Rhythm
The habanera rhythm is an embellishment of tresillo, and one of the most basic rhythmic cells in Afro-Latin music, and sub-Saharan African music traditions. In sub-Saharan rhythmic structure, every triple-pulse pattern has its duple-pulse correlative; the two pulse structures are two sides of the same coin. The habanera rhythm is the duple-pulse correlative of the most basic triple-pulse cell—the three-against-two cross-rhythm (3:2), or vertical hemiola.
The habanera rhythm is known by several names, such as the congo, tango-congo, and tango. Thompson identifies the rhythm as the Kongo mbilu a kakinu, or 'call to the dance.' The pattern is in fact, heard throughout Africa, and in many Diaspora musics. It is constructed from multiples of a basic durational unit, and grouped unequally so that the accents fall irregularly in a one or two bar pattern. Put another way, the pattern is generated through cross-rhythm.
Some vocalizations of the habanera include "boom...ba-bop-bop", and "da, ka ka kan." When sounded with the Ghanaian beaded gourd instrument axatse, the pattern is vocalized as: "pa ti pa pa." The "pa's" sound tresillo by striking the gourd against the knee, and the "ti" sounds main beat two by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the habanera (one-ah), and the last "pa" coincides with beat one. By ending on the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm.
Read more about this topic: Habanera (music)
Famous quotes containing the word rhythm:
“My brain sang
a rhythm I never dreamt to sing,
“I will be gay and laugh and sing,
he is going away.””
—Hilda Doolittle (1886–1961)
“Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.”
—Charles Baudelaire (1821–1867)
“A supreme love, a motive that gives a sublime rhythm to a woman’s life, and exalts habit into partnership with the soul’s highest needs, is not to be had where and how she wills.”
—George Eliot [Mary Ann (or Marian)