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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 ...
Download as PDF; Printable version; In other projects Wikidata item; ... 3:2 Son clave and 3:2 Rumba clave). Also different from salsa is the frequent shift from ...
Download as PDF; Printable version; ... Patterns 2 and 3 are known in Cuba as rumba clave and son clave respectively. ... Bottom: common mambo bell pattern (2-3 clave).
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. The five-stroke clave pattern (distributed in groups of 3 + 2 or 2 + 3 beats) represents the structural core of many Afro-Cuban rhythms. [99]
His compositions are clearly based on the key pattern known in Cuba as clave, a Spanish word for 'key', or 'code'. 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.
There are many variations on the basic tumbao. For example, a very common variant sounds a single open tone with the third stroke of clave (ponche), and two tones preceding the three-side of clave. The specific alignment between clave and this tumbao is critical. Top: clave. Bottom: basic conga tumbao on one drum.
Although rumba is played predominantly in binary meter (duple pulse: 2 4, 4 4), triple meter (triple pulse: 9 8, 3 4) is also present. In most rumba styles, such as yambú and guaguancó, duple pulse is primary and triple-pulse is secondary. [18] In contrast, in the rural style columbia, triple pulse is the primary structure and duple pulse is ...