Clave (rhythm)

The keys as a percussion instrument, execute the rhythmic pattern of the key.

In Cuban music, and particularly in all its more traditional variants, the specific rhythmic patterns (which are played on the homonymous instrument) and the underlying rules that govern these patterns are called clave. The clave guides and amalgamates each and every one of the instruments (voices included), there being an obligatory correspondence between the rhythm of the clave and the rhythm of the harmonic and melodic instruments. When this correspondence does not occur (that is, the key is misplayed or is out of place) we speak of a traversed key, mounted or crossed key.

Structure

The rhythmic touch of the clave fits in a single measure of four beats, and is divided into two parts: one of three beats and the other of two beats.

There are two types of claves: the "son clave" and the "rumba clave").

Sound clef

The “clave de son” is used in the son, the son montuno, the guaracha, and other rhythms; it is the backbone of salsa. It presents this structure:

The rhythmic pattern called the "key of sons", which is frequently used in Latin music (son, rumba, salsa, etc.), here is presented in its version "3-2". This rhythmic cell is shown here in 4/4 (“modern” notation, popular in Europe and the United States), as well as in its “traditional” form in 2/4 (which is still used by many Latin American percussionists).

The first part, or antecedent, is strong and consists of 3 blows; the second part, or consequent, is weak and has 2 hits. This arrangement is called "3-2", and is common in more romantic-style salsa. The two parts of the phrase can be reversed, in a "2-3" (present in the "mambo" style salsa songs, for example):

The "key" in its "2-3" version (much less common than the 3-2 key.
This rhythmic cell is shown here in 4/4 (“modern” notation, popular in Europe and the United States), as well as in its “traditional” form in 2/4 (which is still used by many Latin American percussionists).

The names "3-2" and "2-3" They emerged outside of Cuba to help the interpreters. A piece can start out one way and then change to the other. The Cuban son has its origins in the danzón, which in turn derives from the rondo form of European classical music, so in some parts the percussionists had to accommodate the beats to match the change in rhythmic phrasing, or else they added measures to maintain the direction of the clave. Soneros and rumberos like Arsenio Rodríguez or Ignacio Piñeiro were in the tradition of always maintaining the direction of the clave, without changing it.

Rumba clave

The clave de rumba, also called the clave negra, differs from the clave de son in only one beat. It appears in all three main styles of rumba (guaguancó, Columbia and yambú), in the conga, as well as in timba or modern Cuban salsa.

The rumba clave is more difficult to follow than the son clave, especially for those who are not used to it. Occasionally, salsa arrangements may have short rumba sections, or interludes, but it always returns to the clave of son.

African Key

The African clave or 6/8 clave is the oldest, coming from the religious music of West Africa. It is always played in the 3-2 direction:

However, it must be borne in mind that there are many other variations in the key in Africa. Music in Africa is an identity element and serves to distinguish multiple ethnic groups and cultures from oral tradition. In Africa music, among others, also has the support function or nemotechnic facilitator. As organizers of the rhythm, Keys are fundamental in the preservation of the collective memory that is embodied in the form of songs. There are about 2000 languages in Africa and many "animal" needs to orchestrate. It would be strange that they were provoked and organized by a single key.

Others

The so-called bossa clave is shared by bossa and samba, popular in Brazilian music of the fifties:

Other rhythms that have a clave function are:

• the backet, used in the Cuban danzón.
• the high match, which is used in the samba, bossa, bossa nova and other Brazilian styles.
• the bowl, which is used in the bomb (a Puerto Rican genus).

The origin of these rhythms are the polyrhythms of African music, which has more examples of harpsichord music.