Clave (rhythm) - Knowledge (XXG)

3874:(Spanish tres = three). This rhythmically syncopated part of the clave is called the three-side or the strong part of the clave. The second cell has two strokes and is called the two-side of the weak part of the clave. . . The different accent types in the melodic line typically encounter with the clave strokes, which have some special name. Some of the clave strokes are accented both in more traditional tambores batá -music and in more modern salsa styles. Because of the popularity of these strokes, some special terms have been used to identify them. The second stroke of the strong part of the clave is called 3145:

across genres. This same structural relationship between the guide-pattern and the rest of the ensemble is easily observed in many sub-Saharan rhythms, as well as rhythms from Haiti and Brazil. However, the 3–2/2–3 concept and terminology are limited to certain types of Cuban-based popular music and are not used in the music of Africa, Haiti, Brazil or in Afro-Cuban folkloric music. In American pop music, the clave pattern tends to be used as an element of rhythmic color, rather than a guide-pattern and as such is superimposed over many types of rhythms.

3569:. . . I developed the concept of adjusting claves to other time signatures, with varying degrees of success. What became obvious to me quite quickly was that the closer I stuck to the general rules of clave the more natural the pattern sounded. Clave has a natural flow with a certain tension and resolves points. I found if I kept these points in the new meters they could still flow seamlessly, allowing me to play longer phrases. It also gave me many reference points and reduced my reliance on "one"—Guilfoyle (2006: 10). 1262:, which premiered in 1879. The contemporary concept of clave with its accompanying terminology reached its full development in Cuban popular music during the 1940s. Its application has since spread to folkloric music as well. In a sense, the Cubans standardized their myriad rhythms, both folkloric and popular, by relating nearly all of them to the clave pattern. The veiled code of African rhythm was brought to light due to the clave’s omnipresence. Consequently, the term 2518:) show cross-beats. Observing the dancer's steps almost always reveals the main beats of the music. Because the main beats are usually emphasized in the steps and not the music, it is often difficult for an "outsider" to feel the proper metric structure without seeing the dance component. Kubik states: "To understand the emotional structure of any music in Africa, one has to look at the dancers as well and see how they relate to the instrumental background" (2010: 78). 1278:

clave . . . Any 'breaks' and/or 'stops' in the arrangements must also be 'in clave'. If these procedures are not properly taken into consideration, then the music is 'out of clave' which, if not done intentionally, is considered an error. When the rhythm and music are 'in clave', a great natural 'swing' is produced, regardless of the tempo. All musicians who write and/or interpret Cuban-based music must be 'clave conscious', not just the percussionists—Santos (1986).

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pattern to be suddenly reversed, the rhythm would be destroyed as in a reversing of one magnet within a series... the patterns are held in place according to both the internal relationships between the drums and their relationship with clave... Should the drums fall out of clave (and in contemporary practice they sometimes do) the internal momentum of the rhythm will be dissipated and perhaps even broken—Amira and Cornelius (1992).

3085: 2539: 2358: 836: 3541: 3511: 3499: 873: 1525: 3036: 2425: 3121: 2678: 2968:. Some writings have claimed that the clave patterns originated in Cuba. One frequently repeated theory is that the triple-pulse African bell patterns morphed into duple-pulse forms as a result of the influence of European musical sensibilities. "The duple meter feel may have been the result of the influence of marching bands and other Spanish styles..."— Washburne (1995). 788: 3297: 1488: 2716: 2642: 3154: 3020:, although it was based on the son. The Africans adapted guajeos to electric guitars and gave them their regional flavor. The guitar-based music gradually spread out from the Congo, increasingly taking on local sensibilities. This process eventually resulted in the establishment of several different distinct regional genres, such as 1917: 3608: 3574: 2136:. The standard bell is the key pattern used in bembé and so with compositions based on triple-pulse rhythms, it is the seven-stroke bell, rather than the five-stroke clave that is the most familiar to jazz musicians. Consequently, some North American musicians refer to the triple-pulse standard pattern as " 2744:, emphasizing the onbeat quality of the two-side. The figure has the same harmonic sequence as the earlier offbeat/onbeat example, but rhythmically, the attack-point sequence of the two measures is reversed. Most salsa is in 2–3 clave and most salsa piano guajeos are based on the 2–3 onbeat/offbeat motif. 3467:

