Afro Cuban Rhythms Drums

Product Information

The following afrobeat guitar part is a variant of the 2–3 onbeat/offbeat motif. [84] Even the melodic contour is guajeo-based. 2–3 claves are shown above the guitar for reference only. The clave pattern is not ordinarily played in afrobeat. Bass drum strokes follow the bass pattern, the "Tumbao", which is rhythmically similar in many Afro Cuban and Latin rhythms. It should be mentioned at the outset that the history of rumba is filled with so many unknowns, contradictions, conjectures and myths which have, over time been taken as fact, that any definitive history of the genre is probably impossible to reconstruct. Even elders who were present at historic junctures in rumba’s development will often disagree over the critical details of its history. Mauleón (1999: 4) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4. Triple-pulse son clave is the least common form of clave used in Cuban music. It is, however, found across an enormously vast area of sub-Saharan Africa. The first published example (1920) of this pattern identified it as a hand-clap part accompanying a song from Mozambique. [51] Cross-rhythm and the correct metric structure [ edit ]

Going only slightly into the rhythmic structure of our music we find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak—Grenet (1939). [21] Manuel, Peter (2009: 69). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.

I Got Rhythm

In his presence no one can undress or even think about the pleasures of the flesh; one cannot speak rudely or establish fights. He enjoys great prestige among mortals and his children are subjected to absolutely rigid and austere behavior. She is particularly adored in Santiago de Cuba. Eleguá in Cuban music. [31] When written this way, each cell or clave half is represented within a single measure. Eyre, Banning (2006: 9). "Highlife guitar example" Africa: Your Passport to a New World of Music. Alfred Pub. ISBN 0-7390-2474-4

Moore, Robin (2006). Music and Revolution: Cultural Change in Socialist Cuba. Berkeley and Los Angeles: University of California Press. p.64. ISBN 9780520247109. The Cuban influence is evident in many pre-1940s jazz tunes, but rhythmically, they are all based on single-celled motifs such as tresillo, and not do not contain an overt two-celled, clave-based structure. " Caravan", written by Juan Tizol and first performed in 1936, is an early proto-Latin jazz composition. It is not clave-based. Salazar, Max (Feb 1997). "La Descarga Cubana - The Beginning and Its Best". Latin Beat Magazine 7 (9). The first band to explore jazz arranging techniques with authentic Afro-Cuban rhythms on a consistent basis giving it a unique identifiable sound that no other band in the genre of Afro-Cuban based dance music had at the time. Cuban big band arranger Chico O'Farill stated: "This was a new concept in interpreting Cuban music with as much (harmonic) richness as possible. You have to understand how important this was. It made every other band that came after, followers." [15] Since this chord progression begins on the three-side, the song or song section is said to be in 3–2 clave.Top: 2–3 clave. Bottom: afrobeat guitar part. Play ⓘ Guide-patterns in Cuban versus non-Cuban music [ edit ] According to Cuban rumba master and historian Gregorio "El Goyo" Hernández, columbia originated from the drum patterns and chants of religious Cuban Abakuá traditions. The drum patterns of the lowest conga drum is essentially the same in both columbia and Abakuá. The rhythmic phrasing of the Abakuá lead drum bonkó enchemiyá is similar, and in some instances, identical to columbia quinto phrases. [62] Abakuá bonkó phrase which is also played by the quinto in Columbia. This provides a rhythmic contrast to the typically slower melodic elements and contributes to trap’s characteristic sound. Students will listen to various recordings of “Afro Blue” and discuss similarities and differences in interpretations. Cuban folkloric musicians do not use the 3–2/2–3 system. Many Cuban performers of popular music do not use it either. The great Cuban conga player and bandleader Mongo Santamaría said, "Don’t tell me about 3–2 or 2–3! In Cuba, we just play. We feel it, we don’t talk about such things." [66] In another book, Santamaría said, "In Cuba, we don’t think about [clave]. We know that we’re in a clave. Because we know that we have to be in clave to be a musician." [67] According to Cuban pianist Sonny Bravo, the late Charlie Palmieri would insist that "There’s no such thing as 3–2 or 2–3, there’s only one clave!" [68] The contemporary Cuban bassist, composer and arranger Alain Pérez flatly states: "In Cuba, we do not use that 2–3, 3–2 formula... 2–3, 3–2 [is] not used in Cuba. That is how people learn Cuban music outside Cuba." [69] In non-Cuban music [ edit ] Controversy over use and origins [ edit ]

