Jongo wrote:Am I correct that Mozambique is played 2-3 Rumba clave? Are there instances where you might play it 3-2?
davidpenalosa wrote:Jongo wrote:Am I correct that Mozambique is played 2-3 Rumba clave? Are there instances where you might play it 3-2?
Hi folks,
I’m not certain I understand this discussion fully, so please feel free to correct me if I’m missing something here.
• 3-2, 2-3 Terminology and Concept
First of all, rhythms don’t have a fixed, designated clave “direction”. In other words, there are no “3-2 rhythms” or “2-3 rhythms” per sé. In popular music, the rhythms themselves are neutral as far as clave direction goes. The 3-2 clave, 2-3 clave terminology and concept codifies the two ways in which the rhythmic progression (clave) is juxtaposed to the harmonic progression. In popular music harmony has precedence over rhythm. Because of clave’s binary nature though, the chord progression is conceived as beginning in one of two ways: on the three-side or on the two-side. There are two possible harmonic “ones”: “one of the three-side”, or “one of the two-side”. In other words, 3-2, 2-3 conceives of a reversible harmonic “one”.
• Beginning a Percussion Pattern
In folkloric music the rhythmic progression of clave is the prime referent. In other words, “one” is on the three-side and the 3-2, 2-3 concept does not apply. In folkloric music, such as iyesa or bata, there are often set ways in which a particular percussion part enters in relation to clave. In popular music on the other hand, a percussionist must be able to begin any pattern in 3-2 or 2-3, depending on the harmonic progression involved.
• Mozambique
Mozambique is a unique rhythm for several reasons. It was the first post-Revolutionary rhythm and the first Cuban popular music to regularly use rumba clave. When Pello el Afrokan first presented mozambique, it was basically in a comparsa format, consisting of percussion and trombones. The rhythm actually straddled both the folkloric and popular realms. Traditionally, the various percussion parts of mozambique enter in set ways, as is done in folkloric rhythms. For example, the two-drum pattern begins on bombo, clave enters 3-2 and the bell enters 2-3. Over time, bass, guitar and piano were added and it came to resemble a typical Cuban popular dance band.
Although Eddie Palmieri’s mozambique was inspired by the Cuban rhythm of the same name, it is an entirely different rhythm. The main thing they share is their connection to conga de comparsas.
Now, if anyone disagrees with these basic premises, I’d like to hear it.
Most (if not all) mozambique songs are in a 2-3 progression. For that reason, it can feel awkward to play the rhythm (either the Pello or Eddie versions) in a 3-2 song. If the issue being discussed here concerns playing mozambique in 2-3 when the song is 3-2, then I’m sure everyone agrees that is wrong. If the song is in 3-2, you have to play mozambique in 3-2. It’s awkward, but correct and a good exercise besides.
-David
JohnnyConga wrote:I see that some of his Songo patterns he plays are some of the "Mozambique" patterns I learned back in the 60's and 70's,before he was born.... now called Songo....
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