The son clave rhythm is present in Jamaican mento music, and can be heard on 1950s-era recordings such as "Don’t Fence Her In", "Green Guava" or "Limbo" by Lord Tickler, "Mango Time" by Count Lasher, "Linstead Market/Day O" by The Wigglers, "Bargie" by The Tower Islanders, "Nebuchanezer" by Laurel

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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

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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

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Perhaps the greatest testament to the musical vitality of the clave is the spirited debate it engenders, both in terms of musical usage and historical origins. This section presents examples from non-Cuban music, which some musicians (not all) hold to be representative of the clave. The most common

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In songs like "Que vengan los rumberos", the phrases continually alternate between a 3–2 framework and a 2–3 framework. It takes a certain amount of flexibility to repeatedly reorder your orientation in this way. The most challenging moments are the truncations and other transitional phrases where

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motif.' Today, the offbeat/onbeat motif method is much more common." With this type of guajeo motif, the three-side of clave is expressed with all offbeats. The following I–IV–V–IV progression is in a 3–2 clave sequence. It begins with an offbeat pick-up on the pulse immediately before beat 1. With

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Only in the last couple of decades have the three branches of clave theory begun to reconcile their shared and conflicting concepts. Thanks to the popularity of Cuban-based music and the vast amount of educational material available on the subject, many musicians today have a basic understanding of

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The historical roots of the clave are linked to transnational musical exchanges within the African diaspora. For instance, influences of the African “bomba” rhythm are reflected in the clave. In addition to this, the emphasis and role of the drum within the rhythmic patterns speaks further to these

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is an oxymoron. Clave consists of two even halves, in a divisive structure of four main beats. However, in recent years jazz musicians from Cuba and outside of Cuba have been experimenting with creating new "claves" and related patterns in various odd meters. Clave which is traditionally used in a

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Working in conjunction with the chord and clave changes, vocalist Frank "Machito" Grillo creates an arc of tension/release spanning more than a dozen measures. Initially, Machito sings the melody straight (first line), but soon expresses the lyrics in the freer and more syncopated inspiración of a

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can begin on either side of the clave. One can, therefore, be on either the three-side or the two-side because the harmonic progression, rather than the rhythmic progression, is the primary referent. The following guajeo is based on the clave motif in a 2–3 sequence. The cinquillo rhythm is now in

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Kevin Moore states: "There are two common ways that the three-side is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm." The following guajeo example is based on a

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rumba clave should be notated for guaguancó and yambú. In actual practice, the third stroke on the three-side and the first stroke on the two-side often fall in rhythmic positions that do not fit neatly into music notation. Triple-pulse strokes can be substituted for duple-pulse strokes. Also, the

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There is some debate as to whether or not clave, as it appears in Cuban music, functions in the same way as its sister rhythms in other forms of music (Brazilian, North American and African). Certain forms of Cuban music demand a strict relationship between the clave and other musical parts, even

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Cuban music has been popular in sub-Saharan Africa since the mid-twentieth century. To the Africans, clave-based Cuban popular music sounded both familiar and exotic. Congolese bands started doing Cuban covers and singing the lyrics phonetically. Soon, they were creating their original Cuban-like

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clave... the two measures are not at odds, but rather, they are balanced opposites like positive and negative, expansive and contractive or the poles of a magnet. As the pattern is repeated, an alternation from one polarity to the other takes place creating the pulse and rhythmic drive. Were the

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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

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said, "Don’t tell me about 3–2 or 2–3! In Cuba, we just play. We feel it, we don’t talk about such things." In another book, Santamaría said, "In Cuba, we don’t think about . We know that we’re in a clave. Because we know that we have to be in clave to be a musician." According to Cuban pianist

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For cultural insiders, identifying the... ‘dance feet’ occurs instinctively and spontaneously. Those not familiar with the choreographic supplement, however, sometimes have trouble locating the main beats and expressing them in movement. Hearing African music on recordings alone without prior

3007:, West Africa. He states that this pattern is also found in the high-pitched boat-shaped iron bell known as atoke played in the Akpese music of the Eve people of Ghana. There are many recordings of traditional African music where one can hear the five-stroke "clave" used as a bell pattern. 2925:

would insist that "There’s no such thing as 3–2 or 2–3, there’s only one clave!" The contemporary Cuban bassist, composer and arranger Alain Pérez flatly states: "In Cuba, we do not use that 2–3, 3–2 formula... 2–3, 3–2 not used in Cuba. That is how people learn Cuban music outside Cuba."

