Contents

Acknowledgments
CD Track Lists
Introduction
From the Editor
The Two CDs
Notes
A Word About the Graphics
Chapter One The Primary Beat Cycle
I Beats
II Pulses
III Offbeats
Summary
Exercises
Chapter Two The Secondary Beat Cycle
I The Triple-Pulse Cross-Beat Cycle
II Tresillo
Summary
Exercises
Chapter Three The Standard Pattern
Introduction
I The 12/8 Standard Bell Pattern
II The 4/4 Standard Pattern
Summary
Exercises
Chapter Four Clave Patterns
Introduction
I Son Clave
II Rumba Clave
III The Eight-Beat and Offbeat-Eight Cycles
IV Clave and the Standard Pattern
Summary
Exercises
Chapter Five Clave Sequence: The 3-2/2-3 Clave Concept
Introduction
I 3-2 Clave Sequence
II 2-3 Clave Sequence
III Reversible Sequence—Playing in 3-2 or 2-3
IV The Two Halves of Clave Represented as Two Measures
V One Chord
VI Moving from One Side of Clave to the Other
VII Folkloric and Popular Clave Differences
VIII Folkloric Melodies That Imply a Harmonic Progression
IX Incorrect Clave Sequence—“Crossed” Clave (Cruzado)
X Counter-Clave or Cruzado?
Summary
Chapter Six The Lead Instrument
Introduction
I Lock Mode
II Longer Phrases
Summary
Chapter Seven Issues of Notation, Terminology and Theory
I The Clave Concept
II Confusion About Metric Structure
III The Archetypal Structure of the Standard Pattern
IV The Mystery of Triple/Duple Rumba Clave
V The Timba Clave Schism
Chapter Eight How Pulse Notation Corresponds to Standard Notation
I 4/4 Beats and Pulses
II The Offbeat Eight Cycle
III Dotted Notes and Rests
IV 12/8 Beats and Pulses
V 12/8 Secondary Beats
Notes
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Glossary
Bibliography
Books
Magazine and Journal Articles, Liner Notes and Websites
Discography
Sub-Saharan African Music
Afro-Cuban Folkloric Music
Cuban Popular Music
Mambo, Salsa and Related Genres Recorded Outside of Cuba
Afro-Cuban/Latin Jazz and Descargas (jam sessions)
Afro-Brazilian Music
Miscellaneous Music Sources
Videography
About the Editor
About the Author