Afro Cuban Rhythms Drums

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Leymarie, Isabelle (1985). "Salsa and Latin jazz". In Quill (ed.). Hot Sauces: Latin and Caribbean Pop. New York. pp.94–115. ISBN 0-688-02193-X. {{ cite book}}: CS1 maint: location missing publisher ( link) Like clave, the standard pattern is expressed in both triple and duple-pulse. The standard pattern has strokes on:

Bobby Sanabria, posting to the Latinjazz discussion list (2008). http://launch.groups.yahoo.com/group/latinjazz/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. Rhythm dedicated to Babalú Ayé, one of the most devout deities of the Yorubá Pantheon in Cuba. Orisha, the greatest and most revered saint. Its name is of Lucumí origin, also known as Agróniga. In the Cuban province of Matanzas, one of the strongest folkloric provinces on the island, the heirs of Arará, play the Asojín drum for Babalú Ayé. It is received directly by the descendants of Arará. Toque Yewuá Mauleón, Rebeca (1993: 52) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.

Leymarie, Isabelle (1995). Du tango au reggae: Musiques noires d'Amérique latine et des Caraïbes. Paris: Flammarion. ISBN 2082108139. St. Louis Blues" (1914) by W. C. Handy has a habanera-tresillo bass line. Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori": "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting a similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues", the instrumental copy of "Memphis Blues", the chorus of "Beale Street Blues", and other compositions. [6] Jelly Roll Morton considered the tresillo-habanera (which he called the Spanish tinge) to be an essential ingredient of jazz. [7] The habanera rhythm can be heard in his left hand on songs like "The Crave" (1910, recorded 1938). rumba clave is the archetypal form of the guide pattern. Even when the drums are playing in duple-pulse ( 4

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clave in several different ways. The ethnomusicologist Arthur Morris Jones correctly identified the importance of this key pattern, but he mistook its accents as indicators of meter rather than the counter-metric phenomena they are. Similarly, while Anthony King identified the triple-pulse "son clave" as the ‘standard pattern’ in its simplest and most basic form, he did not correctly identify its metric structure. King represented the pattern in a polymetric 7+5

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. Leymarie, Isabelle (2002). Cuban Fire: The Story of salsa and Latin jazz. New York: Continuum. ISBN 0826455867. Jottar, Berta. 2008. "The Routes of Rumba." http://www.rumbosdelarumba.com (accessed May 27, 2009). 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] 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]Rumba songs consist of two main sections. The first, the canto, features the lead vocalist, performing an extended text of verses that are sometimes partially improvised. The lead singer usually plays claves. [22] The first section may last a few minutes, until the lead vocalist signals for the other singers to repeat the short refrain of the chorus, in call and response. This second section of the song is sometimes referred to as the montuno. Rumba Clave: An Illustrated Analysis", Rumba Clave, BlogSpot. January 21, 2008. "One thing is certain: What you see in standard western notation as written-clave is a long way from what's played."

Daniel, Yvonne (2003). Dance and Social Change. The Cuba Reader, Chomsky, Carr & Smorkaloff: Duke University Press. pp.466–474. ISBN 0822331977. The clave rhythm and clave concept have been used in some modern art music ("classical") compositions. "Rumba Clave" by Cuban percussion virtuoso Roberto Vizcaiño has been performed in recital halls around the world. Another clave-based composition that has "gone global" is the snare drum suite "Cross" by Eugene D. Novotney. The first regular use of the rumba clave in Cuban popular music began with the mozambique, created by Pello el Afrikan in the early 1960s. When used in popular music (such as songo, timba or Latin jazz) rumba clave can be perceived in either a 3–2 or 2–3 sequence. a b Gerard, Charley (2001). Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States. Westport, CT: Praeger Publishers. pp.25–26. ISBN 9780275966829.Kevin Moore states: "There are two common ways that the three-side is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm." [61] The following guajeo example is based on a clave motif. The three-side (first measure) consists of the tresillo variant known as cinquillo. According to drummer Bobby Sanabria the Brazilian composer Antonio Carlos Jobim, who developed the pattern, considers it to be merely a rhythmic motif and not a clave (guide pattern). Jobim later regretted that Latino musicians misunderstood the role of this bossa nova pattern. [85] Other Brazilian examples [ edit ] Moore, Kevin (2010: 72). Beyond Salsa Piano; The Cuban Timba Revolution. v. 3 Cuban Piano Tumbaos (1960–1979). Santa Cruz, CA: Moore Music/Timba.com. ISBN 1-4505-4553-X