Mauleón, Rebeca (1993). Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4. The clave pattern holds the rhythm together in Afro-Cuban music. [10] The two main clave patterns used in Afro-Cuban music are known in North America as son clave and the rumba clave. [a] Both are used as bell patterns across much of Africa. [12] [13] [14] [15] Son and rumba clave can be played in either a triple-pulse ( 12

Latin Styles

Since its early days, the genre's popularity has been largely confined to Cuba, although its legacy has reached well beyond the island. In the United States, it gave its name to the so-called "ballroom rumba", or rhumba, and in Africa, soukous is commonly referred to as " Congolese rumba" (despite being actually based on son cubano). Its influence in Spain is testified by rumba flamenca and derivatives such as Catalan rumba. a b McAuslan, Fiona; Norman, Matthew (2003). "Cuban music". The Rough Guide to Cuba (2nded.). London, UK: Rough Guides. p.532. Begin by showing the beginning clip of Zili Misik (00:00-01:47) After viewing the clip, analyze and discuss the following: The] clave pattern has two opposing rhythm cells: the first cell consists of three strokes, or the rhythm cell, which is called tresillo (Spanish tres = three). This rhythmically syncopated part of the clave is called the three-side or the strong part of the clave. The second cell has two strokes and is called the two-side of the weak part of the clave. . . The different accent types in the melodic line typically encounter with the clave strokes, which have some special name. Some of the clave strokes are accented both in more traditional tambores batá -music and in more modern salsa styles. Because of the popularity of these strokes, some special terms have been used to identify them. The second stroke of the strong part of the clave is called bombo. It is the most often accented clave stroke in my research material. Accenting it identifies the three-side of the clave. [32] The second common clave stroke accented among these improvisations is the third stroke of the strong part of the clave. This stroke is called ponche. In Cuban popular genres, this stroke is often accented in unison breaks that transition between the song sections. [33] [34] The third typical way to accent the clave strokes is to play a rhythm cell, which includes both bombo and ponche accents. This rhythm cell is called [the] conga pattern [35] [36] [37] [38] Main article: Afro-Cuban jazz "Spanish tinge"—The Cuban influence in early jazz and proto-Latin jazz [ edit ]

The clave is the foundation of reggae, reggaeton, and dancehall. In this sense, it is the “heartbeat” that underlies the essence of these genres. [9] The rhythms and vibrations are universalized in that they demonstrate a shared cultural experience and knowledge of these roots. Ultimately, this embodies the diasporic transnational exchange.

Learn to read the drum sheet music

Technically speaking, the term odd meter clave is an oxymoron. Clave consists of two even halves, in a divisive structure of four main beats. However, in recent years jazz musicians from Cuba and outside of Cuba have been experimenting with creating new "claves" and related patterns in various odd meters. Clave which is traditionally used in a divisive rhythm structure, has inspired many new creative inventions in an additive rhythm context. For 3rd example above, the clave pattern is based on a common accompaniment pattern played by the guitarist. B=bass note played by guitarist's thumb, C=chord played by fingers. Moore, Robin (2006). Music and Revolution: Cultural Change in Socialist Cuba. Oakland, CA: University of California Press. p.280. ISBN 9780520247109. Many of the rhythmic innovations in Cuban popular music, from the early twentieth century, until present, have been a matter of incorporating rumba elements into the son-based template. For example, bongos incorporating quinto phrases are heard on 1920s recordings of son. Several of the timbales cowbell parts introduced during the mambo era of the 1940s are Havana-style guaguancó guagua patterns: