More functional music transcription is needed for the folkloric Egyptian ritual zar. This study attempts to unlock some of the complex rhythmic elaboration the zar, especially bi-meter and fluid emblement of the percussive ink line in each instrument. Although the folkloric nature of zar music, but unlike the usual simple temporal structure of such music, it is very complex. In transcribing such oral musical tradition, one is always faced with difficulty regarding announce music flow nature of folkloric music flow and writing it within the tradition of notation developed mainly to function for western classical music. The sample consists of four songs: Ricosha, Ywra Ya Amar, Mamma and Hakim Basha. We will discuss some of the challenges related to elaborative rhythmic and meter notation. In addition, negotiating/debating other possible notation’s solutions. Reductionist functional transcription is needed to move from a given temporal phase to the next, the duf and tabla mainly give the signal for such shift. When these songs are performed in a concert context, especially with non zar performers, they can use the suggested transcription enables the performers to re-live the actual folkloric flow and evocate its aesthetic.

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