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Concerning the role of clave in salsa music, Charley Gerard states: Every salsa musician must know how their particular part fits with clave, and with the other parts of the ensemble. The basic conga tumbaoor marcha sounds slaps triangle noteheads and open tones regular noteheads on the "and" offbeats.
The concept of clave as a form of music theory with its accompanying terminology, was fully developed during the big band era of the s, when dance bands in Havana and New York City were enlarged. John Santos stresses the importance of this skill: One of the most difficult applications of the clave is in the realm of composition and arrangement of Cuban and Cuban-based dance music.
Regardless of the instrumentation, the music for all of the instruments of the ensemble must be written with a very keen and conscious rhythmic relationship to the clave. At the same time though, clave serves its ancient function of providing a means of profound inclusion.
Clapping clave at a concert in sync with the performing musicians provides for a group participation in music-making even for a novice. Once the audience is clapping clave along with him, Palmieri will sit back down at the piano and proceed to take his solo.
Clave is the basic periodcomposed of two rhythmically opposed cellsone antecedent and the other consequent. Clave was initially written in two measures of 2 4 below. The antecedent half has three strokes and is referred to as the three-side of clave in the parlance of salsa.
Clave has a binary structure. The first measure of clave is considered "strong", contradicting the meter with three cross beats and generating a sense of forward momentum.
The second measure is considered "weak". Clave resolves in the second measure when the last stroke coincides with the last main beat of the cycle. As the pattern is repeated, an alternation from one polarity to the other takes place creating pulse and rhythmic drive. Were the pattern to be suddenly reversed, the rhythm would be destroyed as in a reversing of one magnet within a series.
Should the [music] fall out of clave the internal momentum of the rhythm will be dissipated and perhaps even broken. The following examples show clave with the bongo bell and timbale bell parts in both a and a sequence.
Timbale bell and bongo bell bottom in clave. The following example shows the most common conga two drumstimbale bell, and bongo bell pattern combination used in salsa music.
Guajeos are a seamless blend of European harmonic and African rhythmic structures. A piano guajeo may be played during the verse section of a song, but it is at the center of the montuno section. That is why some salsa musicians refer to piano guajeos as montunos.
Piano guajeos are one of the most recognizable elements in salsa music. As Sonny Bravo explains: This is what we call guajeo. The pianist uses this guajeo to provide the rhythm section with its drive. This is most likely an influence of jazz conventions. The three-side first measure consists of the tresillo variant known as cinquillo.
In salsa "one" can be on either side of clave, because the harmonic progression, rather than the rhythmic progression is the primary referent. The following guajeo is based on the clave motif in a two-three sequence.
The cinquillo rhythm is now in the second measure. It begins with an offbeat pick-up on the pulse immediately before beat 1.
With some guajeos, offbeats at the end of the two-side, or onbeats at the end of the three-side serve as pick-ups leading into the next measure when clave is written in two measures. This guajeo is in two-three clave because it begins on the downbeat, emphasizing the onbeat quality of the two-side.
The figure has the same exact harmonic sequence as the previous example, but rhythmically, the attack-point sequence of the two measures is reversed. When salsa uses non-Cuban rhythms, such as a Puerto Rican plena, guajeos are essential to tie that genre in with the salsa format.
The third measure outlines a G7 chord.
The other measures outline C.Afro-Cuban religion can be broken down into three main currents: Santería, Palo Monte, and Abakuá, and include individuals of all leslutinsduphoenix.comía is syncretized with Roman Catholicism..
The Abakuá religion is a secret society for men, similar to the freemason orders of Europe. Kati Hernández is a native of Cuba and Afro-Cuban Dance Master who teaches many levels of Afro-Cuban dance in Los Angeles.
Afro Cuban dance movements will improve how a salsa dancer looks on the dance floor and feels to a partner. At the heart of his research is the invisibility of female musicians in most cultures and throughout history.
This study focused on Salsa, which is part of a strong macho culture, where women are generally overlooked in public life, and therefore. In the context of the United States, the ascribed “Latinness” of the dance of salsa has always perplexed me.
Many call salsa a “Latin dance”—a dance from Latin America—but when it comes to the way that we dance salsa in this country, the places of origins of the two . Learn latin dance with free interactive flashcards.
Choose from different sets of latin dance flashcards on Quizlet. Aug 08, · AfroLatino teachers have some fun after class, blending salsa and Afro-Cuban movements. To learn Cuban Salsa, Afro .