played on two drums: Maman (also called Baca) and Dale (also called Ti-Baca). Played in honor of the spirit Bumba Mama. He entered openly when the music stumbles. He is characterized as a 'Crazy Devil' with a hot temper. He brings good messages and advice, however.

Calypso: A social dance from Trinidad. Drums are accompanied by a variety of instruments, including bells, shakers, steel drums, triangle and voice all in a variety of combinations. The musical style, Soca, is derived from Calypso.
Canal Bembe: A personal arrangement of an important 12/8 Cuban rhythm played to honor the pantheon of Afro-Cuban Gods and Goddesses called Orishas.
Candombe: A popular Afro-Peruvian dance rhythm played during Carnival.
Comparsa: An Afro-Cuban Carnival rhythm. (Also called Conga or Conga de Comparsa). Comparsas are large ensembles of dancers, musicians and singers, all in elaborate costumes, that perform in the street carnivals of Havana and Santiago de Cuba. The rhythm has been adapted to band music by Jazz and Salsa artists as well.
Congo: An Afro-Haitian Vodun rhythm and dance that pays tribute to Congo Nation, a gathering of ancestors of the Bantu people of the Congo River Basin. This attributes of this dance, rhythm.
Congo & Ibo Bell: A driving bell pattern found in the two Afro-Haitian rhythms, Congo and Ibo.
Congo Break: A phrase employed in the break section of the Afro-Haitian Vodoun rhythm, Congo.

12/8 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.
4/4 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.
Dahomey: An Afro-Haitian Vodun rhythm paying tribute the spirits that originate from the Dahomey Kingdom in what is now modern Benin.
Dansa: A djembe rhythm from the Malinke culture of Mali and Guinea. Played for weddings, full moons, harvest, equinox and solstice.
Djagbe: A djembe rhythm from Guinea played to celebrate the end of Ramadan.
Djembe Jam: A ubiquitous djembe support rhythm.
Djesse Mulumbo: An infectious Congolese dance and drum rhythm (aka, "Jessie Malanga”).

Esombi: A Congolese rhythm, dance and song brought to us by Titos Somas: Teacher, Artist, Global Ambassador (see Asambe notes).
Etumba Nambuaka: A 12/8 Congolese rhythm, dance and song.

Fanga: A Liberian rhythm made popular by the venerable Babatunde Olatunji. The rhythm comes from the Vat people and is played as an invocation to the Earth and Sky. It was first brought to the States in 1930 by Asadaata Dafor from Sierra Leone. Pearl Primus, from Trinidad & Tobago is usually cited as being the first person to bring the Fanga Dance to the U.S. The chant, 'Fanga alafiyah, ashe, ashe' was added to the piece in NY in the late 1950's by the percussionist, LaRoque Bey.
Fankani: A welcome dance from Mali and Guinea.
Father Drum Break: A break phrase played on the middle (support, Father) drum in some Afro-Haitian rhythm settings.
Funk Beat: The name speaks for itself!

Gahu: A recreational dance rhythm from Ghana. Men and women dance in a circle will songs are sung. There is some disagreement as to where Gahu came from. Some believe that Ewe fishermen borrowed the rhythm from the Yoruba of Nigeria and increased the tempo. Others believe that the rhythm came from the Gun people of Benin where it spread to Nigerian and then to Ghana. Finally, others suggest that Gahu developed from the Jamaican drum style, Gumbe, which was later brought to Sierra Leone, and from there to other countries including Ghana.
Garangedon: A djembe rhythm (Malinke) from the caste of leatherworkers and shoe makers. The rhythms is danced by women during weddings.
Ghede Yanvalou: An Afro-Haitian rhythm and dance from the Petro nation from the Vodun tradition played in honor of the spirit Guide, the Loa (spirit) of death, sex and transformation. Ghede is the guardian of the cemetery and repository of all knowledge of the dead. He is wise beyond all others. Ghede is also a Trickster who is depicted as wearing a top hat, dark glasses, a bow tie, a coat with tails. His fave is painted black and white and he carries a cane. His symbol is the cross. He is also protector of children.
Gota: This rhythm originated from the Kabre tribe of Benin, and was performed in honor of their war god. Eventually the Ewe people of Southern Ghana, Togo and Benin came in contact with the rhythm and incorporated it into their music repertoire using the rhythm as a recreational partner dance.
Guidamba: A very versatile Malinke djembe rhythm played in many different settings.
Guiro: Guiro - An Afro-Cuban ceremonial rhythm and dance done in honor of deities called Orisha (from the Yoruba people of Nigeria). 'Guiro' is the Spanish word for gourd, one of the main instruments in this style. Typically, three gourd shekeres (a.k.a. chekeres) are used with a bell (guataca) and one or two conga drums, the lowest playing lead phrases. (Sometimes Guiro is played with just the 3 chekeres, no drums). Participants/dancers circle up and sing along side the musicians (who are also singing) in the Cuban Yoruba language. (Guiro solo drum phrases on the site come to us via Master Drummer, Carolyn Brandy. She studied in Cuba with Eugenio Aranjo and Regino Jimenez).

