jorge wrote:I have not heard the 4/4 rumba clave (as we play it in guaguanco) played in African music (as distinguished from Afrocuban music). Has anyone heard African folkloric music based on 4/4 rumba clave? David, I don't have your book handy but do you have examples of African folkoric music based on 4/4 rumba clave? Anyone?
Abakua wrote:The origins of Rumba clave are found in Abakua, from Africa, then to Havana . . . from my extended time living in Cuba on multiple trips, the discussions with Yoruba Andabo, Muñequitos de Matanzas, Los Papines, Rumberos De Cuba, Calderon family laid out the exact same lineage regarding the clave origins from Abakua & Havana. When you have Muñequitos & Los Papines both telling you the same thing, its kinda hard to refute, especially when backed by the other elders from the other groups.
vxla wrote:Certainly if you're getting field recordings of bell patterns all throughout the continent, shouldn't you also consider that it may have arrived back from Cuba?
Considering the relative lack of discourse between the two disciplines, it’s notable that the early ethnomusicology literature on African rhythm and the early writings about Cuban music both identify what we call “son clave” as the most important archetype of key patterns.[19] It’s probably no coincidence that independently of each other, these two fields arrived at the same conclusion. Ethnomusicologist [Anthony] King says the five-stroke figure is the “standard pattern in its simplest and most basic form”—The Clave Matrix (2012: 221).
19. African music: Jones (1954) and King (1960). Cuban music: Grenet (1939) and Morales (1954).
jorge wrote:Does anyone have a better theory as to how the tres dos has come to be played on the 2 side of the clave in guaguanco?
davidpenalosa wrote:jorge wrote:Does anyone have a better theory as to how the tres dos has come to be played on the 2 side of the clave in guaguanco?
Jorge, have you heard the old story from Matanzas, how a drunk drummer placed the tres dos on the two-side by mistake, and the other drummers liked it and adopted it thereafter?
The placement of the modern tres dos is not a unique rhythmic motif.
jorge wrote: I have not seen really good Cuban drummers play rhythms wrong or off time simply because they were drunk. Have you?
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