Son and Rhumba Clave Patterns
Clave is typically divided into “2:3” or “3:2” patterns (read as “two-three” and “three-two”, respectively). This refers to the pattern of accented notes in a two bar-pattern, traditionally sounded with two hardwood sticks struck together. In a 2:3 clave, this is two “hits” in the first measure, followed by three hits in the second. This placement is part of what gives clave-based music its momentum and danceability.
There are basically two types of common or cut-time clave in AfroCuban music, the “Son” and the “Rhumba”, associated with music styles of the same name. Of these, the Rhumba is said to more closely preserve the 6/8 feel of African influence. A 3:2 Son clave, for example, yields a feel similar to the “Bo Diddley Beat” a.k.a., “Shave and a haircut, two bits”.
A 3:2 Son pattern is a quarter note, eighth rest, eighth note, quarter rest, quarter note in the first measure, followed by a quarter rest, quarter note, quarter note, quarter rest in the second.
A 3:2 Rhumba pattern is a quarter note, eighth rest, eighth note, quarter rest, eighth rest, eighth note in the first bar, followed by a quarter rest, quarter note, quarter note, quarter rest in the second. Two-three patterns are simply the reverse of the 3:2 forms of each.
Thinking Clave, Feeling Clave
For newcomers to AfroCuban music, grasping the clave is partly a matter of shifting the focus for the downbeat. In blues, rock or funk, it is the first beat of the measure that is most often accented. In Afro-Cuban music, it is most often beat four (in a four-beat measure) that is accented. It is also important to note this type of music is as much felt in rhythmic cycles as it is counted in linear fashion common in Western music.
In a 4/4 or cut-time tune, the last beat in the measure becomes the ”invisible” beat one. For harmonic or melodic instruments, this allows a chord or note to be anticipated, such as by playing a leading tone in a chord or scale. In fact, the fourth beat of the measure is where most harmonic movement comes in terms of piano and bass lines.
One way to internalize the feel of the clave is to tap a clave pattern with a foot while playing another line on your instrument. Taking this a step further, a bass drum pedal can be modified to strike a stationary block of wood or a plastic tone block.
As with all music, the best way to learn the clave feel is by listening to examples. Seeking out Salsa and AfroCuban music is the best place to start. There is no substitute for critical listening in order to discern this music’s “swing.”
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