4/4 Heartbeat: This rhythm has its roots in Jamaican ceremonial settings. The rhythm belongs to a drum-based style of music called Nyabinghi and is played at Rastafarian celebrations. The Drum, as a symbol, links Rastafarians to Africa as well as serves as a means of communication between the living and the dead.
Haitian Bell: The name given to this propulsive bell pattern found all throughout African and Afro-Caribbean drum cultures.
Haitian Break Exit: A sparse phrase played on the low (lead, Mother) drum, used to exit some 12/8 Afro-Haitian rhythms.
Highlife: A popular rhythm from Ghana, Sierra Leone and Nigeria from the turn of the 20th century, known as the 'music of the people', combining music (including Ghanaian Palm Wine music) with Western instruments and ideas, including jazzy horn arrangements (a colonial military brass band influence) and multiple guitar parts. The term 'Highlife' was coined in the 1920's in reference to parties held by the European upper class (that also included the Christianized Black elite). Local Bands were invited to play this new, infectious music as an accompaniment.

Ibo: An Afro-Haitian rhythm from the Vodun tradition. The songs that accompany this rhythm speak with pride of the roots from the Ibo people of SE Nigeria.
Ibrahima's Break: A break often utilized by the djembe master, Ibrahima Camara.
Ijexa: A rhythm from Bahia, Brazil with roots traced back to the Yoruba people of Nigeria. This large group rhythm is played on drums and bells. The drums, called Atabaque, are high toned (Lei), middle toned (Rumpi) and low toned (Rum). The bells are two-toned and are called agogo. The drum parts are usually phrased in 4 bar sections with one different than the other three. Singers chant along in a call and response format.
Ijexa Bell Patterns: Melodious double bell patterns from Brazil, tracing back to the Yoruba culture of Nigeria.
Iyesa: A sacred rhythm /dance form found in Cuba with Nigerian roots. Iyesa drums are two headed and are played with sticks, with one hand and one stick or both hands.

Jamaican Jam: Also called '4/4 Heartbeat', this rhythm has its roots in Jamaican ceremonial settings. The rhythm belongs to a drum-based style of music called Nyabinghi and is played at Rastafarian celebrations. See Also: 4/4 Heartbeat.
Juka: Also spelled Yuca. An Afro-Cuban rhythm with Bantu (Congolese) roots.

Kabila: An Afro-Brazilian rhythm (Nacao de Angola) from the Candomble tradition.
Kahkilambe: A West African harvest rhythm and dance from the Bata people of Guinea. During the dance a masked figure emerges from the forest, accompanied by priests, elders and gives advice to protect the village from evil. Speaking through the priest, the masked figure would make predictions about the upcoming year.
Kahkilambe Break: A typical break phrase played during the 4/4 presentation of the djembe Mask Dance, Kahkilambe.
Kassa: A Malinke djembe rhythm (Mali and Guinea) that is played while men harvest in the field to give them energy. Women can dance, too. Also played to celebrate a bountiful harvest.
Kise: A 12/8 Congolese rhythm (see Asambe for more details).
Kompa: This Haitian rhythm from the 1950's has distinct Merengue rhythm influence.
Kpanlogo: A street party rhythm of the Ga people of Ghana created in the 1960's to accompany Highlife music.
Kpatsa: A playful rhythm from the Ga tribe of Ghana, Kpatsa has its roots in a folk story: There was once a hunter who was traveling in the woods when he heard music. He used some magic to make himself invisible so that he could approach the source of the music unseen. Ahead were a group of small magical beings dancing. The forest spirits (similar to elves) had one leg shorter than the other which made them move in an off-balanced sort of way when they danced. The hunter studied the dance and returned to his village and taught his people the dance. It is now called Kpatsa and features movements similar to what the hunter saw that day in the woods.
Kra Bien: An Afro-Haitian rhythm from the Vaduz tradition. Played as a resting rhythm between other Rada rhythms.
Kuku: A popular djembe rhythm from Guinea played at festivals and at the end of the harvest season. For the rhythm, the solo is played on a lower pitched drum, the support on a higher. Originally was played without bass drums.

12/8 Long Bell: An important bell pattern in traditional West African and Afro-Caribbean drum music.
Le'embe: A slinky 4/4 Congolese rhythm. (See Asambe for more)
Long Bell Jam: Rhythms built on an African/Afro-Cuban bell pattern commonly know as 'short bell' or 'long bell.'

