In Sub-Saharan Folk music, there is a lot of focus put onto the rhythm of the piece. It differs from Bebop, in the sense that the tempo of the pieces are not usually quite as high. That's because this style of music could often be associated with total performance, which for them, included dance. They also had a strong presence of a call and response musical system. However, what they hold in common is the importance of the percussion section. Instead of symbols, toned or not toned drums would be use to provide a steady beat for the piece. [2]Rhythmic counterpoint and polyrhythm were both common, which is unique for non-Western countries. Ostinatos (repetition of a phrase or rhythm) were common in both the solo and choral parts of the pieces, and hemiolas occurred and showed a rhythmic change in a piece. [2]
Ompeh is a fantastic representation of the call and response system set up in most of the music of the genre. Then the rhythmic can be distinctly heard, and sets the mood for the piece before the first soloist comes in. Different percussion instruments layer their sound to create a constantly moving rhythmic section, which really acts as the driving force in the whole piece.
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| Example of a Toned African Drum |
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