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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.
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 ...
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. As an example of how a clave fits within the 8 beats of a salsa dance, the beats of the 2-3 Son clave are played on the counts of 2, 3, 5, the "and" of 6, and 8.
Bo Diddley beat takes its name from Bo Diddley and his eponymous song. The Bo Diddley beat is a syncopated musical rhythm that is widely used in rock and roll and pop music. [1] [2] [3] The beat is named after rhythm and blues musician Bo Diddley, who introduced and popularized the beat with his self-titled debut single, "Bo Diddley", in 1955.
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 ...
Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. [1] [2] Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only ...
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 clave. In North America, salsa and Latin jazz charts commonly represent clave in two measures of cut-time (2/2); this is most likely the influence of jazz conventions. [14]
Bauzá developed the 3-2/2-3 clave concept and terminology. A chord progression can begin on either side of 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 clave. [15]: 133–137