Macuta: An Afro-Cuban social dance from the Congolese people of Cuba. Macuta is one of three important rhythms from that area: Also, Palo and Yuca. The three drums used to play these rhythms look like congas. The high drum is called Cachimbo, the middle is called Mula and the low drum which plays the lead phrases is called Caja. A hollowed out wooden log, called a gugua, is played using sticks and the bell that accompanies the rhythms is called guataca.
Mahi: An Afro-Haitian rhythm from the Vodun tradition. Some different subdivisions of the rhythm include Mahi Darielle, Mahi Japete, Mahi D'ete and Mahi Simp. (The first three are derived from the 4th, Mahi Simp). The rhythm has its roots in the Priest class of the Mahi people from Nigeria. The rhythm is played for the Trickster, Papa Legba, the Loa (spirit) of the crossroads. Another spirit, Couzeh Zaka, the loa of agriculture and physical labor, is attracted to this rhythm. Mahi is also spelled Mayi, Mai, Mais and Maize which is a word for corn from the indigenous Indian tribe, the Arawak. The word darielle, of the rhythm Mahi Darielle, means 'backside' and refers to the way a dancers butt sticks out while dancing, bent over.
Makandal: An Afro-Haitian rhythm from the Vodun tradition. Named after an historical figure who helped led a successful uprising over the colonizing powers.
Mamady's Break: A break popularized by Grandmaster Djembefola, Mamady Keita.
Mandjiani: A Malinke djembe rhythm from Guinea and Mali. The dance that accompanies this rhythm is very acrobatic and danced by young girls.
Mbaye: A sophisticated Congolese rhythm in 12/8 time (see Asambe for more details).
Mboshi: A Congolese dance rhythm. Perfect for beginning study groups.
Merengue: A social dance from the Dominican Republic. The main drum for this rhythm is played on a double headed drum called a Tambora and is played with a hand on one side and a stick in hand on the other. Also in the mix, an accordion and a metal scraper called a guira. There are three main style of Merengue: Merengue topic (the oldest style), Merengue de orquesta and Merengue de guitarra.
Mother Drum Break: A break phrase played on the low (lead, Mother) drum in some Afro-Haitian rhythm settings.
Mother Drum Exit: A phrase played on the low (lead, Mother) drum, used to exit from the break section of some Afro-Haitian rhythms.
Mozambique: A relatively new Afro-Cuban ensemble rhythm created by Pedro Izquierda (stage name, Pello El African). Kim Atkinson, a master drummer/master teacher from Northern California has championed this rhythm after studying directly with Izquierda. (Kim has an incredible website filled with a wide array of traditional rhythms and accompanying background info. I personally haven't come across a better, more in-depth site than his: www.pulsewave.com). Also included in my rhythms is a New York style Mozambique (Mozambique #2, taught to me by Bernard Wray).
Mozambique Bell: An important 2-tone bell pattern found in the Afro-Cuban rhythm, Mozambique.

Nago: An Afro-Haitian rhythm from the Vodun tradition named after the Yoruba people of West Africa and is played to honor Ogoun, the Loa representing the concepts of war, authority, thunder and iron.
Nanigo: A rhythm that can be traced back to the Yoruba of Nigeria.
Ngoma Bakango: A lively Congolese dance rhythm in 4/4 time. (Ngoma means 'drum' in Bantu. 'Bakongo' is a word for the people of present day Congo and the Democratic Republic of Congo. Also just 'Kongo' or 'Congo').
Nyongo: A very old form of Rumba played in 12/8 time, predating Rumba Columbia. The word Nyongo, means 'landscape' or 'countryside'.

Palo: An Afro-Cuban rhythm from the Congolese people of Cuba. (See Macuta for more details). A very old rhythm used to generate courage and stamina in preparation for going to war against their oppressors.
Petro: An Afro-Haitian rhythm from the Vaduz tradition, believed to honor Don Pedro, a strong warrior/leader during revolutionary times. Played to build up energy for battle.
Phrase #1 - #5 12/8: The Special Phrases in this section draw from traditional djembe solo settings. They were chosen for their inherent 'call and response' qualities as well as for their ability to teach the drummer how to dance around the pulse.
Plena: A Puerto Rican folkloric rhythm and song. Traditionally played on 3 hand held frame drums called panderatas, and accompanied by a guiro (a notched gourd played with a stick). Sometimes played on two congas.
Phrase #1 - #5 4/4: The Special Phrases in this section draw from traditional djembe solo settings. They were chosen for their inherent 'call and response' qualities as well as for their ability to teach the drummer how to dance around the pulse.
Punea: A lively Congolese rhythm in 4/4 time. (See Asambe rhythm for more details about Congolese rhythms).

Rumba: An Afro-Cuban rhythm and dance made up of three subgenera: Rumba Guaguanco (most popular), Rumba Yambu (played slower, often danced by older folks) and Rumba Columbia (faster tempo, 12/8 time signature). The dance that accompanies Rumba Guaguanco is a very sensual partners-dance and mimics the flirtatious interplay between Rooster and Hen. The three drums used to create the music are commonly referred to as Congas or Tumbadoras. The highest pitched drum is known as the Quinto, The middle pitched drum is 'Conga' (or 'Tres Dos' or 'Tres Golpes') and the low pitched drum is 'Tumba' or 'Salidor'. The earliest form of the music was developed in 'cabildos' or African guilds, set up to keep African language and culture alive in the face of the brutality of Slavery. The music was played in secret because drums were forbidden. Because of this, the earliest music was played on boxes, crates, machetes and sticks. The Bata drums and rhythms, originally found in Santeria music and worship, found their way in Rumba as well.
Rumba Abierto: A rhythm that plays well with the Tumbao pattern.
Rumba Clave: A sophisticated Afro-Cuban clave pattern found in Rumba music.
Rumba Tumba: A foundational 4/4 rhythm found in many musical styles, named after an Afro-Cuban rhythm (Rumba) and the low conga drum (Tumba), that it appears on.

