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Rumba Quinto
The quinto (literally ''fifth'' in Spanish) is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse (12/8, 6/8) and duple-pulse (4/4, 2/2) structures. In columbia, triple pulse is the primary structure and duple pulse is secondary. In yambú and guaguancó duple-pulse is primary and triple-pulse is secondary. Quinto performance in rumba The optimum expression of quinto phrasing is shaped by its interaction with the dance and the song, in other words, the complete social event, which is rumba. Quinto interaction with the song During the verses of the song the quinto is capable of sublime creativity, while musically subordinate to the lead vocalist. There are natural pauses in the cadence of the verses, typically one or two measures in length, where the quinto can play succinct phra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Membranophone
A membranophone is any musical instrument which produces sound primarily by way of a acoustic membrane, vibrating stretched membrane. It is one of the four main divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. According to Curt Sachs, Sachs, Hornbostel-Sachs The Hornbostel-Sachs scheme of musical instrument classification divides membranophones in a numeric taxonomy based on how the sound is produced: *21: by hitting the drumskin with a hand or object (most common form, including the timpani and snare drum) *22: by pulling a knotted string attached to the drumskin (common in Indian drums, and can be considered an example of a chordophone as well) *23: by rubbing the drumskin with a hand or object (common in Irish traditional music, an example is the bodhran) *24: by modifying sounds through a vibrating membrane (unusual form, including the kazoo) Length and breadth Membranophones can also be divided into small divisions bas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abakuá
Abakuá, also sometimes known as Ñañiguismo, is a Cuban initiatory religious fraternity founded in 1836. The society is open only to men and those initiated take oaths to not reveal the secret teachings and practices of the order. Members are typically known as Abanékues and are divided amongst lodges or chapters called ''juegos''. Abakuá derives largely from the Ekpe, Ékpè society of West Africa, but displays adaptations like the inclusion of Catholic Church, Roman Catholic symbolism. The society teaches the existence of a supreme divinity named Abasí who supplied humanity with a form of power which holds a central place in Abakuá's origin myth. Rituals are called ''plantes'' and typically take place in a secluded room, the ''fambá''. Many of the details of these ceremonies are kept secret although they usually involve drumming. Some of the Abakuá society's ceremonies take place in public. Most notable are the public parades on the Epiphany (holiday), Day of the Three ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yuka (music)
Yuka is a secular Afro-Cuban musical tradition which involves drumming, singing and dancing. It was developed in western Cuba by Kongo slaves during colonial times. Yuka predates other Afro-Cuban genres of dance music like rumba and has survived in Kongo communities of Pinar del Río, specifically in El Guayabo and Barbacoa, San Luis. Since the 1940s, yuka performances have been recorded by researchers such as Harold Courlander and María Teresa Linares.Linares, María Teresa. 1981. Liner notes to ''Antología de la música afrocubana Vol. 5: Tambor yuka'' ecorded in 1978 EGREM: Havana, Cuba. Music Drumming The Bantu word ''yuka'' means "to beat" and is also used to refer to the drums used in yuka performances. According to Fernando Ortiz, yuka drums were known in the Kongo language as ''ngóma bobóla mámbu'', where ''ngóma'' means "drum", ''bobóla'' "deep sound" and ''mámbu'' "collective business". These drums are made from hollowed-out trunks of the avocado tree. Lea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Makuta (drum)
''Makuta'' drums are tall cylindrical or barrel-shaped Afro-Cuban drums, often cited as an important influence on the development of the ''tumbadora'' or conga drum. They are used in sacred dance-Sacred drum, drumming ceremonies associated with the descendants of slaves brought to Cuba from Central Africa. The word ''makuta'' is also used to refer to the dancing and rhythms associated with these drums. Construction Makuta drum construction has a number of regional variations, but the ensemble usually consists of only two drums. Generally, all are created from wooden staves, similar to the way a barrel would be constructed. Both sizes have a goat skin head at the top of the drum and are open on the opposite end. They are commonly around 1 meter in height and their heads vary from approximately 30 cm to 40 cm in diameter. The large lead drum is known variously as ''caja'', ''nsumbi'', or ''ngoma'' and is usually barrel shaped. Its head is attached with a tensioning syst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Congo (area)
