The Proximate Three in Practice: Mandeng Jembe Repertoire, Part 2
Excerpt from, “The Harmonic Perspective of Rhythm”
Continued from Part 1.
Permutations Wrap-up
And what of the tresillo permutations concept? It is tempting to wish that all were now completely transparent with respect to the observations of clave polarity gathered thus far. In fact, some ambiguities still exist. Nevertheless, we can look at our examples thus far and fill in the blanks. All those which articulate bombo, I will assign the three (clave side)/on-beat three designation. All those which articulate beat two will get the two/offbeat three label. This combined with the evidence from the pieces examined looks like this:
Figure 1. Tresillo Permutations Functional Summary.
Still two problem areas exist, permutations 3 and 8. Number 3 we have seen function clearly as two in traditional practice, but can we justify that it has unique two-ness? Number 8 is very similar to 3. This is a problem that was on my mind during the analysis, namely what about the so called, ‘Brazilian Clave,’ which is essentially the same used in New Orleans second-line music. Both are often found in two-three direction, but I’ve kept the three first for comparison.
Figure 2. Brazil/New Orleans ‘Clave’.
In the second half, we see the ‘and’ of beat three, which is a clue to two-ness/offbeat three-ness, but the previously considered all-important second beat (primary offbeat, beat three) is displaced by
Figure 3. Tresillo Permutations 1, 3, and 8 Timing Analysis.
First, note that for both permutations 3 and 8, the articulation in question falls just one box short of the third beat of three; This is not what our theory would predict and yet the feeling of polarity is still clear in the two examples which utilize this rhythmic placement. Both of these rhythmic combinations, Djagbe and Brazilian/Second line clave, suggest metric similarity between the first and last articulations of the pattern. We have seen this before, notably with the archetypal ternary standard pattern where the offbeat three/and two coincide on the fourth beat then again on the downbeat; this creates a feeling of rest at the end and beginning of the pattern until tension is again initiated on the bombo note. In the present case, the metric similarity is closer to the feeling of on-beat three, so that the tension between metres is initiated before and carries through the downbeat. In the case of the Djagbe sangban, this idea is sonically reinforced by the presence of muffled strokes in these two positions. It feels to me when playing this rhythm that the height of tension and (partial) resolution is on beat one. It seems the two-ness comes from the two consecutive strokes on beat three (secondary downbeat, or beat one above) and the ‘and’ that follows.
↓ ↓
Figure 4. Djagbe Sangban ‘Two-ness’.
Audio Example 1. Djagbe Sangban and Bell (CD Track 32).
In the case of the Brazilian/Second line clave[1], there are not two consecutive expressions of two but there are two consecutive ‘and’ placements. Here again we see the ambiguous nature of the ponche position to be either primarily two or three. It is also worth noting that: 1) This rhythm is not really thought of as a clave, with the same crucial function of the clave in Cuban music, nor is it, from what we know, of African origin (see footnote below); 2) The pattern of dotted note articulation (strikes articulating three subdivision units) is almost unbroken in this rhythm: x..x..x…x..x.. This tends to produce a rhythmic drive related to this cross-rhythmic structure that pulls at the listener/performer into hearing it from this other point of view. The dotted note articulation is broken between the third and fourth notes only, the same notes that indicate two-ness from our other analytical standpoint. More will be said about dotted notes elsewhere in this paper; 3) A polarity of sorts is generated by the alternation between the first half, which is tresillo, and the second half, which fits decidedly between the tresillo notes. The notes of the two side (in clave terms) go around the secondary bombo note just as they do in the son and rumba claves, but instead of being evenly placed around the bombo, they sound just before it and then again just before the ponche note. This motif creates its own differentiation and hence polarity from the tresillo three side.
Figure 5. Son Clave and Brazil/New Orleans ‘Clave’ with Tresillo.
Audio Example 2. Tresillo with Son and Second Line Claves (CD Track 33).
On
this note let us briefly revisit the tresillo combined with its own
permutations chart.
Figure 6. Tresillo with Permutations: Functional Wrap-up.
This method is perhaps simpler and gives clear cut results, that, luckily, agree with the conclusions arrived at through the more prosaic, more analytical process that has been the basis of this section. The discussion has proved valuable, nevertheless, allowing us to consider the quality that certain rhythmic placements or combinations thereof can lend to a polarized, two with three polymetric binary correlate structure, a structure which, despite the big name, is probably the basis for most of the world’s music, particularly from the perspective of most (re)played and therefore most heard, in our modern age.
Binary, Sequential, Metric Polarity Summary
This method of looking at clave-like polarity—and therefore sequential metric polarity—in a four-beat motif has proven insightful. It seems to me that the tresillo permutation exercise does not directly supply the raw material for any and every African, polarized pattern; we have seen several examples, even in this small pool of five dance rhythm orchestrations, that use other rhythmic devices, such as three or four articulations on the on and offbeats of two to indicate the two side of clave, or just the bombo note to indicate the three side. If, as surmised previously, Toro’s statement as to their universality is taken to mean that any pattern can be generated with a combination of subdivisional groups in threes and twos, that is something different which does not guarantee the implied metric polarity I have been testing for. Nevertheless, through this method of investigation, at least three important things have been demonstrated: 1) That the rhythms examined showed 100 percent adherence to the principle of metric polarity as a pre-requisite for African traditional (as opposed to popular or jazz) rhythm, as has been suggested by Novotney and Peñalosa, among others; 2) That there are demonstrable criteria that, though not without the ambiguity that is so often at the heart of artistic expression, indicate structurally how this polarity is manifested in a binary rhythmic environment; 3) That this phenomenon can be shown to operate in principle in the same way that it does in a ternary rhythmic environment, thus offering structural criteria for the previously anecdotal connection between these two feels.