12/8 Short Bell: A powerful organizing rhythm, this bell pattern can be found throughout Afro-Cuban secular and sacred music but is ultimately traceable back to the Yoruba people of Nigeria.
12/8 Support: A powerful support rhythm found in many African and Afro-Caribbean ensemble settings.
Sabar Groove: A nice polyrhythm from the Sabar drums of Senegal, found in an intro section, called 'Bak' (also spelled 'Bakk'). During a Bak, played before a dance rhythm, the whole ensemble plays the same long rhythmic composition at the same time.
Salango: Also spelled Salongo. From the Petro family of rhythms from the Afro-Haitian tradition. Salongo is the name of a tribe in Angola that now has its roots in SW Haiti.
Samba: The national dance of Brazil. This dynamic ensemble rhythm, with it's roots in rhythmic traditions of West and Central African, most notably Angola and the Congo. During the 16th century, people from these regions were forced into the New World (The Atlantic Slave Trade) to work on plantations. Over time, the rhythmic sensibility of these people mixed with Latin American folk music to give birth to earliest form of Samba, born in the Bahia region. Eventually Samba was further developed in Rio de Janeiro in the early 20th century and is now an irrepressible drum and dance form play for 6 days every year for Carnaval, drawing millions of people from around the world. Samba groups and Samba rhythms are also played around the world for parades, processions and protest marches. Typical Samba instruments include: Agogo bell (double bell with Nigerian roots), Surdos (bass drums), Cuica (a type of friction drum), Timbal (a conical drum), Tambourine and Tamborim, Ganza (shaker), Snare Drums, Cavaquinho (a small, ukulele type guitar), and Repinique (a metal, two headed drum played with a stick in one hand).
Samba Bell Patterns: Typical two-tone Samba bell patterns from Brazil.
Samba Break: A fun break employed in some Samba arrangements.
Samba Reggae: A fairly new style of parade music from the Bahia region of Brazil, played during Carnival. The rhythm combines Samba and Reggae concepts as well as aspects of Merengue, Candomble and Afoxe.
Senegalese Bak: Traditional composed solos played on the Sabar drums of the Wolof people of Senegal. Bak is played before the Ensemble dance rhythms by all the drummers, in unison. The 7 drums of the Sabar battery include: Nder, Chol, Talmbat, Mbung Mbung, Tungane, Lamba and Goring Talmbat.
Shango: A rhythms and dance in honor of Shango, the Yoruba god of thunder, iron and warfare. (Chango is the Afro-Cuban, Santeria equivalent. This whole musical/spiritual/cultural form, with its roots in Yoruba culture, can be found in Trinidad & Tobago as 'Shango' or 'Trinidad Orisha').
Shiko: A Nigerian social dance.
Short Bell Jam: Rhythms built on an African/Afro-Cuban bell pattern commonly know as 'short bell' or 'long bell.'
Soko: A rhythm and dance from Central Guinea that is played for uncircumcised boys (called 'bilakoro'). A few month before the ceremony, the young boys travel to the surrounding countryside to tell their relatives of the upcoming event/ritual. As the boys enter each village, Soko is played for them. When they return to their original village/home, Soli is played for them.
Soli: a djembe rhythm and dance from the Faranah region of Central Guinea. Traditionally played for the children as they arrived back from the other villages to announce upcoming rites of passage ceremonies.
Son Clave: Named after the musical genre of the same name, Son clave can be traced back to West Africa and is referred to by many names: 'The Heartbeat of Africa', 'The Bo Diddley Beat' and 'Kpanlogo Bell" (Ghana), to name a few. There is an inherent "call" (the first 3 strikes) and "response" (the last 2 strikes)' quality to the rhythm. This rhythm is a ubiquitous underpinning to modern Afrobeats music, and is also known as the 'Heartbeat of Africa'.
Songo: A popular Afro-Cuban rhythm made popular by 'Changuito' of Los Van Van fame.
Special Phrase #1 4/4: The Special phrases on this site all come from djembe culture. Each one is a mini example of how a lead drummer learns to play around (and against) the melodic flow of the interweaving bass drum rhythms, creating tension and interest in the music. A call and response approach can also be perceived between the first and second bar in most cases.
Special Phrase #3 12/8: The Special phrases on this site all come from djembe culture. Each one is a mini example of how a lead drummer learns to play around (and against) the melodic flow of the interweaving bass drum rhythms, creating tension and interest in the music. A call and response approach can also be perceived between the first and second bar in most cases.
Stick Bembe: A presentation of the Afro-Cuban folkloric rhythm that has the lead drummer playing with a stick in one hand.
Sunu: A djembe rhythm and dance from Guinea. This rhythm is played to celebrate beauty and for the younger boys to demonstrate their strength and acrobatic prowess.

Tiriba: A djembe rhythms and dance from Guinea (the Landuma people). Originally played for the most famous dancers. Now a rites of passage rhythm for young women. Mothers and daughters dance together.
Tokoe: A traditional ensemble rhythm from Ghana in 4/4 time from the Ga people. Tokoe is performed at the beginning of ceremonies that introduce recently initiated young women back to their communities after they have finished their puberty rites (know as 'dipo') overseen by the Elder women of the community).
Toro: A Malinke djembe rhythm played in Guinea after circumcision rites.
Train Jam: A powerful, deceptively hard rhythm to play, one that can animate any dance class or 4/4 ensemble setting.
Tsaba: A drum rhythm from the Shona culture of Zimbabwe. Also from the Shona: mbira music and marimba music.
Tumbao: A foundational Afro-Cuban conga rhythm originally played on one drum. The term 'tumbao' also applies to repetitive rhythms played on the bass, the piano and the Tres (a mandolin style instrument with three sets of double strings). The tumbao rhythm started out on a single conga drum and eventually became a two drum pattern, a development usually attributed to Candido Camero. The two drum pattern can be found in many styles of music, including: Son Montuno, Mambo, Cha-cha-cha and Guaracha. The Tumbao solos on the site are excerpts from the famous solo called 'TiMonBo' which is a masterwork created by three Percussion giants: Tito Puente (timbale virtuoso), Mongo Santamaria (conga virtuoso) and Willie Bobo (bongo virtuoso).

Uhuru: This rhythm is an original creation of mine, blending Afro-Cuban and Afro-Haitian rhythm concepts into a form that is accessible to beginning and intermediate study groups.

12/8 Wave: This gorgeous, foundational 12/8 rhythm combines Afro-Cuban and Afro-Haitian rhythm concepts. It's roots come from the Afro-Haitian rhythm, Yanvalou, a rhythm honoring Papa Legba, Trickster and god of the crossroads. The rhythm can also be played on two bass drums: The lower drum gets assigned the bass notes, the higher drum gets assigned the tone notes.
West African Samba: Inspired by the infectious song, Akiwowo (based an historical Nigerian train conductor) created by the venerable Babatunde Olatunji, West African Samba is an informal dance rhythm combining West African and Afro-Brazilian rhythmic concepts.
WIll's 2-Bar Clave Break 12/8: Based on the Afro-Cuban 12/8 clave pattern.
WIll's 2-Bar Clave Break 4/4: Based on the Son Clave pattern.

Yanvalou: An important 12/8 rhythm from the Afro-Haitian tradition of Vodun and the first rhythm played in a ceremony. The dance that accompanies the rhythm praises Danbala, whose primary attribute is the serpent. The dancer mimics the movement of a serene by undulating the spinal column. When dancers imitate qualities of a Loa (spirit), they are preparing their bodies for spirit possession, an event that although not specifically beneficial to the specific dancer, nonetheless connects the congregation to the Spirit World. For more on this fascinating subject, click here).
Yanvalou Break: A powerful 12/8 break used in the Afro-Haitian Vodoun rhythm, Yanvalou.
Yesa: A sacred Afro-Cuban rhythm with roots in Nigeria.

Zepaule: An Afro-Haitian rhythm belonging the Rada branch of the Vodun Pantheon, which also includes the Nago nations. The Loa (spirits) of the Rada nation are from Dahomean origin and are considered even-tempered. The rhythm takes its name from the French word for 'shoulders' and describes the thrusting back and forth of the shoulders by the dancers.
Zepolah: A lovely Congolese rhythm in 12/8 time (see Asambe for more).

Guest Rhythm Notes

Enjoy these guest rhythm notes from the Fremont Drum collection.

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12/8 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.
4/4 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.

Fanga: A Liberian rhythm made popular by the venerable Babatunde Olatunji. The rhythm comes from the Vat people and is played as an invocation to the Earth and Sky. It was first brought to the States in 1930 by Asadaata Dafor from Sierra Leone. Pearl Primus, from Trinidad & Tobago is usually cited as being the first person to bring the Fanga Dance to the U.S. The chant, 'Fanga alafiyah, ashe, ashe' was added to the piece in NY in the late 1950's by the percussionist, LaRoque Bey.

4/4 Heartbeat: This rhythm has its roots in Jamaican ceremonial settings. The rhythm belongs to a drum-based style of music called Nyabinghi and is played at Rastafarian celebrations. The Drum, as a symbol, links Rastafarians to Africa as well as serves as a means of communication between the living and the dead.

Kassa: A Malinke djembe rhythm (Mali and Guinea) that is played while men harvest in the field to give them energy. Women can dance, too. Also played to celebrate a bountiful harvest.

Mozambique: A relatively new Afro-Cuban ensemble rhythm created by Pedro Izquierda (stage name, Pello El African). Kim Atkinson, a master drummer/master teacher from Northern California has championed this rhythm after studying directly with Izquierda. (Kim has an incredible website filled with a wide array of traditional rhythms and accompanying background info. I personally haven't come across a better, more in-depth site than his: www.pulsewave.com). Also included in my rhythms is a New York style Mozambique (Mozambique #2, taught to me by Bernard Wray).