The Congo Basin () is the sedimentary basin of the Congo River. The Congo Basin is located in Central Africa, in a region known as west equatorial Africa. The Congo Basin region is sometimes known simply as the Congo. It contains some of the largest tropical rainforests in the world and is an important source of water used in agriculture and energy generation. The rainforest in the Congo Basin is the largest rainforest in Africa and second only to the Amazon rainforest in size, with 300 million hectares compared to the 800 million hectares in the Amazon. Because of its size and diversity the basin's forest is important for mitigating climate change in its role as a carbon sink. However, deforestation and degradation of the ecology by the impacts of climate change may increase stress on the forest ecosystem, in turn making the hydrology of the basin more variable. A 2012 study found that the variability in precipitation caused by climate change will negatively affect economic a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell Pattern
A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. It is often a ''key pattern'' (also known as a ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''Kubik, Gerhard (1999: 54) ''Africa and the Blues''. Jackson, MS: University Press of Mississippi. .), in most cases it is a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In band music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals. Sub-Saharan African music Gerhard Kubik notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where I.A.4 (Kwa languages) and the ' western stream' of the I.A.5 (Benue–Congo languages), or ' Bantu' languages are spoken, with offshoots into the Lower Zambezi valley and the Nyasa/Ruvu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clave (rhythm)
The clave (; ) is a rhythmic pattern used as a tool for meter (music), temporal organization in Brazilian and Afro-Cuban music, Cuban music. In Spanish, ''clave'' literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, Cuban rumba, rumba, conga (music), conga, son (music), son, mambo (music), mambo, Salsa music, salsa, songo music, songo, timba and Afro-Cuban jazz. The five-drum stroke, stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban jazz, Afro-Cuban music, and how it influences the Music and emotion, mood of a piece is known as clave theory. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In ethnomusicology, clave is also known as a ''key pattern'', ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''. The clav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Songo Music
Songo is a genre of popular Cuban music, created by the group Los Van Van in the early 1970s. Songo incorporated rhythmic elements from folkloric rumba into popular dance music, and was a significant departure from the son montuno/ mambo-based structure which had dominated popular music in Cuba since the 1940s. Blas Egües was the first drummer in Los Van Van, but it was the band's second drummer, José Luis Quintana " Changuito", who developed songo into the world-wide phenomenon it is today. Songo is the most famous of the post-Revolution Cuban rhythms, beginning with the mozambique, which drew from the deep well of Afro-Cuban folkloric rhythms (mainly rumba). During the 1970s, many Cuban bands created their own original rhythms: Los Van Van invented songo; Orquesta Ritmo Oriental—''nueva onda''; Orquesta Tipica Juventud—''bata cinco'', and Orquesta Revé named their invention—'' changüí'', after the "funky," folkloric proto-son music of the 19th century. Songo is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tumbao
In music of Afro-Cuban origin, tumbao is the basic rhythm played on the bass. In North America, the basic conga drum pattern used in popular music is also called ''tumbao''. In the contemporary form of Cuban popular dance music known as timba, piano guajeos are known as ''tumbaos''. Bass pattern Clave-neutral The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son-based musics, such as son montuno, mambo, salsa, and Latin jazz. Often the last note of the measure is held over the downbeat of the next measure. In this way, only the two offbeats of tresillo are sounded. The first offbeat is known as ''bombo'', and the second offbeat (last note) is sometimes referred to as ''ponche''. The following example is written in cut-time (2/2). Clave-aligned Arsenio Rodríguez's group introduced bass tumbaos that have a specific alignment with clave. The 2-3 bass line of "Dame un cachito pa' huele" (1946) coincides with three of the clave's five strokes. D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from the Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's ''Boléro'' and the '' Carol of the Bells'', and popular songs such as John Lennon’s “Mind Games” (1973), Donna Summer and Giorgio Moroder's " I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's " Baba O'Riley" (1971), The Verve's " Bitter Sweet Symphony" (1997), and Flo Rida's " Low" (2007). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term cover ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Latin Jazz
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave (rhythm), clave, and Afro-Brazilian jazz, which includes samba and bossa nova. Afro-Cuban jazz "Spanish tinge"—The Cuban influence in early jazz and proto-Latin jazz African American music began incorporating Afro-Cuban musical motifs in the 19th century, when the habanera (music), habanera (Cuban contradanza) gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. The ''habanera rhythm'' (also known as ''congo'', ''tango-congo'', or ''tango (music), tango'' ) can be thought of as a combination of tresillo (rhythm), tresillo and the beat (music)#Backbeat, backbeat. Wynton Marsalis considers tresillo (rhythm), tresillo to be the New Orleans "clave," although technically, the pattern is only half a clave ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
