Afro Cuban Rhythms Drums

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Students will listen to various recordings of “Afro Blue” and discuss similarities and differences in interpretations.

Bass drum strokes follow the bass pattern, the "Tumbao", which is rhythmically similar in many Afro Cuban and Latin rhythms. The first regular use of the rumba clave in Cuban popular music began with the mozambique, created by Pello el Afrikan in the early 1960s. When used in popular music (such as songo, timba or Latin jazz) rumba clave can be perceived in either a 3–2 or 2–3 sequence. The first band to explore jazz arranging techniques with authentic Afro-Cuban rhythms on a consistent basis giving it a unique identifiable sound that no other band in the genre of Afro-Cuban based dance music had at the time. Cuban big band arranger Chico O'Farill stated: "This was a new concept in interpreting Cuban music with as much (harmonic) richness as possible. You have to understand how important this was. It made every other band that came after, followers." [15] Coros de clave were introduced by Catalan composer José Anselmo Clavé and became popular between the 1880s and the 1910s. [27] They comprised as many as 150 men and women who sang in 6Mauleón, Rebeca (2005). Salsa Guidebook for Piano and Ensemble. Petaluma, CA: Sher Music Co. p.179. ISBN 9781457101410. Due to its broad etymology, the term rumba historically retained a certain degree of polysemy. By the end of the 19th century, Cuban peasants ( guajiros) began to perform rumbitas during their parties (guateques, changüís, parrandas and fiestas patronales). These songs were actually in the form of urban guarachas (not proper rumbas), which had a binary meter in contrast to the ternary meter of traditional rural genres such as tonada and zapateo. [10] [11] Similarly, in Cuban bufo theatre at the beginning of the 20th century, the guarachas that were sung at the end of the show were referred to as rumba final despite not sharing any musical similarities with actual rumba. [12] [13] Characteristics [ edit ] Instrumentation [ edit ] Review of: Martínez, Pedro, and Román Díaz. 2oo8. The Routes of Rumba. Round World Productions /Round Whirled Records 844185096942

Latin jazz music, like most types of jazz music, can be played in small or large groups. Small groups, or combos, often use the bebop format made popular in the 1950s in America, where the musicians play a standard melody, many of the musicians play an improvised solo, and then everyone plays the melody again. Prominent Latin jazz big bands include Arturo O'Farrill's Afro-Latin Jazz Orchestra, Bobby Sanabria's Multiverse Big Band, Raices Jazz Orchestra, Mambo Legends Orchestra, Pacific Mambo Orchestra, as well as others. In Latin jazz bands, percussion is often featured in solos. Contemporary Latin jazz pieces by musicians such as Hermeto Pascoal are mostly composed for these small groups, with percussion solos as well as many wind-instrumentals. [25] Latin Jazz as Global Music [ edit ] The singer enters on the wrong side of the clave and the ago-gô player adjusts accordingly. This recording cuts off the first bar so that it sounds like the bell comes in on the third beat of the second bar. This is suggestive of a pre-determined rhythmic relationship between the vocal part and the percussion and supports the idea of a clave-like structure in Brazilian music. Mongo Santamaría, cited by Gerard, Charley (2001: 49) Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Other Stateside Cuban Musicians. Praeger Publishers.

The 10 essential sounds of Cuba:

The clave rhythm and clave concept have been used in some modern art music ("classical") compositions. "Rumba Clave" by Cuban percussion virtuoso Roberto Vizcaiño has been performed in recital halls around the world. Another clave-based composition that has "gone global" is the snare drum suite "Cross" by Eugene D. Novotney.