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folkloric rumba (second line). By the time the song changes to 3–2 on the V chord, Machito has developed a considerable amount of rhythmic tension by contradicting the underlying meter. That tension is then resolved when he sings on three consecutive main beats (quarter-notes), followed by

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In considering the clave as this basis of cultural understanding, relation, and exchange, this speaks to the transnational influence and interconnectedness of various communities. This musical fusion is essentially what constitutes the flow and foundational “heartbeat” of a variety of

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In Cuban popular music, a chord progression can begin on either side of the clave. When the progression begins on the three-side, the song or song section is said to be in 3–2 clave. When the chord progression begins on the two-side, it is in 2–3 claves. In North America,

3882:. In Cuban popular genres, this stroke is often accented in unison breaks that transition between the song sections. The third typical way to accent the clave strokes is to play a rhythm cell, which includes both bombo and ponche accents. This rhythm cell is called 3878:. It is the most often accented clave stroke in my research material. Accenting it identifies the three-side of the clave. The second common clave stroke accented among these improvisations is the third stroke of the strong part of the clave. This stroke is called 2283:

Triple-pulse son clave is the least common form of clave used in Cuban music. It is, however, found across an enormously vast area of sub-Saharan Africa. The first published example (1920) of this pattern identified it as a hand-clap part accompanying a song from

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versions of each clave share the same pulse names. The correlation between the triple-pulse and duple-pulse forms of clave, as well as other patterns, is an important dynamic of sub-Saharan-based rhythm. Every triple-pulse pattern has its duple-pulse correlative.

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Chris Washburne considers the term to refer to the rules that govern the rhythms played with the claves. Bertram Lehman regards the clave as a concept with wide-ranging theoretical syntactic implications for African music in general, and for David Peñalosa, the

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learned the concept from Bauzá. Tito Puente's "Philadelphia Mambo" is an example of a song that moves from one side of clave to the other. The technique eventually became a staple of composing and arranging in salsa and Latin jazz. According to Kevin Moore:

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Going only slightly into the rhythmic structure of our music we find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak—Grenet

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Clave direction is relative while clave alignment is absolute. If you walk from New York to Miami, you're walking south; if you walk from Miami to New York, you're walking north. But if you put your left shoe on your right foot, (i.e., if your shoes are

776:. In this sense, it is the “heartbeat” that underlies the essence of these genres. The rhythms and vibrations are universalized in that they demonstrate a shared cultural experience and knowledge of these roots. Ultimately, this embodies the 3316:

The so-called "bossa nova clave" (or "Brazilian clave") has a similar rhythm to that of the son clave, but the second note on the two-side is delayed by one pulse (subdivision). The rhythm is typically played as a snare rim pattern in

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correctly identified the importance of this key pattern, but he mistook its accents as indicators of meter rather than the counter-metric phenomena they are. Similarly, while Anthony King identified the triple-pulse "son clave" as

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The third branch comes from the United States. An important North American contribution to clave theory is the worldwide propagation of the 3–2/2–3 concept and terminology, which arose from the fusion of Cuban rhythms with jazz in

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is considered something of a novelty and in some cases, an enigma. The cross-rhythmic structure (multiple beat schemes) is frequently misunderstood to be metrically ambiguous. North American musicians often refer to Afro-Cuban

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In addition to these three branches of theory, clave has in recent years been thoroughly analyzed mathematically. The structure of clave can be understood in terms of cross-rhythmic ratios, above all, three-against-two (3:2).

