Dumbek rhythms are a collection of rhythms that are usually played with hand drums such as the dumbek. These rhythms are various combinations of these three basic sounds:
doum (D), produced with the dominant hand striking the sweet spot of the skin
tek (T), produced with the dominant hand striking the rim
ka (K), produced with the recessive hand striking the rim In a simple notation, these three sounds are represented by three letters: D, T, and K. When capitalized, the beat is emphasized, and when lower-case, it is played less emphatically. These basic sounds can be combined with other sounds:
grab (G), produced with the dominant hand. Similar to the doum except the fingers are cupped to capture the air, making a loud terminating sound. The hand remains on the drum head to prevent sustain.
trill (l), produced by lightly tapping three fingers of one hand in rapid succession on the rim
roll (r), produced by a rapid alternating pattern of teks and kas
Notation
This is the simple dumbek rhythm notation for the 2/4 rhythm known as ayyoub:
1 + 2 + D kD T
This might be represented in standard western musical notation:
Rhythms
There are many traditional rhythms. Some are much more popular than others. The "big six" Middle Eastern rhythms are ayyoub, beledi, chiftitelli, maqsoum, masmoudi and saidi.
The West African djembe, a related instrument, is larger and made from a log carved into a goblet shape.
Goblet drums are played with a much lighter touch and quite different strokes (sometimes including rolls or quick rhythms articulated with the fingertips) than hand drums such as the djembe, found in Africa.
There are a variety of rhythms that form the basis of the folkloric and modern music and dance styles of the Middle East.
I use names for these rhythms which tend to be accepted among the community of drummers that I have known and the sparse documentation that exists on this (extremely folk) tradition.
Note that, although the rhythm theoretically has a DUM at the beginning, after the initial cycle of the rhythm that beat it is often alternatively played as a TEK.
The rhythm part accents the cycle/measure boundary and follows the melody as the measure is stretched or shortened.
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