What are Euclidean Rhythms?
Maximally Even Rhythms are also called Euclidean Rhythms (named for the Greek mathematician Euclid). The term was coined by Godfried Toussaint in his influential paper "The Euclidean Algorithm Generates Traditional Musical Rhythms".
In this paper, Toussaint showed that an ancient algorithm for finding the greatest common divisor of two numbers can be used to generate maximally even rhythms. He also showed that these rhythms exist in cultures around the world—from West African bell patterns to Cuban claves to Bulgarian folk dances.
We write Euclidean rhythms as E(k, n), where k is the number of onsets and n is the total number of pulses. For example, E(3, 8) means 3 onsets distributed as evenly as possible across 8 pulses.
How Can We Generate Euclidean Rhythms?
Toussaint proposes several different ways to do this. The most intuitive is Bjorklund's algorithm, originally developed for nuclear physics applications but perfectly suited for rhythm generation. Let's see how it works.
The Stopping Rule
The algorithm keeps distributing and merging until the number of remainder cells drops to 1 or 0. At that point, we simply concatenate all cells to get our final rhythm. Watch the status bar below each visualization—when it turns green, we're done!
Example 1: E(3, 8) — The Cuban Tresillo
We'll start with a simple example: E(3, 8) — 3 onsets in 8 pulses.
Step-by-Step Explanation
- Step 1: Write onsets as 1's and rest pulses as 0's in the least even way:
[1] [1] [1] [0] [0] [0] [0] [0] - Step 2: Pair each 1 with a 0 to create cells:
[1,0] [1,0] [1,0]with remainders[0] [0] - Step 3: Distribute remainders to cells:
[1,0,0] [1,0,0] [1,0] - Step 4: Recombine to form the final pattern:
[1,0,0,1,0,0,1,0]
This produces the Cuban Tresillo rhythm, one of the most common rhythms in Latin music!
E(3, 8) — Tresillo
Onsets at positions 0, 3, 6
Example 2: E(5, 12) — The Fume-Fume
Now let's try E(5, 12) — 5 onsets in 12 pulses. This generates the Ghanaian Fume-Fume rhythm.
The Algorithm in Action
- Initial:
[1] [1] [1] [1] [1] [0] [0] [0] [0] [0] [0] [0] - Step 1: Pair 1s with 0s:
[1,0] [1,0] [1,0] [1,0] [1,0]+ remainders[0] [0] - Step 2: Distribute remainders:
[1,0,0] [1,0,0] [1,0] [1,0] [1,0] - Step 3: Continue redistributing (3 cells of [1,0] as "remainder" to the 2 cells of [1,0,0]):
[1,0,0,1,0] [1,0,0,1,0] [1,0] - Step 4: Final distribution:
[1,0,0,1,0,1,0] [1,0,0,1,0] - Result:
[1,0,1,0,1,0,0,1,0,1,0,0]→ onsets at 0, 2, 4, 7, 9
E(5, 12) — Fume-Fume
A maximally even rhythm used in Ghanaian traditional music
♩. ♩ ♩ ♩. ♩ (dotted quarter, quarter, quarter, dotted quarter, quarter)
Example 3: E(7, 16) — The Bembé Variant
Let's look at a more complex example: E(7, 16) — 7 onsets in 16 pulses.
E(7, 16)
Onsets at positions 0, 2, 4, 6, 9, 11, 14
Interactive Euclidean Rhythm Generator
Try generating your own Euclidean rhythms! Enter any values for onsets and pulses.
Common Euclidean Rhythms Around the World
Toussaint's research revealed that many traditional rhythms from around the world are Euclidean rhythms:
E(2, 5)
Khafif-e-ramal (Persian)
E(3, 7)
Ruchenitza (Bulgarian)
E(3, 8)
Tresillo (Cuban)
E(4, 9)
Aksak (Turkish)
E(5, 8)
Cinquillo (Cuban)
E(5, 16)
Bossa Nova
E(7, 12)
Bembé (West African)
E(9, 16)
Aka pygmy pattern
Euclidean Rhythms in World Music: A Catalog
Toussaint's research catalogs a remarkable number of traditional rhythms from around the world that are Euclidean rhythms. The following table summarizes these findings, organized by the number of onsets. In some cases the rhythm as generated by the algorithm is a rotation of the traditional version—both belong to the same necklace (the same pattern, just started at a different point in the cycle).