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The following melodic excerpt is taken from the opening verses of "Que vengan los rumberos" by Machito and his Afro-Cubans. Notice that the melody goes from one side of clave to the other and then back again. A measure of

857: 2546: 1720: 1303:, Emilio Grenet defines in general terms how the duple-pulse clave pattern guides all members of the music ensemble. An important Cuban contribution to this branch of music theory is the concept of the clave as a musical 845: 3476:. Just as likely however is the possibility that claves and the clave rhythm spread to Jamaica, Trinidad and the other small islands of the Caribbean through the popularity of Cuban son recordings from the 1920s onward. 1708: 2908:), it's going to be a very awkward walk in either direction. Your shoes remain "aligned" (or misaligned) with your feet regardless of the direction your feet are taking you, and regardless of how poorly they fit. 3304: 3197: 3185: 3173: 3161: 2447: 1495: 1274:. Clave is the key that unlocks the enigma; it de-codes the rhythmic puzzle. It is commonly understood that the actual clave pattern does not need to be played for the music to be 'in clave'—Peñalosa (2009). 2755: 3092: 2598:); this is most likely the influence of jazz conventions. When clave is written in two measures (right), changing from one clave sequence to the other is a matter of reversing the order of the measures. 2558: 2365: 1992: 1965: 1938: 3347:, who developed the pattern, considers it to be merely a rhythmic motif and not a clave (guide pattern). Jobim later regretted that Latino musicians misunderstood the role of this bossa nova pattern. 1254:

sensibilities were blended in original Cuban hybrids. Cuban popular music became the conduit through which sub-Saharan rhythmic elements were first codified within the context of European ('Western')

3806:, there’s really only son and rumba clave, each of which can be played with a pure triple pulse structure feel, a pure duple pulse structure feel or somewhere in‐between. Needless to say, the terms 2377:

It wasn't until African musicologists like C.K. Ladzekpo entered into the discussion in the 1970s and 80s that the metric structure of sub-Saharan rhythm was unambiguously defined. The writings of

2048:), as in guaguancó, the clave is often played with displaced strokes that are closer to triple-pulse than duple-pulse. John Santos states: "The proper feel of this rhythm, is closer to triple .” 3630: 3596: 3043: 2723: 2649: 3128: 2523:

grounding in its dance-based rhythms may not convey the choreographic supplement. Not surprisingly, many misinterpretations of African rhythm and meter stem from a failure to observe the dance.

2685: 3861:"We find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak." 2488:

clave". The four dotted quarter-notes across the two bottom measures are the main beats. All clave patterns are built upon four main beats. The bottom measures on the other two examples (

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rhythms that use the triple or duple-pulse forms of "son clave". Percussion scholar royal hartigan identifies the duple-pulse form of "rumba clave" as a timeline pattern used by the

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Aitken and others. The Jamaican population is part of the same origin (Congo) as many Cubans, which perhaps explains the shared rhythm. It is also heard frequently in Martinique's

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some guajeos, offbeats at the end of the two-side, or beats at the end of the three-side serve as pick-ups leading into the next measure (when clave is written in two measures).

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For 3rd example above, the clave pattern is based on a common accompaniment pattern played by the guitarist. B=bass note played by guitarist's thumb, C=chord played by fingers.

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The examples below are transcriptions of several patterns resembling the Cuban clave that is found in various styles of Brazilian music, on the ago-gô and surdo instruments.

1389:, a Research Professor of Computer Science, has published a book and several papers on the mathematical analysis of clave and related African bell patterns. Toussaint uses 3065:

was the most popular genre in Ghana and Nigeria during the 1960s. This arpeggiated highlife guitar part is essentially a guajeo. The rhythmic pattern is known in Cuba as

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clave strokes are sometimes displaced in such a way that they don't fall within either a triple-pulse or duple-pulse "grid". Therefore, many variations are possible.

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Gerhard Kubik cited by Agawu, Kofi (2006: 1-46). “Structural Analysis or Cultural Analysis? Comparing Perspectives on the ‘Standard Pattern’ of West African Rhythm”

3244:(see below). Although a few contemporary Brazilian musicians have adopted the 3–2/2–3 terminology, it is traditionally not a part of the Brazilian rhythmic concept. 2912:

Cuban folkloric musicians do not use the 3–2/2–3 system. Many Cuban performers of popular music do not use it either. The great Cuban conga player and bandleader

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document the triple-pulse forms of what we call “son clave” and “rumba clave” in West, Central, and East Africa. Francis Kofi and C.K. Ladzekpo document several

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i.e. three almost equal beats in the same time as two main beats. However, in the vernacular of Cuban popular music, the term refers to the figure shown here.

