Afro Cuban Rhythms Drums

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Washburne, Christopher (2020). Latin jazz: the other jazz. New York, NY: Oxford University Press. ISBN 978-0-19-751085-8. OCLC 1125295202. The time of the bell rhythm and its division into beats establish meter, a concept that implies a musical period." [30]

As with the rhythms that are played with the drums, each orisha has its own dance, the dance of Yemayá emulates the movement of the waves, the dance of Oggún the cut with the machete, the dance of Oshún represents the way in which she makes herself dressed in front of the hand mirror, etc. Therefore, these movements become more danceable prayers than what Western Europeans would refer to as a dance. For instance, the tresillo variation of the clave—specifically, its tension-building quality—is frequently utilized in build-ups before the drop. Washburne (2020). Latin Jazz. Oxford University Press. p.3. ISBN 978-0-19-751085-8. OCLC 1125295202. Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1sted.). Fulham, London: Flame Tree Publishing. p.148. ISBN 1-904041-96-5.The first Afro-Cuban based dance band to overtly explore the concept of clave counterpoint from an arranging standpoint. The ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement. [16] Courlander, Harold (1942). "Musical Instruments of Cuba". The Musical Quarterly. 28 (2): 238. doi: 10.1093/mq/XXVIII.2.227.

Rumba is considered "the quintessential genre of Cuban secular music and dance". [16] In 1985 the Cuban Minister of Culture stated that "rumba without Cuba is not rumba, and Cuba without rumba is not Cuba." [47] For many Cubans, rumba represents "a whole way of life", [48] and professional rumberos have called it "a national sport, as important as baseball". [49] The genre has permeated not only the culture of Cuba but also that of the whole of Latin America, including the United States, through its influence on genres such as ballroom rumba ("rhumba"), Afro-Cuban jazz and salsa. Countries currently bearing the names of the Republic of the Congo, the Democratic Republic of the Congo (formerly Zaire) and the Republic of Angola, as well as the Indian Ocean. But it was sub-Saharan West Africa that fed most of the island's slave population with men and women. The territories that today make up the countries of Senegal, Sierra Leone, Liberia, Ghana, Togo, Burkina Faso, Cameroon, Mali, Guinea, Benin and Nigeria, among others, made cultural and religious contributions. a b McAuslan, Fiona; Norman, Matthew (2003). "Cuban music". The Rough Guide to Cuba (2nded.). London, UK: Rough Guides. p.532. When one hears triple-pulse rhythms in Latin jazz the percussion is most often replicating the Afro-Cuban rhythm bembé. The standard bell is the key pattern used in bembé and so with compositions based on triple-pulse rhythms, it is the seven-stroke bell, rather than the five-stroke clave that is the most familiar to jazz musicians. Consequently, some North American musicians refer to the triple-pulse standard pattern as " 6 Bass drum strokes follow the bass pattern, the "Tumbao", which is rhythmically similar in many Afro Cuban and Latin rhythms.

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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." [21] 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. The first bossa nova single to achieve international popularity was perhaps the most successful of all time, the 1964 Getz/Gilberto recording " The Girl From Ipanema", edited to include only the singing of Astrud Gilberto, Gilberto's then wife. The genre would withstand substantial "watering down" by popular artists throughout the next four decades. Rumba clave [ edit ] Rumba clave in duple-pulse and triple-pulse structures Play duple ⓘ and triple ⓘ guajeo: offbeat/onbeat motif, written in cut-time ( Play ⓘ) Chord progression begins on the two-side (2–3) [ edit ] Clave motif [ edit ]