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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 ...
The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [2] [3]Tresillo-based tumbao from "Alza los pies Congo", by Septeto Habanero (1925).
Another name for clave is guide-pattern, and that is how Bauzá related to it. He taught Tito Puente, and Puente's arrangers learned from him. [15]: 248 The techniques were passed down from one generation to the next. Many educated Cuban musicians reject the idea of 3-2/2-3 clave. Dafnis Prieto and Alain Pérez reject the concept.
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.
Bell pattern for Havana-style conga de comparsa, written in 2-3 clave sequence. NY-style Mozambique bell pattern in 2-3 clave. The NY Mozambique bell is nearly identical to the basic songo stick pattern. [13] [See: "Basic Songo for Drum Kit" (Ignacio Berroa). The only difference is the stroke on main beat 3, sounded in the
The Bo Diddley beat is a variation of the 3-2 clave, one of the most common bell patterns found in Afro-Cuban music that has been traced to sub-Saharan African music traditions. [10] It is also akin to the rhythmic pattern known as "shave and a haircut, two bits", [11] that has been linked to Yoruba drumming from West Africa.
Pattern 2 is used by the Yoruba and Igbo people of Nigeria. [32] Pattern 3 is the bell part in fufume . [33] Pattern 4 is used by the Ga people (Ghana) for the rhythm gahu. [34] Patterns 3 and 5 are used in the Ghanaian rhythm kpanlogo. [35] Patterns 2 and 3 are known in Cuba as rumba clave and son clave respectively.