3117:. Even the melodic contour is guajeo-based. 2–3 claves are shown above the guitar for reference only. The clave pattern is not ordinarily played in afrobeat. 1299:

First is the set of concepts and related terminology, which were created and developed in Cuban popular music from the mid-19th to the mid-20th centuries. In

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for many pieces of music from ethnic groups across Africa. An important contribution of ethnomusicology to clave theory is the understanding that the clave

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patterns. Guajeos are a seamless blend of European harmonic and African rhythmic structures. Most guajeos have a binary structure that expresses clave.

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Like clave, the standard pattern is expressed in both triple and duple-pulse. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.

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Banning Eyre distills down the Congolese guitar style to this skeletal figure, where clave is sounded by the bass notes (notated with downward stems).

509: 1881:. Clearly, they are all expressions of the same rhythmic principles. The three key patterns are found within a large geographic belt extending from 913:

The clave pattern holds the rhythm together in Afro-Cuban music. The two main clave patterns used in Afro-Cuban music are known in North America as

409: 560: 5407: 3955: 5263: 4573: 4552: 4235: 524: 3774: 2976: 1874: 702: 4503: 2109:, a term usually reserved for those aspects of musical nuance not practically suited for analysis. As used by North American musicians, " 5412: 5270: 4592:. January 21, 2008. "One thing is certain: What you see in standard western notation as written-clave is a long way from what's played." 4379:

Toussaint, Godfried, "A Mathematical Analysis of African, Brazilian and Cuban Clave Rhythms" Montreal, School of Computer Science. Web.

1307:, which has two rhythmically opposing halves. The first half is antecedent and moving, and the second half is consequent and grounded. 5311: 3016:

compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. The Congolese called this new music

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clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of

5377: 821: 1329: 449: 4350: 4074: 807:,' the wedge-shaped stone in the center of an arch that ties the other stones together. The rhythm also gave the name to the 499: 3870:

clave pattern has two opposing rhythm cells: the first cell consists of three strokes, or the rhythm cell, which is called

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The main exceptions are: the form of rumba known as Columbia, and some performances of abakuá by rumba groups, where the

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Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins 1992 p. 62

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is shown below it. Any or all of these structures may be the emphasis at a given point in a piece of music using the "

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When one hears triple-pulse rhythms in Latin jazz the percussion is most often replicating the Afro-Cuban rhythm

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Recorded examples of “son clave” in traditional music from Ghana and Benin: "Waka" (one) Addy, Mustapha Tettey,

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However, the duple-pulse forms have existed in sub-Saharan Africa for centuries. The patterns the Cubans call

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Since this chord progression begins on the three-side, the song or song section is said to be in 3–2 clave.

804: 5402: 2033:) rumba clave is the archetypal form of the guide pattern. Even when the drums are playing in duple-pulse ( 5432: 750: 734: 546: 96: 52: 4663:. January 21, 2008. "... as the tempo increased the clave would be played closer and closer to straight 2133: 1733: 2799:

moves the chord progression from the two-side (2–3) to the three-side (3–2). Later, another measure of

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in Cuban music. When written this way, each cell or clave half is represented within a single measure.

5350:'Funky Drummer': New Orleans, James Brown and the Rhythmic Transformation of American Popular Music". 1008:) structure. The contemporary Cuban practice is to write the duple-pulse clave in a single measure of 5417: 4320:

Locke, David (1982). "Principles of Off-Beat Timing and Cross-Rhythm in Southern Ewe Dance Drumming”

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Recorded examples of “son clave” used in Brazilian Candomblé and Macumba rhythms: “Afro-Brasileiros”

3344: 2891:. In the measure immediately following tresillo the song returns to 2–3 and the I chord (fifth line). 504: 494: 414: 5372: 3336:, as it is written in Brazil. In North American charts it is more likely to be written in cut-time. 2780:

and his Afro-Cubans. Bauzá was a master at moving the song from one side of the clave to the other.

