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Afro Cuban Rhythms Drums

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Porter, Lewis (1993). Jazz: from its origins to the present. Michael Ullman, Ed Hazell. Englewood Cliffs, N.J.: Prentice Hall. ISBN 0-13-092776-7. OCLC 26850817. The third branch comes from the United States. An important North American contribution to clave theory is the worldwide propagation of the 3–2/2–3 concept and terminology, which arose from the fusion of Cuban rhythms with jazz in New York City. [24] Listen to other versions of “Afro Blue” (links to additional versions listed in suggested online listening resources above). Have students compare to the original Santamaria recording and discuss similarities and differences. Leymarie, Isabelle (1985). "Salsa and Latin jazz". In Quill (ed.). Hot Sauces: Latin and Caribbean Pop. New York. pp.94–115. ISBN 0-688-02193-X. {{ cite book}}: CS1 maint: location missing publisher ( link) Washburne (2020). Latin Jazz. Oxford University Press. p.3. ISBN 978-0-19-751085-8. OCLC 1125295202.

a b Gerard, Charley (2001). Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States. Westport, CT: Praeger Publishers. pp.25–26. ISBN 9780275966829. Rodríguez, Arturo (2011). Traditional Afro-Cuban Concepts in Contemporary Music. Pacific, MO: Mel Bay. p.21. ISBN 9781610658881. If you’ve been paying attention, it’s clear that claves aren’t exclusively used in Afro-Cuban music—these rhythms are used everywhere and have even inspired entire genres. The clave pattern holds the rhythm together in Afro-Cuban music. [10] The two main clave patterns used in Afro-Cuban music are known in North America as son clave and the rumba clave. [a] Both are used as bell patterns across much of Africa. [12] [13] [14] [15] Son and rumba clave can be played in either a triple-pulse ( 12 Begin by showing the beginning clip of Zili Misik (00:00-01:47) After viewing the clip, analyze and discuss the following:

The 10 essential sounds of Cuba:

Washburne, Christopher (2020). Latin jazz: the other jazz. New York, NY: Oxford University Press. ISBN 978-0-19-751085-8. OCLC 1125295202. Dance also becomes prayer within the religious context of a bambé. The movements of the dances are the same movements that have been associated with the Orishas for thousands of years. Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1sted.). Fulham, London: Flame Tree Publishing. p.148. ISBN 1-904041-96-5. The 3–2/2–3 concept and terminology was developed in New York City during the 1940s by Cuban-born Mario Bauza while he was the music director of Machito and his Afro-Cubans. [63] Bauzá was a master at moving the song from one side of the clave to the other. Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. In August 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. The jams which took place at the Royal Roots, Bop City and Birdland between 1948 and 1949, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard-of-before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz.

Garrett, Charles Hiroshi (2008). Struggling to Define a Nation: American Music and the Twentieth Century, p.54. ISBN 978-0-520-25486-2. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest. Clave direction is relative while clave alignment is absolute. If you walk from New York to Miami, you're walking south; if you walk from Miami to New York, you're walking north. But if you put your left shoe on your right foot, (i.e., if your shoes are cruzado), it's going to be a very awkward walk in either direction. Your shoes remain "aligned" (or misaligned) with your feet regardless of the direction your feet are taking you, and regardless of how poorly they fit. [65] Española, Real Academia (1920). "Rumbantela". Boletín de la Real Academia Española (in Spanish). VII (VII): 305. Two institutions that promoted rumba as part of Cuban culture –thus creating the tourist performance– are the Ministry of Culture and the Conjunto Folklórico Nacional de Cuba ('Cuban Nacional Folkloric Company'). As Folklórico Nacional became more prevalent in the promotion of rumba, the dance "shifted from its original locus, street corners, where it often shared attention with parallel activities of traffic, business, and socializing, to its secondary quarters, the professional stage, to another home, the theatrical patio." [35] Although Folklórico Nacional aided in the tourist promotion of rumba, the Ministry of Culture helped successfully and safely organize rumba in the streets. Rumba Clave: An Illustrated Analysis", Rumba Clave, BlogSpot. January 21, 2008. "... as the tempo increased the clave would be played closer and closer to straight 12Mauleón, Rebeca (1993). Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4. Mauleón, Rebeca (1993: 52) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.

In Cuban popular music, the first three strokes of son clave are also known collectively as tresillo, a Spanish word meaning triplet i.e. three almost equal beats in the same time as two main beats. However, in the vernacular of Cuban popular music, the term refers to the figure shown here.a b Sublette, Ned (2004). "Rumba". Cuba and Its Music: From the First Drums to the Mambo. Chicago, IL: Chicago Review Press. pp. 257–272. half clave) the song flips to the three-side. It continues in 3–2 on the V 7 chord for 4 + 1⁄ 2 claves. The second measure of 2

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