# Revoloop rhythm starting points Edit only `shared/music/beats.json`, then run `python3 scripts/generate_rhythm_catalog.py`. SPEC-009 / ADR-0015/0020. These source-backed cells and grouping/cycle guides use synthesized substitute sounds, not complete traditional performances. Practice speeds and timbres remain experimental. Regions describe associations, not exclusive origins. RPM means full turns per minute. Musical rates below identify their counting unit; equal steps need not be musical beats. Positions are zero-based; the app labels them one-based. Unlisted steps are silent. | Rhythm | Association | Steps | RPM | Musical rate | Sounds | | --- | --- | --- | --- | --- | --- | | Dembow | Caribbean / Jamaican roots | 16 | 24 | 4 × 24 = 96 quarter notes/min | kick, snare | | Son clave (3–2) | Cuba | 32 | 14 | 8 × 14 = 112 quarter notes/min | thud | | Standard bell | Ghana / West Africa | 12 | 27 | 4 × 27 = 108 dotted quarters/min | thud | | Paidushko (2+3) | Bulgaria | 5 | 36 | 5 × 36 = 180 short units/min | thud | | Aksak (2+2+2+3) | Türkiye / Balkans | 9 | 22 | 9 × 22 = 198 eighth notes/min | thud | | Maqsum | Egypt / Arab world | 8 | 29 | 4 × 29 = 116 quarter notes/min | kick, woodblock | | Jhaptal (cycle) | North India | 10 | 9 | 10 × 9 = 90 matras/min | kick, woodblock | | Bulerías (compás) | Andalusia, Spain | 24 | 13 | 12 × 13 = 156 compás counts/min | kick, snare | | Yuruk Semai | Turkish / Arab repertoire | 6 | 60 | 2 × 60 = 120 dotted quarters/min | kick, woodblock | | Kalamatianos (3+2+2) | Greece | 7 | 26 | 7 × 26 = 182 eighth notes/min | kick, snare | ## Mappings and primary references ### Dembow **Active positions:** kick: 0, 4, 8, 12; snare: 3, 6, 11, 14. Sixteenth-note grid, one 4/4 bar. Tim Cant's Native Instruments tutorial, “Start with drums” places kicks on the first two beats and snares on the last sixteenth of beat 1 and third sixteenth of beat 2, then repeats that half-bar. Converting to zero-based positions yields exactly this cell. Removed our added hats so the preset contains only the supported cell. Our synthesis and 96-quarter-note/min practice speed differ from the tutorial's sounds/90 setting. Berklee's history traces Jamaican roots and Panamanian, Puerto Rican and Dominican developments. This is a reggaeton starting cell, not a definitive Dominican dembow arrangement. - [Native Instruments tutorial, “Start with drums”](https://www.native-instruments.com/blogs/blog/reggaeton) - [Berklee's history](https://www.berklee.edu/berklee-now/news/what-is-dembow-tracing-the-roots-of-a-global-phenomenon) ### Son clave (3–2) **Active positions:** thud: 0, 6, 12, 20, 24. Two 4/4 bars at sixteenth-note resolution. In the first bar, strokes are on 1, the and of 2, and 4; in the second, 2 and 3. This is the three-side followed by the two-side of son clave. Berklee PULSE, The Clave. Thud substitutes for claves; silent sixteenth positions are editable grid resolution, not additional beats. - [Berklee PULSE, The Clave](https://pulse.berklee.edu/content/public/pub_unit_assets/lessons/lesson5_banded/The%20Clave_lesson.pdf) ### Standard bell **Active positions:** thud: 0, 2, 4, 5, 7, 9, 11. The seven inter-stroke gaps are 2+2+1+2+2+2+1 across twelve equal units, matching paragraph 76 of David Locke, Yewevu in the Metric Matrix. Thud substitutes for bell. Four dotted-quarter pulses per turn is our chosen hearing, not the only possible metric interpretation. - [David Locke, Yewevu in the Metric Matrix](https://mtosmt.org/issues/mto.10.16.4/mto.10.16.4.locke.html) ### Paidushko (2+3) **Active positions:** thud: 0, 2. University of Arizona, Rhythm and Meter, Figure 28.4 explicitly gives the Pajduško grouping (12)(345). This preset teaches that grouping only; it is not a complete folk-drum part. The five short units are equally spaced, while the two groups have unequal durations. Notation can use different short-unit values without changing the 2:3 