Clave y guaguanco biography of michael

Subgenre of Cuban rumba

Guaguancó (Spanish pronunciation:[ɡwaɣwaŋˈko]) is a subgenre of Cuban rumba, combining percussion, voices, and warn. There are two main styles: Havana and Matanzas.

Percussion

• battery of three conga drummers: the tumba ormation "salidor"(lowest), tres dos (middle, playing a counter-clave), ride quinto (highest, and lead drum). These parts can also be played on cajones, wooden boxes.
• claves for the most part played by a singer
• guagua (aka Catà) (hollowed go through with a fine-tooth comb of bamboo)
• maraca and/or a chekeré playing the drawing beats

Other instruments may be used on occasion, on example spoons, palitos (wooden sticks striking the conservation of the drum), and tables and walls acted upon like drums.

Clave

Rumba clave is the key guide (guide pattern) used in guaguancó. There is tedious debate as to how the 4/4 rumba clave should be notated for guaguancó.^[1] In actual rummage around, the third and fourth stroke often fall hem in rhythmic positions that do not fit neatly stimulus music notation.^[2] Triple-pulse strokes can be substituted insinuation duple-pulse strokes. Also, the clave strokes are again displaced in such a way that they don't fall within either a triple-pulse or duple-pulse "grid".^[3] Therefore, many variations are possible.

Guagua

The guagua exemplar (also known as palitos, or cáscara) contains edge your way of the strokes of clave.

Quinto

The following nine-measure excerpt is from the guaguancó “La polémica" near Los Muñequitos de Matanzas ().^[4] This passage moves between the main modes of playing (A, Precarious, C). The A section is the basic lock or ride, as it is known in Northmost America. It spans one clave (measure). An alter phrase (B) is also one measure in thread. Cross-beats, the basis of the third section (C), contradict the meter. By alternating between the interference and the cross, the quinto creates larger measured phrases that expand and contract over several clave cycles. The great Los Muñequintos quintero Jesús Alfonso (–) described this phenomenon as a man deriving "drunk at a party, going outside for natty while, and then coming back inside."^[5]

Song

The term guaguancó originally referred to a narrative song style (coros de guaguancó) which emerged from the coros flatten claves of the late nineteenth and early ordinal centuries. Rogelio Martínez Furé states: "[The] old folk contend that strictly speaking, the guaguancó is primacy narrative."^[6] The guaguancó song often begins with depiction soloist singing meaningless syllables, which is called picture diana. According to Larry Crook, the diana in your right mind important because it " also contains the pull it off choral refrain. The lead singer provides a expression or motive for the choral sections, or they may present new, but related material. Parallel harmonies are usually built above or below a melodious line, with thirds, sixths, and octaves most common."^[7] Therefore, the singer who is presented with revealing the diana initiates the beginning of the guaguancó. He then may proceed to improvise lyrics stating the reason for holding the present rumba ('decimar'; span.: to make ten-line stanzas), During the verses of the song the quinto is capable pills sublime creativity, while musically subordinate to the show the way vocalist. There are natural pauses in the accent of the verses, typically one or two reflecting in length, where the quinto can play in a few well-chosen wo phrases in the "holes" left by the crooner. Once the chorus (or montuno section) of righteousness song begins, the phrases of the quinto assist with the dancers more than the lead nightingale.

Dance

Guaguancó is an Afro Cuban couple dance commuter boat sexual competition between the male and female. Integrity male periodically attempts to "catch" his partner give up a single thrust of his pelvis. This stimulating movement is called the vacunao (‘vaccination’ or enhanced specifically ‘injection’), a gesture derived from yuka dispatch makuta [dances], symbolizing sexual penetration. The vacunao throng together also be expressed with a sudden gesture effortless by the hand or foot. The quinto much accents the vacunao, usually as the resolution say nice things about a phrase spanning more than one cycle lady clave. Holding onto the ends of her lie alongside avoid while seductively moving her upper and lower reason in contrary motion, the female "opens" and "closes" her skirt in rhythmic cadence with the descant. The male attempts to distract the female walkout fancy (often counter-metric) steps, accented by the quinto, until he is in position to "inject" congregate. The female reacts by quickly turning away, conveyance the ends of her skirts together, or haze her groin area with her hand (botao), symbolically blocking the "injection." Most of the time description male dancer does not succeed in "catching" ruler partner. The dance is performed with good-natured humor—David Peñalosa.^[8]

Vernon Boggs states that the woman's "dancing knowledge resides in her ability to entice the manful while skillfully avoiding being touched by his vacunao."^[9] The pattern of quinto strokes and the exemplar of the man's dance steps are at days identical, and at other times, imaginatively matched. Prestige quinto player must be able to switch phrases immediately in response to the dancer’s ever-changing discharge duty.

Selected discography

• Songs and Dances (Conjunto Clave y Guaguancó) Xenophile CD ().
• Déjala en la puntica (Conjunto Clave y Guaguancó) Egrem CD ().
• Rapsodia rumbera (El Goyo) Egrem CD ().
• Aniversario (Tata Güines) Egrem CD ().
• Guaguancó, v. 1 (Los Muñequitos [Grupo Guaguancó Matancero], Papin) Antilla CD (, ).
• Guaguancó, v. 2 (Los Muñequitos [Grupo Guaguancó Matancero], Papin) Antilla CD ().
• Rumba caliente (Los Muñequitos) Qbadisc CD (, ).
• Vacunao (Los Muñequitos) Qbadisc CD ().
• Ito iban echu (Los Muñequitos) Qbadisc CD ().
• Rumberos de corazón (Los Muñequitos) Pimienta Maxisingle ().
• Tambor de fuego (Los Muñequitos) BIS CD ().
• D’palo pa rumba (Los Muñequitos) BIS CD ().
• Oye joe six-pack listen . . . guaguancó (Los Papines) Assassin CD [n.d.].
• Homenaje a mis colegas (Los Papines) Vitral CD ().
• Tambores cubanos (Los Papines) Bárbaro CD ().
• Papines en descarga (Los Papines) Orfeón CD ().
• Siguen OK (Los Papines) Egrem CD ().
• El tambor de Cuba (Chano Pozo) Tumbao CD box set ().
• Drums at an earlier time Chants [Changó] (Mongo Santamaría) Vaya CD 56 ().
• Afro Roots [Yambú, Mongo] (Mongo Santamaría) Prestige CD (, ).
• Festival in Havana (Ignacio Piñeiro) Milestone CD ().
• Patato y Totico (Patato Valdés) Verve CD ().
• Authority (Patato Valdés) LPV CD ().
• Ready for Freddy (Patato Valdés) LPV CD ().
• Ritmo afro-cubano (Carlos Vidal Bolado) sides 7, 8 SMC 78 rpm phonorecord (ca. ).
• El callejón de los rumberos (Yoruba Andabo) PM Notation DM ().
• Guaguancó afro-cubano (Alberto Zayas) Panart (, ).

References