| E(k,n) | Pattern | Rhythm Name | Origin / Usage |
|---|---|---|---|
| E(2,3) | [x . x] | Swing Tumbao conga | Afro-Cuban, Latin American (Cueca) |
| E(2,5) | [x . x . .] | Khafif-e-ramal | 13th c. Persian; Tchaikovsky's 6th Symphony; rotation used in Take Five (Brubeck) and Mars (Holst) |
| E(3,4) | [x . x x] | Cumbia / Calypso / Khalif-e-saghil | Colombia, Trinidad, 13th c. Persia, ancient Greece |
| E(3,5) | [x . x . x] | Khafif-e-ramal (rotation) | 13th c. Persian, Rumanian folk dance |
| E(3,7) | [x . x . x . .] | Ruchenitza | Bulgarian folk dance; Pink Floyd's Money |
| E(3,8) | [x . . x . . x .] | Tresillo / Habanera | Cuba, West Africa (Ewe), 1950s rockabilly; first bar of the Son clave |
| E(4,7) | [x . x . x . x] | Ruchenitza | Bulgarian folk dance |
| E(4,9) | [x . x . x . x . .] | Aksak | Turkey; Brubeck's Rondo a la Turk |
| E(4,11) | [x . . x . . x . . x .] | — | Frank Zappa's Outside Now |
| E(4,12) | [x . . x . . x . . x . .] | Fandango clapping | Flamenco music of southern Spain |
| E(5,6) | [x . x x x x] | York-Samai (rotation) | Popular Arab rhythm |
| E(5,7) | [x . x x . x x] | Nawakhat | Popular Arab rhythm |
| E(5,8) | [x . x x . x x .] | Cinquillo | Cuba, West Africa, jazz, 1950s rockabilly; rotation is the Spanish Tango and 13th c. Persian Al-saghil-al-sani |
| E(5,9) | [x . x . x . x . x] | Agsag-Samai | Arab; rotation used by Venda (South Africa) and in Rumanian folk dance |
| E(5,11) | [x . x . x . x . x . .] | — | Moussorgsky's Pictures at an Exhibition |
| E(5,12) | [x . . x . x . . x . x .] | Venda clapping pattern | South African children's song |
| E(5,16) | [x . . x . . x . . x . . x . . . .] | Bossa Nova (necklace) | Brazil |
| E(7,8) | [x . x x x x x x] | Bendir (frame drum) | Tuareg people of Libya |
| E(7,12) | [x . x x . x . x x . x .] | Bembé / Mpre | West African bell pattern (Ashanti, Ghana); rotation is the Tambú of Curaçao |
| E(7,16) | [x . . x . x . x . . x . x . x .] | Samba (necklace) | Brazil; rotation is a Ghanaian clapping pattern |
| E(9,16) | [x . x x . x . x . x x . x . x .] | Aka Pygmy / Ngbaka-Maibo | Central African Republic; rotation is a West/Central African rhythm and Brazilian samba cow-bell |
| E(11,24) | [x . . x . x . x . x . x . . x . x . x . x . x .] | Aka Pygmy | Central Africa |
| E(13,24) | [x . x x . x . x . x . x . x x . x . x . x . x .] | Aka Pygmy | Upper Sangha, Central Africa |
Source: Toussaint, G. "The Euclidean Algorithm Generates Traditional Musical Rhythms," Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science, 2005.
Key Insights
- Mathematical foundation: Euclidean rhythms are generated using an algorithm related to Euclid's method for finding the greatest common divisor (GCD) of two numbers.
- Maximal evenness: The algorithm produces the most even possible distribution of k onsets in n pulses.
- Cultural universality: These mathematically optimal rhythms appear independently in musical traditions across Africa, Latin America, the Middle East, and Eastern Europe.
- Rotational equivalence: All rotations of a Euclidean rhythm share the same maximal evenness property—they just start at different points in the cycle.
- Practical applications: Many drum machines and music software include Euclidean rhythm generators based on these principles.
Further Reading
- Toussaint, G. "The Euclidean Algorithm Generates Traditional Musical Rhythms" — The original paper
- Euclidean Rhythms (Medium article) — Detailed algorithm explanation with animations
- Pulse Lab — Generate and hear Euclidean rhythms and other rhythm types interactively
- Maximally Even Rhythms — Related lesson on the mathematics of even distributions