Re: Rumba experts - why the clave is reversed here
Posted: Sun Oct 26, 2014 5:33 am
I think Abakua got the oral history of rumba clave right. To summarize, rumba and rumba clave were invented in Cuba and rumba clave was derived from the Abakua bell part, which came from Africa and was first popularized in Havana then Matanzas after the founding of Abakua in Havana in 1836. David is right that there is no written proof or audio recorded proof, but this seems the most logical explanation and the most consistent with what most of the older Cuban rumberos I have spoken with say.
David, maybe you can ask Sandy next time you see him. There are obviously no recordings from then but in the mid and late 1800s Abakua music existed in Cuba and rumba did not, so the Abakua bell part is clearly older than rumba clave. I have heard clave played that sounded like son clave in Africa and African music, and the Abakua bell part also came from African music, but I have not heard the 4/4 rumba clave (as we play it in guaguanco) played in African music (as distinguished from Afrocuban music).
Regarding the placement of the tres dos with respect to the clave, we see that Matanzas Abakua has a second part with an open tone every measure, ie on the downbeat of both the 3 and the 2 side of the rumba clave. It makes sense what Barry suggests that this evolved over years into a preference for the 2 side, ie the modern style of playing tres dos in the guaguanco. So, moving forward there are two questions.
1) Has anyone heard African folkloric music based on 4/4 rumba clave? I mean music actually structured around the 4/4 rumba clave, not just with the clave part playing along without being the foundation of the drum and vocal rhythms. I am not talking about African popular music, which has much Cuban influence, nor am I talking about the 12/8 rumba clave David posted, which is different and is actually the Abakua bell part. David, I don't have your book handy but do you have examples of African folkoric music based on 4/4 rumba clave? Anyone?
2) 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? I think it sounds better and offers more possibilities for rhythmic melodies than playing it on the 3 side.
David, maybe you can ask Sandy next time you see him. There are obviously no recordings from then but in the mid and late 1800s Abakua music existed in Cuba and rumba did not, so the Abakua bell part is clearly older than rumba clave. I have heard clave played that sounded like son clave in Africa and African music, and the Abakua bell part also came from African music, but I have not heard the 4/4 rumba clave (as we play it in guaguanco) played in African music (as distinguished from Afrocuban music).
Regarding the placement of the tres dos with respect to the clave, we see that Matanzas Abakua has a second part with an open tone every measure, ie on the downbeat of both the 3 and the 2 side of the rumba clave. It makes sense what Barry suggests that this evolved over years into a preference for the 2 side, ie the modern style of playing tres dos in the guaguanco. So, moving forward there are two questions.
1) Has anyone heard African folkloric music based on 4/4 rumba clave? I mean music actually structured around the 4/4 rumba clave, not just with the clave part playing along without being the foundation of the drum and vocal rhythms. I am not talking about African popular music, which has much Cuban influence, nor am I talking about the 12/8 rumba clave David posted, which is different and is actually the Abakua bell part. David, I don't have your book handy but do you have examples of African folkoric music based on 4/4 rumba clave? Anyone?
2) 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? I think it sounds better and offers more possibilities for rhythmic melodies than playing it on the 3 side.