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of the clave. The consequent half (second measure above) of clave has two strokes and is called the

4555:. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest. 3248: 3225: 2913: 2339:, he did not correctly identify its metric structure. King represented the pattern in a polymetric 2331: 1563:. The use of the triple-pulse form of the rumba clave in Cuba can be traced back to the iron bell ( 1394: 1324: 489: 484: 459: 439: 2772:

The 3–2/2–3 concept and terminology was developed in New York City during the 1940s by Cuban-born

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clave. Contemporary books that deal with clave, share a certain fundamental understanding of what

5355: 4345: 3373:; L=low bell, H=high bell, O = open surdo hit, X = muffled surdo hit, and | divides the measure: 1651: 1386: 534: 479: 157: 1451: 356: 3267:

and can be thought of as pattern 1 embellished with four additional strokes. Bell 3 is used in

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Toussaint, Godfried, "The Rhythm that Conquered the World: What Makes a 'Good' Rhythm Good?",

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Both patterns shown in simple meter (duple-pulse) and compound meter (triple-pulse) structures

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contains the strokes of both clave patterns. Some North American musicians call this pattern

1023:. It is also written in a single measure in ethnomusicological writings about African music. 4936:

Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Other Stateside Cuban Musicians

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In Cuban popular music, the first three strokes of son clave are also known collectively as

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This article is about the rhythmic pattern. For the musical instrument used to play it, see

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literally means key, clef, code, or keystone. It is present in a variety of genres such as

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v. 1. Havana: CIDMUD. Recorded examples of "son clave" used in guaguancó: “Ultima rumba",

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The Relation Between Clave Pattern and Violin Improvisation in Santería's Religious Feast

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that descends from the Kalabari of Cameroon. Columbia also uses this pattern. Sometimes

749:). The clave pattern (or hambone, as it is known in the United States) is used in North 3340: 2980: 2940:

claims, those of Brazilian and subsets of American popular music, are described below.

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Toussaint, Godfried, “The Euclidean Algorithm Generates Traditional Musical Rhythms”,

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slaves. Therefore, it is not surprising that we find the bell pattern the Cubans call

2850:(half clave) the song flips to the three-side. It continues in 3–2 on the V chord for 2634:

clave motif. The three-side (first measure) consists of the tresillo variant known as

1655:, created by Pello el Afrikan in the early 1960s. When used in popular music (such as 5426: 4159:

King, Anthony (1960: 51-52) “The Employment of the Standard Pattern in Yoruba Music”

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Beyond Salsa Piano; The Cuban Timba Revolution. v. 3 Cuban Piano Tumbaos (1960–1979)

309: 3932:(1999: CD). Recorded example of “son clave” used in Brazilian maculule: “Maculule” 3237: 3213: 3074: 2741: 2670: 2400: 2312: 1524: 1422: 1255: 922: 872: 293: 66: 5271:

Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics

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bell and can be thought of as pattern 1 embellished with four additional strokes.

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you "pivot" to move your point of reference from one side of clave to the other.

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percussion and supports the idea of a clave-like structure in Brazilian music.

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is a Spanish word meaning 'code,' 'key,' as in key to a mystery or puzzle, or '

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Understanding Clave and Clave Changes: Singing, Clapping and Dancing Exercises

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Understanding Clave and Clave Changes: Singing, Clapping and Dancing Exercises

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The first regular use of the rumba clave in Cuban popular music began with the

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or Latin jazz) rumba clave can be perceived in either a 3–2 or 2–3 sequence.

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probably adopted the clave pattern from rumba when it migrated from eastern

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Afro-Cuban musical instrument which consists of a pair of hardwood sticks.

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Proceedings of BRIDGES: Mathematical Connections in Art Music and Science

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Moore: "By the 1940s a trend toward the use of what Peñalosa calls the '

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is culturally and musically connected with abakuá which is an Afro Cuban

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Here are some examples of recordings that use odd meter clave concepts.

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The most common clave pattern used in Cuban popular music is called the

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