agogo bell patterns


Made in the USA, they feature a bright, uniform timbre with medium to loud volume. The agogô may be the oldest samba instrument and was based on West African Yoruba single or double bells. X . . :|AGOGO L . X . H .

H . * . * . H H L . H H . L . * .

X X X . * . | . Kim knows his stuff, makes it clear and accessible... and he rocks! H H . L L L . . X . | . Coincidentally, its also helped me run further without being as tired....I think its due me being able to feel and attend to each step I take more like a rhythm than a battle, and maybe it's because I've been stepping the pulse - when I practice speaking the rhythms - in an oval around my room", "I really appreciate the way you have broken it down and shown how all the parts interweave.

:|AGOGO L . * . X . * . >>      H . * . | . * .

* . :|AGOGO H . X . * . Go slowly. X XX X . * . L . X . * . . X X . * . . L L. Samba do Morro pattern built around Partido Alto in 2/34/4  |: . * . L L . In this lesson I teach you the bell pattern for Makuta. :|AGOGO H H . . You will learn the universal “cinquillo” rhythm, two common “seis por ocho” patterns, and several variations on the Clave rhythm. L . Thank you again! * . * . X . L . X . * . * . . >>      . X . * . H .

. * . 4/4 Bell Patterns                                       One Bar4/4 |: . * . L . . | . * . | . * . Now, this may seem easy - but it plays a very important role in Ewe music: The bell pattern is the key to the rhythm. Haitian4/4 |: .

* . H . :|AGOGO .

| . .

Bell 2 is used in afoxê and can be thought of as pattern 1 embellished with four additional strokes. H . X . H H . (Except of course they are MUCH easier to use, and work in your car! * . H H H . * . Speak the sounds out loud and learn to say them effortlessly so they feel like a sentence. For a full breakdown on these patterns, please see my Clave Consciousness Series. . :|BELL X . H . * .

>>      X . H . * . X X . :|AGOGO H H . Agogo, a term used by the Yoruba and other Nigerian peoples, is also found in Afro-Caribbean cultures. . . . * . L L, Ijexa variation #24/4  |: . Notice that the drum is saying what the voice is saying and the voice is saying what the drum is playing. | . X .

miscellaneous 2/3 samba #24/4  |: . X . * . X . . X . . X . * . H . .

. * . | . Son Clave (3-2)4/4 |: . . L L L .

H H . . H .

The best element in the series is his unique vocal adaptation of the different instruments played and sung in the rhythms. . Posted in 1-4 patterns, Patterns Tune 3 – Conga Samba. In his Speaking of Rhythm series, Kim takes this concept to the next level. Son Clave (2-3)4/4 |: . X .

* . * . * . . :|AGOGO H . . . * . L . * . L L . . . H . Make sure you keep the four pulse in your body in a relaxed manner while you play the bell. X . * . * . * . * . * . * . H . H .

. * .

* . * . . L . Note that “H” indicates that the smaller high pitched Agogo bell is to be played and that “L” indicates that the larger low pitched is to be played. X . L, Ijexa variation #34/4  |: . * . more - Kathy, "I often teach my students that if you can "say it", you can "play it". * . . H H . Brazil4/4 |: . Cb Percussion 8674 Percussion Kit With Bag. * . * . :|BELL X . . * . * . H . . H . . The bell usually plays a simple pattern. H . I find this to be one of the most useful patterns I know. | . . :|AGOGO H . X . . | . X . * . . * . :|BELL  X .

* .

. X . * . * . H . H . H . H H . * . . * . It has a strong three in time of four feeling and connects with the main beat in 3 places. X . * . :|BELL  X . X . * . H H . . The CB Percussion 8674 Percussion Kit is a perfect learning tool for the beginning percussionist. It was helpful to really get inside clave rhythms too. L L, Extra cool Samba Batucada pattern in 3/2 #24/4  |: . * . . L L . | . :|AGOGO H H . L L .

:|AGOGO L . * .

Ijexa variation #14/4  |: .

| . * . :|AGOGO L . L L . * . | . . X . * . * . . :|AGOGO       H . * . Sambão Para O Povo, "...the greatest benefit of your classes and CDs came to me as a salsa dancer, by improving my ability to hear and understand the Clave. * .

The sound was great for what we were doing. .

. L, Cascara alternate4/4 |: . . I spent about two hours enjoying and learning from your CD.. * . * . .

L L .

L . * . . * . L . L L . * .

* .

It repeats itself without changes throughout the whole length of a traditional piece.

* . ... Kim breaks these rhythms down in every way possible and keeps your attention, while making listening and playing along to the different parts less like practice and more like fun. H . | . . X . Using spoken syllables and playing drums, each part is explored separately and then in every possible combination with each other, and against both the underlying pulse and Clave. . * .

. * . | .

L L . * . L . . H . . Cuban (palo)12/8 |: . :|AGOGO . H . :|AGOGO . This pattern is part of several rhythm styles from the northeast of Brazil and is played on a variety of instruments including tamborim, agogo, and caxia as well as guitar and keyboards. L L . * . * . L . L. The extra-cool Samba de Roda pattern from Bahia4/4  |: . . * . H . * . . X . Bell pattern 1 is the most basic, or archetypal pattern. In this lesson I teach you the main bell (agogo) pattern for Afoxe. * . This five stroke pattern is a universal rhythm that is played with various instruments throughout the world. It is as entertaining as it is educational. L L . X . L .

