Jy ypgl Df, 1. 4 Sclove | * fciove 2 ipg-e DAL J Ly ing t Da ty Next we move to the Son and Rumba cant so make sure you wn Claves, We'll use the same approach to clearly. Although we are r ing a arrive at these. In the following examples this “in theory," in actual performance notice how the duple meter eighth notes _ the simultaneous coexistence of these have the same accent relationship as the two rhythms (three and two, or three ones in f, The same is the case with the and four) forms the fundamental Afro f bell pattern and the duple meter compound meter relationship that is, pattern, This relationship between the part of the essence of this music triple and duple rhythms is very signifi- ne A yee eA Ey ged dl ay ») ne TI oy Port ay ABREEEEEE wien een pocerm Aswith the §clave examples, all of _rhythms's one note. The fst example the notes are in the bell pattern and the is the Son clave and the second the only difference between the ovo clave Rumba clave, Hetty get ay Son Clave Rumba Clave fee Ap tty ped Dy Ly