Ewe music

[3] Cross-rhythm was first identified as the basis of sub-Saharan rhythm in the early writings of A.M. Jones, and was later explained in great detail in lectures by the Ewe master drummer and scholar C.K.

In Anlo-Ewe cultural understanding, the technique of cross rhythm is a highly developed systematic interplay of varying rhythmic motions simulating the dynamics of contrasting moments or emotional stress phenomena likely to occur in actual human existence.

As a preventive prescription for extreme uneasiness of mind or self-doubt about one's capacity to cope with impending or anticipated problems, these simulated stress phenomena or cross-rhythmic figures are embodied in the art of dance-drumming as mind-nurturing exercises to modify the expression of the inherent potential of the human thought in meeting the challenges of life.

The premise is that by rightly instituting the mind in coping with these simulated emotional stress phenomena, intrepidity is achieved.

It raises the mind above the troubles, disorders and emotions which the anticipation or sight of great perils is calculated to excite.

It is by this strength that ordinary people become heroes, by maintaining themselves in a tranquil state of mind and preserving the free use of their reason under most surprising and terrible circumstances—Ladzekpo (1995: Web).

"[5] We have to grasp the fact that if from childhood you are brought up to regard beating 3 against 2 as being just as normal as beating in synchrony, then you develop a two dimensional attitude to rhythm… This bi-podal conception is… part of the African's nature—Jones (1959: 102)[6]Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics.

It produces much less audible high partials than western bells ("purer" fundamental) and is played with a stick.

The "ti's" sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand.