understanding, the technique of cross rhythm is a highly developed systematic interplay of varying rhythmic motions simulating the dynamics of contrasting moments or emotional stress phenomena likely to occur in actual human existence. As a preventive prescription for extreme uneasiness of mind or self-doubt about one's capacity to cope with impending or anticipated problems, these simulated stress phenomena or cross-rhythmic figures are embodied in the art of dance-drumming as mind-nurturing exercises to modify the expression of the inherent potential of the human thought in meeting the challenges of life. The premise is that by rightly instituting the mind in coping with these simulated emotional stress phenomena, intrepidity is achieved. Intrepidness, or resolute fearlessness, in Anlo-Ewe view, is an extraordinary strength of mind. It raises the mind above the troubles, disorders, and emotions the anticipation or sight of great perils strives to excite. By this strength, ordinary people become heroes by maintaining themselves in a tranquil state of mind and preserving the free use of their reason under most surprising and terrible circumstances—Ladzekpo (1995: Web). 3:2 (hemiola) The most fundamental cross-rhythm in Ewe music, and Sub-Saharan African music traditions in general, is three-against-two (3:2), or six-against-four (6:4), also known as a vertical hemiola. The cycle of two or four beats are the main beat scheme, while the triple beat scheme is secondary. Ladzekpo states: "The term secondary beat scheme refers to a component beat scheme of a cross rhythm other than the main beat scheme. In a similar manner as a main beat, each secondary beat is distinguished by measuring off a distinct number of pulsations. A recurrent grouping of a number of these beats in a musical period forms a distinct secondary beat scheme." We have to grasp the fact that if from childhood you are brought up to regard beating 3 against 2 as being just as normal as beating in synchrony, then you develop a two dimensional attitude to rhythm… This bi-podal conception is… part of the African's nature—Jones (1959: 102) Novotney observes: "The 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics." 3:2 is the generative or theoretic form of sub-Saharan rhythmic principles. Agawu succinctly states: "[The] resultant [3:2] rhythm holds the key to understanding . . . there is no independence here, because 2 and 3 belong to a single Gestalt." 3:8 The following bell pattern is