S E C O N D A R Y / K E Y S T A G E 3 M U S I C – S A H A R A N S O U N D S

Name Form

Now that you have learned about RHYTHMS, CYCLIC RHYTHMS, POLYRHYTHMS, SYNCOPATION
and CALL AND RESPONSE as features used in African music, it’s time to compose your own
African-inspired piece of music using these features.

1. Begin by composing your own RHYTHM. You can use some of the names of African countries,
from the map below, to help you. Try to include some SYNCOPATION and write your rhythm in
the rhythm grid below.

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S E C O N D A R Y / K E Y S T A G E 3 M U S I C – S A H A R A N S O U N D S

2. Next, think about which INSTRUMENT you are going to perform your African rhythm on. If
you’re performing it on an African drum, such as a DJEMBE, try to use BASS (B), TONE (T) and
SLAP (S) strokes to vary the sound adding the letters, B, T and S to your rhythm grid below. If
you’re using a PITCHED instrument such as a xylophone to imitate the African BALAFON, work
out which note names or PITCHES you’ll use and write these on the rhythm grid below.

My rhythm is being performed on

3. Practice repeating this rhythm over and over turning it into a CYCLIC
RHYTHM. Tick the box when you have completed this.

I have created my own rhythm, decided on which instrument to

perform this and can repeat it as a CYCLIC RHYTHM.

4. Now, form a group of between 5 and 6 people. Share each other’s rhythms by writing them
on the rhythm grid below, together with the instrument they are using.

5. Create a POLYRHYTHMIC texture by deciding who will start performing their CYCLIC rhythm
first and who will come in next and in what order. Also think about HOW MANY TIMES each
person is going to perform their rhythms. Add the numbers 1-6 against each row in the table
above to help remind you on the order of the rhythms. Now, practice with each group member
performing their rhythm at the correct time. Tick the box when your group have completed
this.

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S E C O N D A R Y / K E Y S T A G E 3 M U S I C – S A H A R A N S O U N D S

We have decided upon an order in which to perform each members CYCLIC

RHYTHMS and have rehearsed this creating a POLYRHYTHMIC texture.

6. Now it’s time to add some CALL AND RESPONSE to your African-inspired piece. Decide on
who will be the MASTER DRUMMER and create a CALL writing your rhythm in the box below,
using words if this helps you remember it.

Next, create a RESPONSE which is performed by all the other members of the group and write
this in the rhythm box below.

You could also take it in turns being the MASTER DRUMMER performing the CALL and allowing
each group member to IMPROVISE a response which will be different each time.
Tick the box when you have completed your call and response section.
We have created a CALL AND RESPONSE pattern and can perform this together as a
group.

7. Putting your African piece together

Now that you each have a RHYTHM, can perform these as a POLYRHYTHM and have a CALL
AND RESPONSE section. You need to put your piece together. Use the box below to work out a
STRUCTURE to your piece. Work out an INTRODUCTION and ENDING and decide when and
how many times you will use your POLYRHYTHM and CALL AND RESPONSE sections. Also think
about how you will move or change from section to section? Will you have a cue or signal? Use
a different sound from an instrument or use vocal signals and shouts?

Finally, think about a name or title for your piece

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S E C O N D A R Y / K E Y S T A G E 3 M U S I C – S A H A R A N S O U N D S

Name Form

Listen to each group’s performance of their African piece and complete the table below as you listen.

Which of these musical features could you hear in the piece? (tick the boxes) What mark or grade
What was the title/name of What instruments did
Group Introduction & Polyrhythmic Call and
would you give this
this group’s piece? Cyclic Rhythms Syncopation this group use?
Ending Texture Response group?

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