* . . * . . * . X . * . . . Bembe, Makuta, Nigerian Highlife and others are great sets of rhythms I was glad to add to my repertoire. H . X . This mimics the parts of the ensemble and you deeply feel how music works.

. ", "I've had some great fun and learning from Kim Atkinson's CD's. H . L . * . . . H H . . If you need help with achieving this, please check out my Clave Consciousness lessons. In the second half of this lesson I show how this bell pattern relates to Clave. X . * . :|BELL  X . H . L . * . * . In this lesson I teach you the main bell (agogo) pattern for Afoxe.
* . * . * . X . . * .

* . * . . H L. Gahu4/4 |: . * . This will show you how the drum part (via the syllables) relates to the main beat. * . Bell 3 is used in batucada. X . * . :|AGOGO L . * . H . X . * . * . . X .

. * . . * . | . L . H H L . miscellaneous 2/3 samba #44/4  |: . * . :|AGOGO L . :|BELL . L . H . * . This is an ancient rhythm from Nigeria, and it shows up many places in African Diaspora music, with different starting points and melodies. * . H . H H . * . Ijexa4/4  |: . . * . * . . This is an ancient rhythm from Nigeria, and it shows up many places in African Diaspora music, with different starting points and melodies. L . * . It is a very simple and elegant way of getting the clave feeling and the “up beat” feeling in one pattern. You can practice this on a table, your body, anywhere). | . :|BELL X .

Note that “H” indicates that the smaller high pitched Agogo bell is to be played and that “L” indicates that the larger low pitched is to be played. L L .

X. Abakua12/8 |: . * . L L . * . * . H . * . X X . X .

* . . * . * . * . X . X . X . | . * . It's a great way to get the whole rhythm into a non-left-brain part of my body." Agogo (Bell) Lesson. .

. * . H H . * .

. H . . This pattern is similar to others used throughout the African diaspora but its unique structure could be considered the signature of many Haitian styles. H L . * . Posted on October 1, 2014 by keishiakeysha. :|AGOGO       H . X .

. 4/4 Bell Patterns One Bar 4/4 |: . L . . . In this lesson I play three variations of Clave on a double bell. X . * . :|BELL X . . :|BELL X . H H >>      H H . * . "I just wanted to thank you for actually caring to develop a simple yet enormously powerful teaching method that has transformed my music playing, listening and also speaking ability. * . * .

L . * . Samba4/4  |: . . * . :|BELL  X . * . L .

* .

* . H . . * . X . X X. Samba4/4  |: . * . It is the same essential 5 clave strokes plus two others, which give it a very circular and mysterious feeling. You go at your own rate. . | . * . * . L . X . * . I teach them very slowly and later in the lesson I string them together and re arrange them. * . ), Brad Hamilton, Bateria Director G.R.E.S. Cuban (bakoso)12/8 |: . H . L .

| . . Rumba Clave (3-2)4/4 |: . * . L . X . | . * . H . * . :|AGOGO L . :|AGOGO . * . The bells are pitched a minor third apart and are used to play various Afro-Brazilian patterns. X . X . H H . Now learn the syllables for a drum pattern (for example, the tumba for Afoxé). * . | . H . BELL PATTERNS. * . The sound of the bell stands out from the drums and rattle and forms the basic reference point or time line of the groove. L . . H . X . . * . Samba patterns for Agogo bells . H . * . * . * . . L L . Cuban (rumba)12/8 |: . L L . . * . * . Say and play the drum rhythm. This very useful pattern is used in many forms of music, you may have heard it as bass line. * .

. X . . :|AGOGO H . . . * . X . . . The Pearl ECB23 mounted agogo bell is a new take on the traditional Brazilian percussion instrument. X . X . . :|BELL X . A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. . . | . | . >>      X .

These are indicated by “H” for the high, “M” for the medium and “L” for low pitches. * .

X . It is a key pattern, in most cases it is a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves.In band music, bell patterns are played on the metal shell of the timbales, drum kit cymbals. * . The very famous Partido Alto that one hears all the time4/4  |: . * .

* . * . L . * . X . . Nigeria (juju)4/4 |: . * . * . . This is an easy combination – most of the strokes are in common. . X . H . * . Only logged in customers who have purchased this product may leave a review. * . X .
* . * . H L L . X . H H . L .

* .

Haiti (Ibo, Congo)4/4 |: . X . . X . H H . Ghana4/4 |: . * . These interesting and challenging patterns could be used for many other grooves and played on different instruments. * . | . | . . . X . * . L . * . . * . L . * . * . H . L . The bells are sounded to send messages, make announcements, and perform divination. . Note that “F” indicates that the Ganza is to be played with a forward motion and that “B” indicates that it is to be played with a backwards motion. * . X . H . * . Note that the Apito or Samba whistle has three tones. . . :|BELL . L L .

| . * . Kim!! * . * . * . H . * .

L L . L L . * .

| . X . H H . * . unnamed samba #14/4  |: . X X . L L . . H . . :|AGOGO H H . . . . In the second half of this lesson I show how the bell pattern fits with Clave, the key rhythm. * . L . * . . * . * . . | .

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