The Berbers often sing in parallel fourths (also in thirds and fifths); the first piece is a good example of this tendency.
The accompaniment includes, as well as the benadir, a large copper tray placed upside down on the matting; this was hit with two tea glasses, one held in each hand. Toward the end of this ·number, a young man of seventeen or so, carried away by the excitement of ·the dance, (two girls were dancing opposite one another) suddenly threw himself into . the circle and began to dance with them. The crowd appreciated this; their approval can be heard.
The performers insisted that there were three pieces here, and· indeed there are two definite breaks. Still, the listener is· inclined to consider it one piece in three parts. The· enormous tent in· which the recordings were made was jammed to bursting with spectators.
Source: Bowles, Paul F. "Ain ed Diab." in Folk, Popular, and Art Music of Morocco. The Paul Bowles Moroccan Music Collection. Washington, DC: American Folklife Center, Library of Congress, 1959-1962.
The Paul Bowles Moroccan Music Collection (AFC 1960/001), American Folklife Center, Library of Congress, Washington, D.C., Courtesy of the Paul Bowles Estate and Irene Hermann / Tangier American Legation Institute for Moroccan Studies