Chiftitelli:

This Turkish rhythm is marked by a distinctive rest on the final beat, which gives the rhythm a very soft and relaxed feel. It is often used as the underlying rhythm for taqsim segments of songs, allowing the other musicians to solo freely over the softly flowing Chiftitelli rhythm. In terms of dancing, such fluid moves as snake arms work well, and when the drummer and dancer both freeze for that final eighth beat, the effect is electrifying.

译文如下：

Chiftitelli:

　　这个土耳其的节奏是由最后一个独特的间歇音为标志的,这个间歇音使此节奏给人非常柔软和清爽的感觉。在taqsim段歌曲中它常被用作基本的节奏,让其他音乐家自由独奏流动的Chiftitelli温柔韵律。根据舞蹈动作,流动的动作就像蛇形手臂动作。当鼓手和舞者都在最后8个音停止时,效果很震撼。

Odd rhythms - 9/8, 6/7, 10/8 etc  奇数拍节奏

The rhythms outlined above are the most common Middle Eastern rhythms, but certainly not the only ones. Although you don't hear them too often, every dancer should try her hand at one of the odd-numbered rhythms.

Because we are so used to 4-beat rhythms (almost every pop song is 4/4), and because 2 and 8 beat rhythms are simple multiples of 4, we tend to believe that 4 is somehow natural. That's why dancing to a beat that is not 2, 4, or 8 is difficult at first, but then feels so very rewarding once mastered.

Some of the wonderful odd-beat Middle Eastern rhythms include the 9/8 Turkish Karsilama and 6/7 Laz rhythms 9-beat and 7-beat rhythms respectively, and the spectacular 10/8 10-beat Samai rhythm from Egypt.

译文如下：

9/8, 6/7, 10/8 等奇数拍节奏

　　上面提到的节奏是最常见的中东节奏,但绝非绝对的选择。虽然你不常听到,但每个舞蹈演员应该尝试在奇数节奏中跳舞。

　　由于我们是如此习惯于四拍节奏 (几乎所有流行歌曲是4 / 4),又因为2和8节奏是4拍的简单罗列,我们倾向于4拍是自然的。这就是为什么跳舞的拍子不是2、4、8，首先是难的,但后来觉得一旦掌握了就会感到有收获。

　　一些奇数的拍子中东节奏分别包括9/8土耳其Karsilama和6/7 Laz节奏， 9-beat节奏、7-beat节奏。10/810-beat的Samai节奏来自埃及。

Saidi:

Saidi is based on three strong dums, enticing us with a single dum at the very start, and then driving us forward with two dums in the middle. You can imagine the first dum as the invitation to a party and the middle dums as the party in full swing, or the first dum as a call to battle and the middle dums are the battle joined. Saidi comes from the Said region of Egypt, also known as Upper Egypt - the 'i' ending indicates something from or to do with the Said. The Raqs al Tahtib or men's stick dance upon which the Raqs al Assaya or women's cane dance is based - originated in the Said, and it is easy to imagine a strong and lively Saidi rhythm accompanying the fierce and powerful movements of the dance's ritualized combat.ê

译文如下：

Saidi:

Saidi基于三个重dum的音，刚开始就用单一的音吸引我们, 中间的音引导我们继续听。你可以想象第一个dum邀请参加聚会,中间dums像活跃的一方,或第一个dum号召我们作战,中间的dums已加入战斗。Saidi来自Saidi埃及的地区,也称为埃及上等社会——最后的“i” 表示用Said结束或做的。基于牧羊棍或女子手杖舞的Raqs Tahtib（武术舞蹈）或棍舞来自Said。,它很容易让人想象一个强烈而活泼的Saidi节奏伴随仪式化的战斗的剧烈运动。

Waheda:

One of the first words you learn in Arabic is wahid meaning one. The name is perfectly appropriate in that waheda comprises one dum on the first count, followed by three counts worth of taks. With just one (wahid) heavy dom and a whole series of lighter taks, this rhythm has a very light and flowing feel and is thus particularly well suited to softer movements such as hip circles or camel.