Pedagogical Possibilities and Perspectives
This system of permutations and other key criteria could be used as a partially complete method to devise other rhythms that are in clave, by combining those that represent the three side/on-beat three with those that represent the two side/offbeat three. The same could be done with quintillo or other foundational patterns, or even fully fleshed out in-clave patterns such as cascara. Toro, in fact permutes cascara in his latest book, From Linear to Harmonic. (Toro 2014a)
I have my reservations about going too far into permutations and other such cognitive approaches to pattern generation, and ultimately, composition. I believe that all avenues to musical expression are valid and worthy, but turning again to the language metaphor, there are some that draw on established patterns of expression from which they might evolve to radically different approaches, and there are others that attempt to generate new patterns of expression from intellectual ideas, from random numbers or random noise; this is perfectly acceptable but in my experience produces music which fails to move me as much as music based on the former approach.
Back to the realm of Latin music, it seems that Cuban musicians do not use the two-three or three-two clave concept in their thinking on music, but prefer to rely on their ‘natural’ sense of the music, developed through listening and playing. For example, from renowned conguero Mongo Santamaria: “Don’t tell me about 3-2 or 2-3! In Cuba we just play. We feel it, we don’t talk about such things.” (Washburne 2008, 190, cited in Peñalosa and Greenwood 2009, 249) Peñalosa mentions similar perspectives in his notes, including those of classically trained musicians Dafnis Prieto and Alain Pérez: “In Cuba we do not use the 2-3, 3-2 formula…2-3, 3-2 [is] not used in Cuba. That is how people learn Cuban music outside Cuba.” (Peñalosa and Greenwood 2009, 249)
With these reservations stated, I refer back to the section titled, “The Proof is Within” (page 76), where the reader will be reminded that I am operating in a decidedly hybrid realm embracing both traditional approaches, including organic learning, intuition, playing by feeling and by ear, and intellectual approaches such as the consideration of rudimentary or archetypal patterns, analysis, permutation, and practice and compositional material generated by those cognitive modalities. Thus, the aforementioned approach of combining traditionally generated patterns randomly but based on their on-beat and offbeat, polymetric leanings, can produce interesting new material; likewise, this approach might be used to help an outsider (or ‘hybridized insider’) play ‘in-clave’ from a different perspective, and from a different pedagogical experience. A few examples follow to illustrate some ways the process might develop. From the previous tresillo chart:
Figure 7. Tresillo Function Reference.
Here is number 6 with number 2:
Figure 8. Hybrid Pattern 1.
Here are numbers 6 and 8:
Figure 9. Hybrid Pattern 2.
Next, 4 and 2:
Figure 10. Hybrid Pattern 3.
And 4 and 3:
Figure 11. Hybrid Pattern 4.
Finally, a deliberately ambiguous one, using two ‘two’ sides in a row. This is 7 and 8:
Figure 12. Hybrid Pattern 5.
Audio Example 3. Polarized Permutations Hybrids (CD Track 34).
Finally, we should note that even in Cuba, probably the origin of this kind of conceptual/compositional analysis vis-a-vis the clave concept, clave strictness is not an absolute. Any of the phrases seen in this analysis might be used, especially by modern Cuban musicians and composers such as those working in the Timba style, counter clave; that is, purposefully placed in an opposing or ‘wrong’ orientation. Indeed, this sort of ‘clave-license’ has long been the prerogative of the lead (in Cuban Rumba, the Quinto) player, in folkloric percussion and vocal music, as well as in more modern derivatives using European instruments. To revisit the language analogy yet again, in our mother tongues, we all know when to use ‘proper’ grammar and when to break rules for effect. As Peñalosa puts it:
…timba takes great liberties with the prescribed order of clave. Some say that the new music is cruzado and the great art of arranging music in-clave is being lost. Others say that the young Cuban musicians are merely taking, “clave license” and employing among other things, quinto-inspired concepts.[2] (Peñalosa and Greenwood 2009, 230)
and, from composer Alain Pérez:
When I conceive a tumbao, I don’t stop and think or write to see where the clave fits and where it doesn’t…in tumbaos developed in Cuba, you hear quinto hits. For many years now in Cuba the bands have been employing different rhythmic patterns. It is amazing how the bass and piano have evolved in Cuba, and that is not something that stops. As I was telling you, the rhythm is the most important, internalizing the percussion, the clave, the rumba. If you know the essence of this, the possibilities are infinite. If you don’t, you will never catch up to what is being done in Cuba. (“Alain Pérez Interview Part 2”)
To attempt to play in clave without immersing oneself in music that demonstrates that aesthetic would be ill-advised. Though some ideas for a creative approach to using the analytically derived material generated in this discussion have been presented, the emphasis is, once again, on how
polarity is demonstrated. This material could be used in strict adherence to
African Diaspora style polarity, purposeful non-adherence, or perhaps somewhere
in between, where art often thrives.
[1] Although referred to by some musicians as ‘clave’ and similar to the Cuban Son Clave, the pattern is disputed as such. Percussionist, composer
[2] Note that ‘
Bibliography
As you’ve seen in the text, I have included links to most of these works. If you are interested in purchasing any of them, please consider clicking through and helping to support this labor of love. Thank you! YIR (Yours In Rhythm), John