12/8 Short Bell: A powerful organizing rhythm, this bell pattern can be found throughout Afro-Cuban secular and sacred music but is ultimately traceable back to the Yoruba people of Nigeria.
Son Clave: Named after the musical genre of the same name, Son clave can be traced back to West Africa and is referred to by many names: 'The Heartbeat of Africa', 'The Bo Diddley Beat' and 'Kpanlogo Bell" (Ghana), to name a few. There is an inherent "call" (the first 3 strikes) and "response" (the last 2 strikes)' quality to the rhythm. This rhythm is a ubiquitous underpinning to modern Afrobeats music, and is also known as the 'Heartbeat of Africa'.
Special Phrase #1 4/4: The Special phrases on this site all come from djembe culture. Each one is a mini example of how a lead drummer learns to play around (and against) the melodic flow of the interweaving bass drum rhythms, creating tension and interest in the music. A call and response approach can also be perceived between the first and second bar in most cases.
Special Phrase #3 12/8: The Special phrases on this site all come from djembe culture. Each one is a mini example of how a lead drummer learns to play around (and against) the melodic flow of the interweaving bass drum rhythms, creating tension and interest in the music. A call and response approach can also be perceived between the first and second bar in most cases.

12/8 Wave: This gorgeous, foundational 12/8 rhythm combines Afro-Cuban and Afro-Haitian rhythm concepts. It's roots come from the Afro-Haitian rhythm, Yanvalou, a rhythm honoring Papa Legba, Trickster and god of the crossroads. The rhythm can also be played on two bass drums: The lower drum gets assigned the bass notes, the higher drum gets assigned the tone notes.
West African Samba: Inspired by the infectious song, Akiwowo (based an historical Nigerian train conductor) created by the venerable Babatunde Olatunji, West African Samba is an informal dance rhythm combining West African and Afro-Brazilian rhythmic concepts.

Essential Member Rhythm Notes

As an Essential or Unlimited member we hope you enjoy these rhythm notes in the Fremont Drum collection.

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Bembe: An important 12/8 Cuban rhythm played to honor the pantheon of Afro-Cuban Gods and Goddesses called Orishas. Danced prayers. Saluting, praising, calling. Possession. (For more on the concept of Spirit Possession as bridge between a community and its gods, click here). The word Bembe can be used for the gathering itself as well as for the rhythm(s) played.

Calypso: A social dance from Trinidad. Drums are accompanied by a variety of instruments, including bells, shakers, steel drums, triangle and voice all in a variety of combinations. The musical style, Soca, is derived from Calypso.
Canal Bembe: A personal arrangement of an important 12/8 Cuban rhythm played to honor the pantheon of Afro-Cuban Gods and Goddesses called Orishas.
Comparsa: An Afro-Cuban Carnival rhythm. (Also called Conga or Conga de Comparsa). Comparsas are large ensembles of dancers, musicians and singers, all in elaborate costumes, that perform in the street carnivals of Havana and Santiago de Cuba. The rhythm has been adapted to band music by Jazz and Salsa artists as well.
Congo & Ibo Bell: A driving bell pattern found in the two Afro-Haitian rhythms, Congo and Ibo.
Congo Break: A phrase employed in the break section of the Afro-Haitian Vodoun rhythm, Congo.

12/8 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.
4/4 Djembe Break: In Djembe music, drum breaks help the drummers and dancers tell a story or give shape to a ceremony (baby naming, baptisms, births, etc). A break phrase is a non-verbal way to start or end a dance. Often a break is employed in the middle of a dance to signal that one section is ending and another is beginning, and therefore the supporting rhythms are also about to change/shift.
Dansa: A djembe rhythm from the Malinke culture of Mali and Guinea. Played for weddings, full moons, harvest, equinox and solstice.
Djembe Jam: A ubiquitous djembe support rhythm.

Fanga: A Liberian rhythm made popular by the venerable Babatunde Olatunji. The rhythm comes from the Vat people and is played as an invocation to the Earth and Sky. It was first brought to the States in 1930 by Asadaata Dafor from Sierra Leone. Pearl Primus, from Trinidad & Tobago is usually cited as being the first person to bring the Fanga Dance to the U.S. The chant, 'Fanga alafiyah, ashe, ashe' was added to the piece in NY in the late 1950's by the percussionist, LaRoque Bey.
Father Drum Break: A break phrase played on the middle (support, Father) drum in some Afro-Haitian rhythm settings.

Garangedon: A djembe rhythm (Malinke) from the caste of leatherworkers and shoe makers. The rhythms is danced by women during weddings.
Ghede Yanvalou: An Afro-Haitian rhythm and dance from the Petro nation from the Vodun tradition played in honor of the spirit Guide, the Loa (spirit) of death, sex and transformation. Ghede is the guardian of the cemetery and repository of all knowledge of the dead. He is wise beyond all others. Ghede is also a Trickster who is depicted as wearing a top hat, dark glasses, a bow tie, a coat with tails. His fave is painted black and white and he carries a cane. His symbol is the cross. He is also protector of children.
Guiro: Guiro - An Afro-Cuban ceremonial rhythm and dance done in honor of deities called Orisha (from the Yoruba people of Nigeria). 'Guiro' is the Spanish word for gourd, one of the main instruments in this style. Typically, three gourd shekeres (a.k.a. chekeres) are used with a bell (guataca) and one or two conga drums, the lowest playing lead phrases. (Sometimes Guiro is played with just the 3 chekeres, no drums). Participants/dancers circle up and sing along side the musicians (who are also singing) in the Cuban Yoruba language. (Guiro solo drum phrases on the site come to us via Master Drummer, Carolyn Brandy. She studied in Cuba with Eugenio Aranjo and Regino Jimenez).