译文如下

Waheda:

　　学习阿拉伯文第一个词是wahid。这个名字之所以完美在于, waheda由一个第一个dum及紧随其后的是三个组成。由于只有一个(wahid)重dum音和一系列较轻的tak音,这个节奏有一种非常轻和飘渺的感觉,因此是最适合柔软的运动比如髋关节圈、骆驼动作。

Two beat rhythms - 2/4 两拍节奏

Ayoub or Zaar:

The Ayoub rhythm, also called the Zaar, is the simplest and yet also the most spiritually powerful of all the Middle Eastern rhythms. Ayub is a single dom followed by a single tak, and then another dom followed by another tak. But what makes ayub distinctive is the tiny delay just a single sixteenth note, musically speaking between that first dum and the next tak. So the rhythm comes out as dom□tak-dum tak, dom□tak-dum tak. These two loud and evenly-spaced dums are played within Ayoub's two counts, giving the rhythm a strong driving feel. The spirituality of Ayoub stems from these hypnotic, mesmerizing, pounding dums. Ayoub is most often associated with the trance dances of the dervishes, who whirled themselves into a religious ecstasy using the energy of the pounding dums and trance-inducing hypnotic feel of the rhythm. The same rhythm, generally played more slowly and called the Zaar, is used in Egypt and Northern Africa to drive away evil spirits.

译文如下：

Ayoub或Zaar:

　Ayoub节奏,也称为Zaar,是最简单也是最具有精神力量的中东的节奏。Ayub是一个dom音，紧随其后的是一个单一的tak,然后另一个dom,紧随其后的又是一个tak。但令ayub独特的是微小延时只是第十六个单音符,从音乐角度来讲，在第一个dom与后面的德之间。这个的节奏是这样的：dom□tak-dum tak, dom□tak-dum tak。这两个发音大且均匀的dum是在Ayoub两节中弹奏的并给人强烈的引导感的节奏。精神感强的Ayoub源于这些催眠、迷人的、冲击感强的dums。Ayoub常与恍惚状态的苦行僧的舞联系起来,他们狂喜的舞着自己的舞蹈，使用强烈的dums和节奏的引人入胜催眠的感觉。但通常踢得慢同样的节奏称为Zaar,在埃及和北非用于驱走妖魔鬼怪。

Malfuf: （马夫夫)

Malfuf is commonly used when a dancer enters or exits the stage. Like Ayoub, it is a two-beat rhythm, but it has only one dom instead of Ayoub's driving two dums. The quickness of the two-beat rhythm and the lightness of having only one dum give Malfouf a lively yet relaxed and rolling feel. Its energetic enough to capture the audience's attention when the dancer enters, but still leaves them wanting more.

译文如下：

Malfuf:(马夫夫)。

　　Malfuf通常是舞蹈家进入或离开舞台时跳的。和Ayoub一样是两拍节奏,但它只用一个dom代替Ayoub击出两个dums。这个快节奏和一个轻松的dum给Malfouf生动活泼的轻松、滚动的感觉。当舞者入场，它的能量足以吸引观众的注意,但仍然让他们想要更多的东西。

Eight beat rhythms - 4/8 八拍节奏

Masmoudi:

The Masmoud are a Berber tribe of northern Africa, and the 'i' ending indicates something from or to do with the Masmoud. Musically speaking, Masmoudi is interesting in that it is 8 counts long and partially symmetric. The first half consists of two doms and one set of taks, while the second half consists of one dom and two sets of taks. The length of the rhythm, its asymmetry and the combination of strong doms and light taks give the dancer lots of opportunity to interpret this rhythm in various creative ways.

八拍节奏4/8 – 8拍节奏

Masmoudi:

　　Masmoud是北非柏柏尔部落, 结尾‘i’表示用Masmoud结束或做的。从音乐层面来说, Masmoudi很有趣,因为它是8节长,部分对称的。上半部分由两个dom和一系列的tak组成，而下半场由一个dom和两套tak组成。这个长度的节奏,其不对称性和重dom音与轻tak音的结合给舞者很多机会各种创造性的方式来解释这种节奏。