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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.
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.
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
The "Bo Diddley beat" is essentially the clave rhythm, one of the most common bell patterns found in sub-Saharan African music traditions. [110] One scholar found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948. [111] Bo Diddley gave different accounts of how he began to use this ...
The habanera rhythm is the duple-pulse correlate of the vertical hemiola (above). The three cross-beats of the hemiola are generated by grouping triple pulses in twos: 6 pulses ÷ 2 = 3 cross-beats. Tresillo is generated by grouping duple pulses in threes: 8 pulses ÷ 3 = 2 cross-beats (consisting of three pulses each), with a remainder of a ...
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 ...
On this recording, someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2–3 song. [6] This recording is the last one Pozo made of "Manteca"; he was shot and killed in a Harlem bar two months later. [7] The Spanish word manteca is an Afro-Cuban slang term for heroin. [8]
The song's beats are said to resemble the popular four-beat of house music, but in fact follows the 3–2 or 2–3 of Afrobeats. This beat is known as the clave and mixes a rhythm with a normal 4/4 beat, it is commonly seen in many forms West African music.