zwar wrote:i never heared a bell pattern similar to rumba clave (neither 3-2 nor 2-3) being played originally in that part of africa.zwar
davidpenalosa wrote:zwar wrote:i never heared a bell pattern similar to rumba clave (neither 3-2 nor 2-3) being played originally in that part of africa.zwar
The pattern we call “rumba clave” is found within a large geographic belt spanning west, central and east Africa. I cite examples in my upcoming book. In West Africa for instance, what we call “rumba clave” is used by The Ewe, Yoruba and Ibo. I’m certain that use of the pattern is not limited to these ethnic groups. This is just what I’ve found through checking out the research of others.
-David
windhorse wrote: I could have sworn that it was a widely held belief that Rumba clave had its origins in Cuba!!
Quinto Governor II wrote:Forward, reverse, and crossing clave seems to be illogical concepts, if all the patterns are of the same nature.
Quinto Governor II wrote:1. ... pattern in question, evolved from clapping over melodic songs. [...] 2. Forward, reverse, and crossing clave seems to be illogical concepts, if all the patterns are of the same nature 3. ....they all span the same time
RitmoBoricua wrote:Was not Mario Bauza the one that came-up with the idea of illustrating the clave pattern direction in 3/2 or 2/3 to help some of the Machito's AfroCuban band members way back in the day...[?]
windhorse wrote:I agree with everything you said, Governor, and you sound like I think,,, except this..Quinto Governor II wrote:Forward, reverse, and crossing clave seems to be illogical concepts, if all the patterns are of the same nature.
Not sure that all patterns are of the same nature, and that noticing the difference in the sidedness of clave is illogical..
I get what you were saying about the analysis of music, and you're right about having a pattern of the same length played in opposite ways is an equalizing point of view.
Sure,, but what if you notice the difference? You might then chose to do things one way or the other,,, right?
Whether one is right or not is irrelevant. But, seeing a difference means you have a choice.
Quinto Governor II wrote:windhorse wrote:I agree with everything you said, Governor, and you sound like I think,,, except this..Quinto Governor II wrote:Forward, reverse, and crossing clave seems to be illogical concepts, if all the patterns are of the same nature.
Not sure that all patterns are of the same nature, and that noticing the difference in the sidedness of clave is illogical..
I get what you were saying about the analysis of music, and you're right about having a pattern of the same length played in opposite ways is an equalizing point of view.
Sure,, but what if you notice the difference? You might then chose to do things one way or the other,,, right?
Whether one is right or not is irrelevant. But, seeing a difference means you have a choice.
By same nature, I mean that they all span 2 bars. Is that correct? I like the way you put it, in your last 2 lines, especially; the last one - seeing either side as a choice.
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