Should rumba (guaguanco, columbia) be felt in 3-2 clave the whole time?
Tonio wrote:To add onto the Rumba Columbia, the solo is felt in 4/4. At least that is how I learned.
davidpenalosa wrote:
Bongosnotbombs,
While it’s true that the basic arrangements of columbia have the two supporting drums playing the same pattern on both sides of clave, newer arrangements have those drums playing two-sided figures.
bongosnotbombs wrote:Yes, I know, that's why I wrote "traditional" Rumba Columbia.davidpenalosa wrote:While it’s true that the basic arrangements of columbia have the two supporting drums playing the same pattern on both sides of clave, newer arrangements have those drums playing two-sided figures.
davidpenalosa wrote:
Sorry,
I misunderstood you.
-David
"In a folkloric context, the ‘one’ is always the first beat of the three-side, but it’s not proper to say ‘Everything is 3-2 in folkloric music.’ The 3-2/2-3 concept is not a factor; neither African, nor Cuban folklorists use the concept or terminology. If a vocal or instrumental part begins on the two-side, it simply has entered halfway through the cycle."
If some of the purist do not go by the formula or concept of 3/2 or 2/3 they rather feel it I am wondering if they can feel the concept of playing “cruzao”. Or there is no “cruzao” playing for them.
RitmoBoricua wrote:< some of the purist do not go by the formula or concept of 3/2 or 2/3 they rather feel it I am wondering if they can feel the concept of playing “cruzao”. Or there is no “cruzao” playing for them.
vasikgreif wrote:1. Just to be sure that I understand it correctly - the "one" is always first beat of three side, so it should be always felt in this way, and the singers and instrumentalist all feel the song in this way, right?
2. What determines where the singer or instrument enters? Does he always enter same song on same side of clave? What about the coro? Is the coro in same song always on same side? 3. Sorry for me poor knowledge, what is cruzao?
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