DEPTH IN RHYTHMS

We normally play a rhythmic pattern with a single orientation. It's like when we say a sentence, we don't start on the second or third syllable of a word.
Unlike a song, in which the order of the words tells us where a statement begins and ends, a rhythmic pattern is made up of a series notes that could start almost anywhere. If a drummer tries to join another drummer harmoniously, and he misinterprets the other, the two may end working against each other.
The problem is that, when one drummer misinterprets what another is saying, his accompaniment may be to an entirely different statement.
Drumming is intellectualy, emotionaly, and physically stimulating. But, the emotional stimulation is dependent on the other two. So, there should be a common language.
Beat:
How groups of notes are turned into "words".
Pattern:
The linear structure of a rhythm. e.g.:
|x-xx-xx-|

Vertical Interplay:
The 2 dimensional geometric structure of a multi-part rhythm when its pattern is interpreted as a visual image.
Unison:
Identical rhythms played together.
Imbroglio:
Different rhythms, tempos, meters, etc. played together. Two or more completely different pieces played at (almost) the same time.
Polyrhythm:
Combination of different rhythms and/or rhythms with differently perceived temporal starts. And/or, rhythms of different meters or tempos.
Shifted Rhythms:
When the perceived start of a rhythm is displaced less than one half cycle from the perceived start of another rhythm.
Example:

|1 & 2 & 3 & 4 &|1 & 2 & 3 & 4 &| |O O O O O t S|t O t S | merengue starting on 1 r l r l r l r l r l r |O B O B |O B O B | calypso starting on 2 l r l r l r l r
Doubled Rhythms:
Shifted identical rhythms.
Example:

|1 & 2 & 3 & 4 &|1 & 2 & 3 & 4 &| |B O B O |B O B O |calypso starting on 1 r l r l r l r l |O B O B |O B O B |calypso starting on 2 l r l r l r l r
Cross Rhythms:
When the perceived start of a rhythm is displaced exactly one half cycle from the perceived start of some other rhythm.
Example:

|1 & 2 & 3 & 4 &|1 & 2 & 3 & 4 &| |O O S S|O O S S| conga starting on 1 r r r l r r r l |B O B O|B O B O| calypso starting on 3 r l r l r l r l
Counter Rhythms:
When the perceived start of a rhythm is displaced exactly one half cycle from an identical rhythm.
Example:

|1 & 2 & 3 & 4 &|1 & 2 & 3 & 4 &| |B O B O |B O B O | calypso starting on 1 r l r l r l r l |B O B O|B O B O| calypso starting on 3 r l r l r l r l
Hockets:
Identical rhtyhms made of repeated short identical elements, doubled and shifted 1 or 2 pulses.
Example:

|1 & 2 & 3 & 4 &| |1 2 3 1 2 3| |O O O O | |S O S O| | O O O O| |O S O S |
Polymetric Rhythms:
Rhythms of different meters or tempos.
Simple Polymeter:
Different meter, same tempo, same cycle time.
e.g.: Abakua, Cuba

|1 2 3 4 5 6|1 2 3 4 5 6| |O O | O | binary part |O |O | ternary part
Compound Polymeter:
Single rhythm that can be of more than one meter, depending on how it is played and/or what it is played along with.
e.g.:
|1&2&3&1&2&3&| |B O O B O O | binary spacing of a ternary pattern
Complex Polymeter:
Different meters, different speeds, same cycle time.
e.g.: (dots are used to show polymetric spacing)

........................ 1 & 2 & 3 & 4 & | , . , . , . , | 8 pulse measure O O O O O cinquillo O O O O "1/2" bembe 1 2 3 4 5 6 6 pulse measure | . . . . . |
Compound Complex Polymeter:
Complex rhythms, at least one being compound.
e.g.:

1 2 3 1 2 3 1 2 3 1 2 3 | . . . . . . . . . . . | S O S O S O S O ternary part B O O compound complex-binary ternary 3 pulses against 12 pulses
So then you can have:
Depth by position:
Unison & Imbroglio
Polyrhythm & Shifted Rhythm
Doubled Rhythm & Hocket
Cross Rhythm & Counter Rhythm

Depth by Polymeter:

Simple
Compound
Complex
Compound Complex

Depth by density:

Compound Complex (cc)

METRICAL DENSITIES AND SPACINGS

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & |: , . , . , . , . , . , . , . , :| 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 |:. . . . . . . . . . . . . . . . . . . . . . .:| O O O O O O O O O O O O O O O O O O O O O O O O 1 O O O O O O O O O O O O O O O O 2 O O O O O O O O O O O O 3 O O O O O O O O 4 O O O O O O 5 O O O O 6 O O O 7 O O 8 O 9
1. 21 straight
2. 16 binary complex
3. 12 binary simple
4. 8 straight ternary
5. 6 binary compound complex
6. 4 ternary 6
7. 3 thirds, compound complex
8. 2 measure marker
9. 1 cycle marker

You can see from the above patterns that Desity and Polymetric rhythms make a visual pattern. However, when visualized while listening, each different meter or density may occupy a separate area of dimensional space. Each pattern has a relationship to one or more separate patterns. Thus, they become a whole. Each interrelationship also occupies its own dimension. Each dimension relates to a separate aesthetic feeling, each excites and motivates patterns of neurons in the brain, patterns within patterns. The more dimensions, the more space one's mind has room to fly around in.
When putting different types of patterns in different orientations, much care must be taken so that the whole is clear and effective. The more different things the rhythm has, the more difficult it is to keep it from getting confusing.
Examples:
P=pressed bass
M=muff

(sounds like) Atsiagbeko Vulolo

|1 & 2 & 3 & 4 & 5 & 6 &|1 & 2 & 3 & 4 & 5 & 6 &| |X X |X X |claps 1 |X x x x | x x x |bell 2 | O O O O O | O O O O O |kaganu 3 |M O O O M M |M O O O M M |hidi 4 |P O P O O O |P O P O |kloboto 5 |P O O |P M P M |totodzi 6
1. beat
2. syncopation, measure marker
3. binary, polymeter
4. shifted, melodic, divisional
5. beat, cluster, melodic
6. broad dominant, beat