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RITMO CLAVE
GLOSSARY OF TERMS & THEORY
This page is the first of
it's kind, a work in progress interactive platform pioneered
by musician Bobby Ramirez that documents new and existing terms and definitions
that relate to the Clave. It is part of an ongoing exploration
encompassing the conceptual theory that envelops the usage and
multi-application of the African-based Clave rhythm in Latin
music.
General discussions relating
to the content of this page take place at RitmoClave
Discussion Forum.
Anyone is welcome to suggest a term for possible inclussion in
the page.
The goal is to build a vocabulary
of Clave terms and theory to enhence the understanding of the
Clave. This project will especially serve as an essential guide
to future generations of music students that seek to understand
the mechanical complexity of Latin music.
NOTE: Anyone is permitted to use the Ritmo Clave Glossary
of Terms & Theory for educational propose or research as
long as you credit the author of this work:
Bobby Ramirez
Ritmo Clave Glossary of Terms & Theory
LatinSheetMusic.com
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About RitmoClave Discussion Forum:
Founded by musician
Bobby Ramirez in December 2000, the RitmoClave Discussion Forum
consists of mostly musicians interested in sharing their thoughts,
experiences, comments and opinions on the "Clave" rhythm
as it relates to music. This forum is open to everyone regardless
of his or her knowledge of the "Clave" or music in
general. The main purpose is for educational exploration as well
as establishing camaraderie among its members.
FREE 3-2 CLAVE WORKSHOP DOWNLOAD
Download a 3-2 Rumba Clave
workshop produced by musician Bobby Ramirez. Whether you're a musican or fan of Latin music,
Bobby teaches you in three easy steps how to play the 3-2 Rumba
clave while singing a melody.
Afro-Cuban RitmoClave Workshop
PART 1 Download
MP3 Now (4.2MB)
PART 2 Download MP3 Now
(3.9MB)
RitmoClave
Lecture Workshop Audio CD
Irrational Clave Continuum (ICC):
A term to discribe
the intended or unintended act and/or reaction of the Clave rhythm
when it swiches from 2-3 to 3-2 and visa versa in a specific
section(s) of a song. This action typically applies to the Afro-Cuban
Clave, but it is also applicable in other Latin music styles
containing subsequent Clave rhythms.
Contextual Clave (CC)
Songs that are generally
not of the Latin gerne, yet contain certain sections within the
arrangement and/or interpretation of a specific instrument or
ensemble that emphasize a specific clave source either the 3-2
rumba claves or the 2-3 traditional son montuno clave. CC can
be felt in other styles of music including Hip-Hop (very strong),
rock, County music, classical, etc.
Cruzao
The Spanish verb which
translates to "crossed", this term is used to indentify
a musical note and/or phrase--either intentionally written as
part of the arrangement or unintentionally written/performed
by one instrument or ensemble--not in sync with the clave that
is naturally inherent of the song.
Eparente
A word that derrives
from the Spanish words "es aparente", meaning "is
apparent" used to describe when one can literally hear the
clave rhythm being performed within a certain section and/or
entire lenth of a song.
Nosaparente
A word that derrives
from the Spanish words "no es aparente", meaning "is
not apparent" (the opposite of the previous term) used to
describe when the clave rhythm is not being performed within
a certain section and/or entire lenth of a song, yet one can
feel the natural emphasis progression of the clave being established
by one or more instruments, vocalist, etc.
Clavbop
A word that derives from "Clave" and "Bebop",
is used to describe a musician in the act of improvising by intentionally
using distinct phrases and motifs to accentuate the Clave rhythm.
It is the disctinct musical vocavulary that conbines Latin rhythm
and Jazz harmony typically used in Latin Jazz.
Jazz Latino Libre
a phrase used to describe the overall act of what is essentially
"Free" Latin Jazz.
Movetto Libre
A word that derives from the words "movement" and "free",
is used to discribe the act of "Clavbop" at certian
points or as part of a specific arrangement where an instrument
chooses to improvise freely with no regard for the rule of Clave.
This concept is related to "Libre Jazz Latino."
Regla D'Clave
This phrase literally means "Rule of Clave" and is
used as the technical term when one is in the act of dealing
with one or more clave concepts whether traditional or progressive.
Leaping
This temr is used to describe a specific action withing the act
of "Clavebop." The act of "leaping" from
one phrase and/or motif while in the process of improvising which
enables a smooth transition and not creating stress within an
extended musical passage. Leaping is specifically useful when
a musician is improvising to an audience that is actively dancing
thereby enhencing the rhythmic flow with the music through improvisation.
UnLeaping
The opposite of the
previous term, this word is use to describe the action of intentionally
adding musical points of stress in and around the Clave rhythm.
When used correctly, this action can serve as a very specific
mechanism thereby causing emotion to ramdonly selected musical
passages.
Clavero
The technical name given to a musician that is part of a Latin
music ensemble who is in charge of playing only the clave instrument.
Clavista
The technical name giving to a musicians that is from the "old
school" form of relating to the clave; extremely tradtional
in their way of thinking about the usage of the clave in Latin
music.
NuClavista(s)
The technical name giving to a new generation of muicians who
also embrace the traditional standards of clave application,
but are open to more progressive ideas; actively pushing the
envelop; experimenting with new concepts in and around the usage
of the clave.
Altered Melody
This phrase is used to describe the act of altering an established
melody, musical patern or motif to fit a specific Clave patern.
This mechansm is more commonly used especially when taking a
swing Jazz standard song and performing it in a Latin Jazz style.
