Sublette complains that the New Grove Dictionary of Music fails to mention Africa in its 32-page entry for “rhythm.Rugged roots bahama mama ) Bahama Mama. 1086, nearly 500 years before drum became a household word in English, per the OED. “A tree from the forest will not know language.” Fluent Yoruba speakers survived in Cuba as recently as the 1940s.īerber slave armies first brought drums to Spain in A.D.
#TIN TIN BASIC DRUM BEATS CARRIBEAN HOW TO#
“A tree that is accustomed to hearing human voices will know how to talk,” Sublette explains. Yoruba drums are traditionally made from wood found near villages. Sublette calls the Cuban dance “the rock and roll of Spain in the late sixteenth century, right down to the guitar.” By the 18th century, Bach, a devout Lutheran, had composed 39 sarabandes. In 1583, Seville outlawed the dance zarabanda, punishable by whipping or exile. “They’re listening to it even at the wailing wall in Palestine,” Carpentier wrote. The Billboard called it “a waste of a good time as far as we were concerned.” It became one of the most recorded songs of the century. Don Azpiazu’s Orquesta del Gran Casino Nacional, featuring Antonio Machín (“Cuba’s Rudy Vallee”), shared a bill with Rin Tin Tin.
![tin tin basic drum beats carribean tin tin basic drum beats carribean](https://images.squarespace-cdn.com/content/v1/5d0434f328d8d9000101f755/1587880911206-6O0EKPUXRKNFA6DGN72S/Caribbean-political-map.jpg)
Soneo (call-and-response, mostly improvised) “The Peanut Vendor” made its Broadway debut on April 26, 1930, at the Palace Theater. “You simply cannot understand Cuban music.
![tin tin basic drum beats carribean tin tin basic drum beats carribean](https://m.media-amazon.com/images/I/61MnM2NC2gL._SS500_.jpg)
“If anyone reading this thinks this is all so much mumbo-jumbo, perhaps Cuban music is not for you,” Sublette warns. Not only does Sublette devote entire chapters to Africa, he delivers the most cogent summary of Afro-Cuban spiritual traditions (the drumming rituals, the syncretism with Catholic saints, the secret Abakuá societies) that I’ve read by a layperson. military, or American-backed, white-only Cuban administrations. It was the same regardless of who ran the show-Spanish colonialists, the U.S. Rumba-crazed Americans vacationing in Havana found that most percussion was banned there. For Sublette, however, the history of Cuba’s music is inseparable from its racial politics. A musicologist, pianist, and theorist who in his spare time invented magic realism, Carpentier broke new ground in Music in Cuba (1946) by owning up to the African influence in Cuban music, even in the whitest-sounding classical compositions. He leaves his predecessors, including Alejo Carpentier, in the dust. A “brief summary” of the Spanish-Cuban-American War fills a 10-page chapter. That said, Sublette’s strategy pays off in ample space.
![tin tin basic drum beats carribean tin tin basic drum beats carribean](https://i.ytimg.com/vi/Ne4eutIKH7Q/maxresdefault.jpg)
Which means, secondly, that the two-page “suggested listening” appendix short-shrifts deities Benny Moré and Celia Cruz, to say nothing of Machito and Miguelito Valdés. In fact, the book’s greatest strength, its encyclopedic scope, also elicits my only two quibbles: First, Sublette cuts his story off in 1952, postponing the golden age of Cuban recorded music for a sequel. This book is a history of Cuba, not just its music. has dominated island politics, directly or indirectly, since the 19th century. Estribillo (chorus) The author correctly assumes that Americans remain ignorant of Cuban history, though the U.S. The inescapable influence of Cuban music is Sublette’s diana-the opening syllables that set the key in a Cuban number-his rallying cry.ģ.
![tin tin basic drum beats carribean tin tin basic drum beats carribean](http://mas.txt-nifty.com/.shared/image.html?/photos/uncategorized/2009/09/13/2009091304.jpg)
Scott Joplin’s “The Entertainer,” Sublette writes, “fits exactly the rhythm of the danzón.” As for rock, “Louie Louie” composer Richard Berry admitted the song’s cha-cha origin. Handy’s “Memphis Blues,” considered the earliest blues number to be published, also has a tango rhythm. Jazz pioneer Jelly Roll Morton acknowledged “the Spanish tinge” of an early hit, “New Orleans Blues,” which had the same habanera syncopation of “La Paloma.” W.C. According to Sublette, the tango originated in Havana-don’t cry for him, Argentina-with the same rhythm as the habanera. For Carmen‘s habanera, Bizet stole Sebastián Yradier’s “El Arreglito,” thinking it was a folk tune. A former producer for public radio’s Afropop Worldwide, he makes a compelling case. “Cuban music has to be regarded as the Other Great Tradition, a fundamental music of the New World,” he writes in the exhaustive Cuba and Its Music. Diana Like a musician locked into the clave, Ned Sublette hears the island’s musical imprint everywhere. The clave’s function, writes Ed Morales (no relation) in The Latin Beat, is “unlocking the ‘code’ of Afro-Cuban music.”Ģ. Crucially, the clave is the basic rhythm traceable to ancient African rites, the building block of all Cuban music: a cell of two measures-one syncopated, one on the beat-around which every song, variation, and improvisation revolves. Clapping a pair of claves makes a sharp click loud enough to cut through the brassiest Latin big band. For black slaves and freedmen working the docks in late-17th-century Havana, claves were the hardwood pegs used in shipbuilding.
#TIN TIN BASIC DRUM BEATS CARRIBEAN CODE#
In Spanish, code or key in music notation, clef or signature.