relationship. - [University of Arizona, Rhythm and Meter, Figure 28.4](https://opentextbooks.library.arizona.edu/folkdance/chapter/chapter-28/) ### Aksak (2+2+2+3) **Active positions:** thud: 0, 2, 4, 6. University of Arizona, Rhythm and Meter, Figure 28.8 documents the nine-unit short-short-short-long grouping. We sonify only the group starts. Aksak encompasses more than this one grouping; the name explicitly identifies which example is used. No claim to a particular traditional drum accompaniment. - [University of Arizona, Rhythm and Meter, Figure 28.8](https://opentextbooks.library.arizona.edu/folkdance/chapter/chapter-28/) ### Maqsum **Active positions:** kick: 0, 4; woodblock: 1, 3, 6. Eight eighth-note steps in one 4/4 bar. The notation on Johnny Farraj's MaqamWorld, Iqa‘ Maqsum reads low stroke, high stroke, rest, high stroke, low stroke, rest, high stroke, rest. We inspected the notation visually. Low D strokes map to kick; high T strokes map to woodblock. All onset and rest positions are preserved; these synthesized sounds do not reproduce darbuka technique. Replaces the unsupported Samba composite. - [Johnny Farraj's MaqamWorld, Iqa‘ Maqsum](https://www.maqamworld.com/en/iqaa/maqsum.php) ### Jhaptal (cycle) **Active positions:** kick: 0, 2, 7; woodblock: 5. One step per matra. DigiTabla, Jhaptal explicitly gives ten matras, divisions 2+3+2+3, and clap-clap-wave-clap timekeeping. Zero-based division starts are 0,2,5,7. We sonify clap landmarks with kick and the wave/khali landmark with woodblock. That sound marks the division; khali is not literally a woodblock stroke or a requirement for total silence. Removed filler hits. This is an audible cycle guide, **not a tabla theka**. - [DigiTabla, Jhaptal](https://digitabla.com/reference/tals-and-thekas/jhaptal/) ### Bulerías (compás) **Active positions:** kick: 0; snare: 6, 12, 16, 20. Two steps per count, with step 0 representing count 12. Studio Flamenco's compás lesson teaches landmarks at 12,3,6 (or 7),8,10. This preset selects the count-6 version: count 3 maps to step 6, count 6 to step 12, count 8 to step 16, count 10 to step 20. Removed intervening woodblock strokes to leave just the cited landmarks. Timbre distinguishes count 12; no velocity accents are encoded. This is a compás guide, not full palmas/cajón accompaniment, and not the only bulerías scheme. - [Studio Flamenco's compás lesson](https://www.studioflamenco.com/about2-c1l30) ### Yuruk Semai **Active positions:** kick: 0, 3; woodblock: 1, 2, 4. Six eighth-note steps in one 6/8 bar. MaqamWorld, Iqa‘ Yuruk Semai shows D T T D T rest; we inspected the notation visually. D maps to kick, T to woodblock; all source onset/rest positions are preserved. The source describes Turkish usul origins and use in the Arab muwashah repertoire, so the association names both. Replaces the unsupported Persian 6/8 figure; it is not presented as an Iranian rhythm. - [MaqamWorld, Iqa‘ Yuruk Semai](https://www.maqamworld.com/en/iqaa/yuruk_semai.php) ### Kalamatianos (3+2+2) **Active positions:** kick: 0; snare: 3, 5. The Greek Ministry of Culture's national heritage entry explicitly identifies 7/8 grouped 3+2+2. These group starts convert to 0,3,5. We use low/high timbres to outline the grouping, not to transcribe a regional drum part. Removed our hi-hat fillers. The seven eighth-note units are not seven equally weighted dance beats. - [Greek Ministry of Culture's national heritage entry](https://ayla.culture.gr/catalogue/kalamatianos-xoros/) ## Evidence and limitations Every entry records its source and adaptation. Matching a time signature alone does not substantiate a stylistic groove. Source checks establish the stated structures, not expressive performance authenticity, sound quality or device behavior. Corrections and removed examples are recorded in ADR-0015 and the historical research audit. Loading behavior is specified in SPEC-009; the JSON owns the catalog data.