This proposal is for a poster presenting a novel transcription method for world percussion that employs the operational metaphor of a weave. Informed by conceptualizations of additive timelines (Kubik, 1999), metric matrices (Locke, 2011), megarhythm (Nzewi, 1997) and rhythmic archetypes (Burns, 2010), weave notation conveys the complex, holistic interplay of ensemble parts, with pedagogical applications as a creative and analytical tool to engage students of all ages. Here, TUBS (Time Unit Box System) notation is transformed so that onset attacks are represented with a color: each colored “weft” corresponds to a specific instrument, governed by a repeating horizontal pattern of onsets. The “warp” vertically threads a repeating isochronous pattern of main beats, interspersed with the bell pattern timeline. The resultant color-coded metric matrix, with its structural/geometric interpretation of rhythm, underscored by a clear downbeat referent, offers a glimpse of music’s beguiling aesthetic beauty, and provides a framework to analyze and communicate the foundational, interwoven musical fabric of reciprocal accompaniment.This poster will feature examples of weaves representing the supporting ensemble parts for various West African dance-drumming compositions. And attendees will be invited to create their own weaves on paper and on a drum sequencer that I will make available. Visualizing a repeating polyrhythmic sequence as a continuous weave reveals coinciding alignments and alternating syncopations that comprise a recurring arc of tension and release. Hopefully, by seeing everything all at once, we may better hear everything all at once, deepening our understanding of polyrhythmic musics so that they can be performed and appreciated in culturally consonant ways, building bridges of understanding for students who are not adept at deciphering Western staff notation, building bridges between the auditory and visual realms, building bridges from prior knowledge to new learning.