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Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. [ 12 ] [ 13 ] The example below shows a tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925).
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). Play ⓘ Often the last note of the measure is held over the downbeat of the next measure.
The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional 4 4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence:
Tresillo is a cross-rhythmic fragment. It contains the first three cross-beats of the four-over-three cross-rhythm. [44] Tresillo written in divisive form: 8 ÷ 3. Tresillo written in additive form: 3 + 3 + 2. Although the difference between the two ways of notating this rhythm may seem small, they stem from fundamentally different conceptions.
[7]: 16 Early New Orleans jazz bands had habaneras in their repertoire, and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis said that the tresillo is the New Orleans clave. [8] "St.
Placing this rhythm in a 2/4 measure produces a strongly syncopated character from the sustained note which replaces an articulated one on the first quarter of the second beat. Cinquillo is an embellishment of the more basic pattern known as tresillo. Cinquillo is shown twice below. The first one merely displays the note values.
In African music, this is a cross-rhythmic fragment generated through cross-rhythm: 8 pulses ÷ 3 = 2 cross-beats (consisting of three pulses each) with a remainder of a partial cross-beat (spanning two pulses). In divisive form, the strokes of tresillo contradict the beats while in additive form, the strokes of tresillo are the beats. From a ...
The most common tuplet [9] is the triplet (German Triole, French triolet, Italian terzina or tripletta, Spanish tresillo).Whereas normally two quarter notes (crotchets) are the same duration as a half note (minim), three triplet quarter notes have that same duration, so the duration of a triplet quarter note is 2 ⁄ 3 the duration of a standard quarter note.