• Develop your performance by analyzing theoretical and practical concepts
  • Improve your musical knowledge and instrumental technique
  • Acquire the tools (tetrachord modes) to develop improvisation techniques (taqsim)
  • Explore the different methods of interpretations
  • Develop your analytical and listening skills
  • Extend your practice of classical Arabic music through different modes of playing


This is an innovative teaching method, which will be articulated by following 3 pedagogical methods :
> Analysis of melodic lines and rhythmic structures
> Sessions to develop modes of interpretation and improvisation
> Sessions to put into practice what has been learned at the end of each day.


Scores will be sent to you upon receipt of your registration.

1. Two- and three-unit rhythms (active, semi-active, non-active
2. Binary rhythms Ayub, Karachi, Malfouf…
3. Samai thaqeel rhythm (10/8, subdivided 3+2+2+3)
4. Rythmes en 6/8: Darej khaliji, Darej masri, Mizan al darj, Okruk…
5. Rhythms in 7/8 (Mandira: 2+2+3, then 2+3+2 and 3+2+2)
6. Georgina rhythm (Iraq), polyrhythms…


Each participant will bring, if possible, an oriental percussion instrument (Riqq, Daf, Darbouka…). If necessary percussion instruments can be provided by the organization.



Youssef is often to be found performing at Ahmad’s side. Born in Galilee, he met Ahmad at the Edward Said National Conservatory of Music in East Jerusalem. For ten years, he also taught at the Beit Almusica Conservatory in Shefa’amr, Galilee, where he ran master classes and percussion therapy workshops. He now lives in Paris, but his numerous collaborations have taken him all over the world. He has composed for the theatre and the cinema and has accompanied the likes of Karloma, the Oriental Music Ensemble, Simon Shaheen, Süleyman Erguner, Aka Moon, Issa Hassan, Khaled, Lena Chamamyan, Dorsaf Hamdani, Ibrahim Maalouf, Sister Marie Keyrouz, Lo Còr de la Plana and Manu Théron, Rula Safar, Bratsch, Abed Azrié, the Khoury Project and Philippe El Hage. He is also the fourth pillar of Le Trio Joubran.

At every concert, the audience are blown away by his tenacious dexterity, and the enormous pleasure radiating from his improvisation is infectious. With each project, Ahmad continues to be in awe of the thirst for music and experimentation of his fellow musician, whose creativity nourishes his inspiration. An instinctive musician, Youssef Hbeisch can immediately find his way around any piece of music, stamping his personal mark during the collective stage of its creation. This mark, forged from the discoveries made along the way since his earliest childhood, is composed of many influences, Latin, Indian, African, Brazilian, as well as more personal memories, such as his mother sieving grain. Youssef has drawn on his own culture to develop polyrhythms and polymetres which he has enriched and embellished by virtue of his ever lively curiosity. In keeping with the compositional spirit of Zabad, Youssef wanted to preserve the idea of a traditional sound. Making use only of the customary Darbuka, Bendir and Riqq, he has added some cymbals and bells to enhance the vibrancy and mood. He has also retained a rhythmic expression and a range of techniques which define his distinctive style.

His playing provides the compositions with a framework as well as a sublime sheath of sound: the contrast between the sharp movements he stamps out on the Riqq and the laments he draws from the Bendir will bring a lump to the throat of the most cerebral amongst us.

• Teacher for percussion and oriental rhythms at the Edward Said Conservatory 1997-2006
• Teacher for percussion and oriental rhythms at Beit al Musica 1996-2006
• Teacher of rhythms through workshops and master classes: University of Gothenburg- Gothenburg/Sweden, Guildhall school- London/England, Les Suds à Arles

• Doors and Keys for oriental rhythms : Composed by Youssef Hbeisch, published by Beit al Musica and the Edward said national Conservatory.
•, Website for Arabic music theory and improvisation