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3–2 clave (Play ⓘ) and 2–3 clave (Play ⓘ) written in cut-time. In Cuban popular music, a chord progression can begin on either side of the clave. When the progression begins on the three-side, the song or song section is said to be in 3–2 clave. When the chord progression begins on the two-side, it is in 2–3 claves.
From top: 2-3 clave, timbale bell, bongo bell, two congas. According to Bobby Sanabria, the 3–2, 2-3 concept and terminology was developed in New York City during the 1940s by Cuban-born Mario Bauzá, when he was music director of Machito's Afro-Cubans. [27] The 3–2, 2-3 concept is a basic tenet of salsa, but it is not widely used in Cuba ...
Rumba instrumentation has varied historically depending on the style and the availability of the instruments. The core instruments of any rumba ensemble are the claves, two hard wooden sticks that are struck against each other, and the conga drums: quinto (lead drum, highest-pitched), tres dos (middle-pitched), and tumba or salidor (lowest-pitched).
3-2 clave (Play ⓘ) and 2-3 clave (Play ⓘ) written in cut-time. When clave is written in two measures, as shown above, the measure with three strokes is referred to as the three-side, and the measure with two strokes—the two-side. When the chord progression begins on the three-side, the song, or phrase is said to be in 3-2 clave.
3-2 clave (Play ⓘ) and 2-3 clave (Play ⓘ) written in cut-time. The clave rhythmic pattern is used as a tool for temporal organization in Afro-Cuban music, such as rumba, conga de comparsa, son, mambo (music), salsa, Latin jazz, songo and timba.
For salsa, there are four types of clave rhythms, the 3-2 and 2-3 Son claves being the most important, and the 3-2 and 2-3 Rumba claves. Most salsa music is played with one of the son claves, though a rumba clave is occasionally used, especially during rumba sections of some songs.
The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with three of the clave's five strokes. [5] David García identifies the accents of "and-of-two" (in cut-time) on the three-side, and the "and-of-four" (in cut-time) on the two-side of the clave, as crucial contributions of Rodríguez's music. [ 6 ]
However, many innovations were made in the style of playing and the arrangements, especially on the bass (sometimes taking inspiration from non Cuban genres of music), the piano (with elements of baroque music such as Bach), the horns (complex arrangements known as "champolas"), and the use of the clave (where 2-3 son clave is the standard in ...