Afro Cuban Rhythms Drums

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Guaguancó is the most popular and influential rumba style. It is similar to yambú in most aspects, having derived from it, [59] but it has a faster tempo. The term "guaguancó" originally referred to a narrative song style (coros de guaguancó) which emerged from the coros de clave of the late nineteenth and early twentieth centuries. Rogelio Martínez Furé states: “[The] old folks contend that strictly speaking, the guaguancó is the narrative." [60] The term guaguancó itself may derive etimologically from the guagua instrument. [59] Centro de Investigación de la Música Cubana (1997: 63) Instrumentos de la Música Folclórico-Popular de Cuba v. 1. Havana: CIDMUD. Recorded examples of "son clave" used in guaguancó: “Ultima rumba", Festival in Havana, Piñiero, Ignacio with Carlos Embale (1955: CD). “Ague que va caer”, Patato y Totico, Patato (1968: CD). Mauleón, Rebeca (2005). Salsa Guidebook for Piano and Ensemble. Petaluma, CA: Sher Music Co. p.179. ISBN 9781457101410.

The third branch comes from the United States. An important North American contribution to clave theory is the worldwide propagation of the 3–2/2–3 concept and terminology, which arose from the fusion of Cuban rhythms with jazz in New York City. [24] structure. [b] The contemporary Cuban practice is to write the duple-pulse clave in a single measure of 4 Understanding HispanicLeymarie, Isabelle (1995). Du tango au reggae: Musiques noires d'Amérique latine et des Caraïbes. Paris: Flammarion. ISBN 2082108139. In early post-revolutionary times, spontaneous rumba might have been considered problematic due to its attraction of large groups at unpredictable and spontaneous times, which caused traffic congestion in certain areas and was linked with fights and drinking. The post-revolutionary government aimed to control this "by organizing where rumba could take place agreeable and successfully, the government, through the Ministry of Culture, moved to structurally safeguard one of its major dance/music complexes and incorporate it and Cuban artists nearer the core of official Cuban culture." [36] This change in administering rumba not only helped organize the dances but also helped it move away from the negative connotation of being a disruptive past time event.

Toussaint, Godfried, "The Rhythm that Conquered the World: What Makes a 'Good' Rhythm Good?", Percussive Notes. Web. time signature. [52] Anthony King's polymetric representation of triple-pulse "son clave" ( Play ⓘ) Introduce students to the original recording of Santamaria’s composition “Afro Blue”. After listening, analyze and discuss the following: The examples below are transcriptions of several patterns resembling the Cuban clave that is found in various styles of Brazilian music, on the ago-gô and surdo instruments. Sublette, Ned (2007), Cuba and Its Music: From the First Drums to the Mambo, p.134. ISBN 978-1-55652-632-9. Shown with tied sixteenth & eighth note rather than rest.The contemporary style of lead drum accompaniment for the chekeré ensemble known as agbe or guiro, is played on the high-pitched quinto, instead of the lower-pitched tumba as was done in earlier times. The part has evolved away from the bembé caja (lead drum) vocabulary towards quinto-like phrases. [53] In reality, as Peñalosa explains in great detail in The Clave Matrix, there’s really only son and rumba clave, each of which can be played with a pure triple pulse structure feel, a pure duple pulse structure feel or somewhere in‐between. Needless to say, the terms son and rumba came much later." [16] Dance also becomes prayer within the religious context of a bambé. The movements of the dances are the same movements that have been associated with the Orishas for thousands of years. The first descarga that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauza, Machito's trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play El Botellero composition and arrangements of the Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune.

One of the most difficult applications of the clave is in the realm of composition and arrangement of Cuban and Cuban-based dance music. Regardless of the instrumentation, the music for all of the instruments of the ensemble must be written with a very keen and conscious rhythmic relationship to the clave . . . Any 'breaks' and/or 'stops' in the arrangements must also be 'in clave'. If these procedures are not properly taken into consideration, then the music is 'out of clave' which, if not done intentionally, is considered an error. When the rhythm and music are 'in clave', a great natural 'swing' is produced, regardless of the tempo. All musicians who write and/or interpret Cuban-based music must be 'clave conscious', not just the percussionists—Santos (1986). [20] Clave theory [ edit ]

Variation of Bembé with 3 Shekeres of different tones creating interesting rhythmic figures Toque de Guiro versions of each clave share the same pulse names. The correlation between the triple-pulse and duple-pulse forms of clave, as well as other patterns, is an important dynamic of sub-Saharan-based rhythm. Every triple-pulse pattern has its duple-pulse correlative. Latin jazz music, like most types of jazz music, can be played in small or large groups. Small groups, or combos, often use the bebop format made popular in the 1950s in America, where the musicians play a standard melody, many of the musicians play an improvised solo, and then everyone plays the melody again. Prominent Latin jazz big bands include Arturo O'Farrill's Afro-Latin Jazz Orchestra, Bobby Sanabria's Multiverse Big Band, Raices Jazz Orchestra, Mambo Legends Orchestra, Pacific Mambo Orchestra, as well as others. In Latin jazz bands, percussion is often featured in solos. Contemporary Latin jazz pieces by musicians such as Hermeto Pascoal are mostly composed for these small groups, with percussion solos as well as many wind-instrumentals. [25] Latin Jazz as Global Music [ edit ]

The basis of Afro Cuban rhythms is always a combination of various percussion sets (congas, timbales, bongo) that, together with electric or acoustic bass, set the typical Salsa sound. A chord progression can begin on either side of the clave. One can, therefore, be on either the three-side or the two-side because the harmonic progression, rather than the rhythmic progression, is the primary referent. [62] The following guajeo is based on the clave motif in a 2–3 sequence. The cinquillo rhythm is now in the second measure.Eyre, Banning (2006: 9). "Highlife guitar example" Africa: Your Passport to a New World of Music. Alfred Pub. ISBN 0-7390-2474-4