bongosnotbombs wrote:Columbia cata really only feels like 6 in Columbia, in guaguanco the downbeats are downbeats, and the clave part of the cata pattern tends to match the rumba clave being played.
You don't have David Penalosa's book do you. He gives the best explanation. The basis of African rhythms is the polyrhythm 3/2 or 2/3. Some parts of a rhythm will mark the divisions of 3 and 2 simultaneously where they occur in the rhythm cycle. And that there are primary divisions of a tertiary or duple rhythm and there are secondary divisions...and on and on...
the standard bell pattern is the best example of this....basically one plays duple and tertiary divisions at the same time, it's inherent in the rhythm, which is part of the reason 12/8 rhythms can be cut up so many ways...1,2,3,4,6,8,12.
anyways, get the book, read it, you'll understand then...
bongosnotbombs wrote:Oh, and you completely missed the joke, what comes between 4 and 6....5...
5 is cinco in spanish.....
syncopation, "CINCO" pation...between 4 and 6....okay get it now?
bongosnotbombs wrote:Man, when I do get the chance to play with Sandy I'm just trying to hang in there, and even when I'm not, I'm just trying to play instinctively and intuitively, there's no chance to analyze what people are doing or really think about what I'm going to play.
Fix or swing to me is like this.
If I play 1e&a2e&a3e&a4e&a I'm playing in 4 right?
If I play 1&a2&a3&a4&a I'm in 6/8 or 12/8
but if I play 1e&a2&a3&a4e&a I'm swinging it, or playing in fix, it's not really any more complicated than that.
the 1, 2, 3, 4 are evenly spaced that is more like triplet fill ins in the second and third measures of 4/4 time and again
rhythmrhyme wrote:actually they break right around 5:50 and fully switch into a 6/8, timbale player leads it in with the classic 6/8 afro bell pattern. Prior to that they're in a 4/4 with some 12/8 fills and riff's.
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