Another result of analyzing the score is that most of the sections entail a new tempo. However, these new tempi are not really precise metronomic indications. Tempi range varies from "Very Slow" - "Slower" - "Slow" - "Fast" - "Faster" - "Fast II", keeping an overall shape of the piece within the scheme Fas - Slow - Fast (A B A form). The ambiguity of tempi helps with adapting the music to the choreography speed.
For the same purpose of coordinating dance and music, the endings of each section allow some rhythmic flexibility. In general, the end of a section contains a monodic part, often accompained with a diminuendo and ritardando, that ends in a fermata, long sound or silence . This fact gives freedom to vary the length of each section to fit the choreography. An exception for this rule is the "Slow" section (bar 132) which is a long accelerando towards the rhythmical re-exposition of the piece.
Dynamics remain fairly stable throughout each section, that is, a single dynamic for the whole section. This stability evolves towards a greater activity (dynamical changes in the same section) in the end, in the re-exposition of fast sections. In any case, dynamic changes always affect both voices (right and left hands) and have a subito effect. There are just a few crescendi, and the written diminuendi are always related to a section ending. The last fact to emphasize on the dynamics is the relation between slow tempi and soft dynamics, and, by contrast, fast tempi and loud dynamics (with slight exceptions in this second case).
From a rhythmic point of view, it should be noted that a work with an African inspiration and such evident rhythmic character has a regular rhythm based on eight notes, sixteenth notes and quarters throughout the piece. Nevertheless, this writing was characteristic of Cage´s early stage: abundance of regular rhythms that are suddenly interrupted by irregular rhythmic events. These elements are, for example: the quarter triple in bar 28 (reinforced by a louder dynamic), or eighteenth notes triples, sixteenth notes triples and doted sixteenth notes in the re-exposition of "Fast". Another element that breaks rhythmic regularity is the use of rhythmic motives that measure different from the bar in which they are written. In this way, polyrhythms arise between these motives and the natural bar rhythm. A final element of rhythmic variety is the use of same materials in different measures, for example, the characteristic sixteenth notes bass line (A-Bb) written in 5/4, 4/4, 3/4, 6/8.