4/4 Heartbeat: This rhythm has its roots in Jamaican ceremonial settings. The rhythm belongs to a drum-based style of music called Nyabinghi and is played at Rastafarian celebrations. The Drum, as a symbol, links Rastafarians to Africa as well as serves as a means of communication between the living and the dead.
Haitian Bell: The name given to this propulsive bell pattern found all throughout African and Afro-Caribbean drum cultures.
Haitian Break Exit: A sparse phrase played on the low (lead, Mother) drum, used to exit some 12/8 Afro-Haitian rhythms.

Ibrahima's Break: A break often utilized by the djembe master, Ibrahima Camara.
Ijexa Bell Patterns: Melodious double bell patterns from Brazil, tracing back to the Yoruba culture of Nigeria.

Jamaican Jam: Also called '4/4 Heartbeat', this rhythm has its roots in Jamaican ceremonial settings. The rhythm belongs to a drum-based style of music called Nyabinghi and is played at Rastafarian celebrations. See Also: 4/4 Heartbeat.

Kahkilambe: A West African harvest rhythm and dance from the Bata people of Guinea. During the dance a masked figure emerges from the forest, accompanied by priests, elders and gives advice to protect the village from evil. Speaking through the priest, the masked figure would make predictions about the upcoming year.
Kahkilambe Break: A typical break phrase played during the 4/4 presentation of the djembe Mask Dance, Kahkilambe.
Kassa: A Malinke djembe rhythm (Mali and Guinea) that is played while men harvest in the field to give them energy. Women can dance, too. Also played to celebrate a bountiful harvest.

12/8 Long Bell: An important bell pattern in traditional West African and Afro-Caribbean drum music.
Long Bell Jam: Rhythms built on an African/Afro-Cuban bell pattern commonly know as 'short bell' or 'long bell.'

Macuta: An Afro-Cuban social dance from the Congolese people of Cuba. Macuta is one of three important rhythms from that area: Also, Palo and Yuca. The three drums used to play these rhythms look like congas. The high drum is called Cachimbo, the middle is called Mula and the low drum which plays the lead phrases is called Caja. A hollowed out wooden log, called a gugua, is played using sticks and the bell that accompanies the rhythms is called guataca.
Makandal: An Afro-Haitian rhythm from the Vodun tradition. Named after an historical figure who helped led a successful uprising over the colonizing powers.
Mamady's Break: A break popularized by Grandmaster Djembefola, Mamady Keita.
Mboshi: A Congolese dance rhythm. Perfect for beginning study groups.
Mother Drum Break: A break phrase played on the low (lead, Mother) drum in some Afro-Haitian rhythm settings.
Mother Drum Exit: A phrase played on the low (lead, Mother) drum, used to exit from the break section of some Afro-Haitian rhythms.
Mozambique: A relatively new Afro-Cuban ensemble rhythm created by Pedro Izquierda (stage name, Pello El African). Kim Atkinson, a master drummer/master teacher from Northern California has championed this rhythm after studying directly with Izquierda. (Kim has an incredible website filled with a wide array of traditional rhythms and accompanying background info. I personally haven't come across a better, more in-depth site than his: www.pulsewave.com). Also included in my rhythms is a New York style Mozambique (Mozambique #2, taught to me by Bernard Wray).
Mozambique Bell: An important 2-tone bell pattern found in the Afro-Cuban rhythm, Mozambique.

Nago: An Afro-Haitian rhythm from the Vodun tradition named after the Yoruba people of West Africa and is played to honor Ogoun, the Loa representing the concepts of war, authority, thunder and iron.

Phrase #1 - #5 12/8: The Special Phrases in this section draw from traditional djembe solo settings. They were chosen for their inherent 'call and response' qualities as well as for their ability to teach the drummer how to dance around the pulse.
Phrase #1 - #5 4/4: The Special Phrases in this section draw from traditional djembe solo settings. They were chosen for their inherent 'call and response' qualities as well as for their ability to teach the drummer how to dance around the pulse.

Rumba: An Afro-Cuban rhythm and dance made up of three subgenera: Rumba Guaguanco (most popular), Rumba Yambu (played slower, often danced by older folks) and Rumba Columbia (faster tempo, 12/8 time signature). The dance that accompanies Rumba Guaguanco is a very sensual partners-dance and mimics the flirtatious interplay between Rooster and Hen. The three drums used to create the music are commonly referred to as Congas or Tumbadoras. The highest pitched drum is known as the Quinto, The middle pitched drum is 'Conga' (or 'Tres Dos' or 'Tres Golpes') and the low pitched drum is 'Tumba' or 'Salidor'. The earliest form of the music was developed in 'cabildos' or African guilds, set up to keep African language and culture alive in the face of the brutality of Slavery. The music was played in secret because drums were forbidden. Because of this, the earliest music was played on boxes, crates, machetes and sticks. The Bata drums and rhythms, originally found in Santeria music and worship, found their way in Rumba as well.
Rumba Clave: A sophisticated Afro-Cuban clave pattern found in Rumba music.
Rumba Tumba: A foundational 4/4 rhythm found in many musical styles, named after an Afro-Cuban rhythm (Rumba) and the low conga drum (Tumba), that it appears on.

12/8 Support: A powerful support rhythm found in many African and Afro-Caribbean ensemble settings.
Samba: The national dance of Brazil. This dynamic ensemble rhythm, with it's roots in rhythmic traditions of West and Central African, most notably Angola and the Congo. During the 16th century, people from these regions were forced into the New World (The Atlantic Slave Trade) to work on plantations. Over time, the rhythmic sensibility of these people mixed with Latin American folk music to give birth to earliest form of Samba, born in the Bahia region. Eventually Samba was further developed in Rio de Janeiro in the early 20th century and is now an irrepressible drum and dance form play for 6 days every year for Carnaval, drawing millions of people from around the world. Samba groups and Samba rhythms are also played around the world for parades, processions and protest marches. Typical Samba instruments include: Agogo bell (double bell with Nigerian roots), Surdos (bass drums), Cuica (a type of friction drum), Timbal (a conical drum), Tambourine and Tamborim, Ganza (shaker), Snare Drums, Cavaquinho (a small, ukulele type guitar), and Repinique (a metal, two headed drum played with a stick in one hand).
Samba Bell Patterns: Typical two-tone Samba bell patterns from Brazil.
Samba Break: A fun break employed in some Samba arrangements.
Shango: A rhythms and dance in honor of Shango, the Yoruba god of thunder, iron and warfare. (Chango is the Afro-Cuban, Santeria equivalent. This whole musical/spiritual/cultural form, with its roots in Yoruba culture, can be found in Trinidad & Tobago as 'Shango' or 'Trinidad Orisha').
Short Bell Jam: Rhythms built on an African/Afro-Cuban bell pattern commonly know as 'short bell' or 'long bell.'
Songo: A popular Afro-Cuban rhythm made popular by 'Changuito' of Los Van Van fame.

Train Jam: A powerful, deceptively hard rhythm to play, one that can animate any dance class or 4/4 ensemble setting.
Tumbao: A foundational Afro-Cuban conga rhythm originally played on one drum. The term 'tumbao' also applies to repetitive rhythms played on the bass, the piano and the Tres (a mandolin style instrument with three sets of double strings). The tumbao rhythm started out on a single conga drum and eventually became a two drum pattern, a development usually attributed to Candido Camero. The two drum pattern can be found in many styles of music, including: Son Montuno, Mambo, Cha-cha-cha and Guaracha. The Tumbao solos on the site are excerpts from the famous solo called 'TiMonBo' which is a masterwork created by three Percussion giants: Tito Puente (timbale virtuoso), Mongo Santamaria (conga virtuoso) and Willie Bobo (bongo virtuoso).

Uhuru: This rhythm is an original creation of mine, blending Afro-Cuban and Afro-Haitian rhythm concepts into a form that is accessible to beginning and intermediate study groups.

12/8 Wave: This gorgeous, foundational 12/8 rhythm combines Afro-Cuban and Afro-Haitian rhythm concepts. It's roots come from the Afro-Haitian rhythm, Yanvalou, a rhythm honoring Papa Legba, Trickster and god of the crossroads. The rhythm can also be played on two bass drums: The lower drum gets assigned the bass notes, the higher drum gets assigned the tone notes.
West African Samba: Inspired by the infectious song, Akiwowo (based an historical Nigerian train conductor) created by the venerable Babatunde Olatunji, West African Samba is an informal dance rhythm combining West African and Afro-Brazilian rhythmic concepts.
WIll's 2-Bar Clave Break 12/8: Based on the Afro-Cuban 12/8 clave pattern.
WIll's 2-Bar Clave Break 4/4: Based on the Son Clave pattern.

Yanvalou Break: A powerful 12/8 break used in the Afro-Haitian Vodoun rhythm, Yanvalou.

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H | High Bell Tone

S | Slap (Open)

L | Low Bell Tone

* | Shaker Sound

X | Bell Strike

M/SS | Muff & Stick Side

O/SS | Tone & Stick Side

B/SS | Bass & Stick Side

FB | Flam Bass

FC | Flam Choke

FS | Flam Slap

FO | Flam Tone

C | Choke or Choked Stick Tone

SS | Stick on Side

SO | Stick Tone

r | Rim

T | Touch

H,T | Heel, Toe

H | Heel

M | Muffled Tone

$ | Muffled Slap

S | Slap (Closed)

T | Tone

B | Bass

Giving Back

‘Giving Back’ At Home (United States)

‘Giving Back’ Abroad (Africa)

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H | High Bell Tone

S | Slap (Open)

L | Low Bell Tone

* | Shaker Sound

X | Bell Strike

M/SS | Muff & Stick Side

O/SS | Tone & Stick Side

B/SS | Bass & Stick Side

FB | Flam Bass

FC | Flam Choke

FS | Flam Slap

FO | Flam Tone

C | Choke or Choked Stick Tone

SS | Stick on Side

SO | Stick Tone

r | Rim

T | Touch

H,T | Heel, Toe

H | Heel

M | Muffled Tone

$ | Muffled Slap

S | Slap (Closed)

T | Tone

B | Bass

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