Las Claves Ritmicas de La Musica Cubana7

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{\sp{\sn fArrowheadsOK}{\sv 0}}{\sp{\sn fBehindDocument}{\sv 1}} {\sp{\sn fLayoutInCell}{\sv 1}}}}\paperw11893\paperh16840\margl666\margr133\marg t666\margb40 \pard\li613\ri0\sl-866\slmult0 \fs58\cf0\f0\charscalex100\b {LAS CLAVES RÍTMICAS }\b0 \par\pard\li613\ri0\sl-680\slmult0 \fs58\cf0\f0\charscalex100\b {DE LA MÚSICA CUBANA}\b0 \par\pard\li613\ri0\sl-480\slmult0 \fs40\cf0\f0\charscalex100\b {El Problema de la Clave}\b0 \fs40\cf0\f0\charscalex100\i {.}\i0 \par\pard\li613\ri0 \sl-293\slmult0 \fs24\cf0\f1\charscalex100 {MARCOS MANUEL VALCÁRCEL GREGORIO}\par\ pard\li613\ri0\sl-240\slmult0 \fs20\cf0\f0\charscalex100\i {Tomado del libro \uc 1\u8220XLA PERCUSIÓN CUBA}\i0 \fs20\cf0\f0\charscalex100\i {NA, SUS INSTRUMENTOS Y SUS RITMOS\uc1\u8221X}\i0 \par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\par d\li1320\ri0\sl-373\slmult0 \fs24\cf0\f1\charscalex100 {Cualquier músico que quier
a interpre}\fs24\cf0\f1\charscalex100 {tar la música popular cubana se}\par\pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {encontrará con un problema car dinal: }\fs22\cf0\f1\charscalex100 {deberá conocer y aprender las claves}\par\pard \li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {rítmicas que la rigen y su u tilización.}\par\pard\li1320\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {Cuando se habla de clave, se de}\fs22\cf0\f1\charscalex100 {ben diferenciar dos concep tos: las}\par\pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {Claves c omo instrumento idiófono de }\fs22\cf0\f1\charscalex100 {percusión y las claves rítmic as como}\par\pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {\uc1\u822 0Xllaves\uc1\u8221X o patrones a partir de los cu}\fs22\cf0\f1\charscalex100 {a les se derivan sistemas rítmicos, que}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf 0\f1\charscalex100 {constituyen diversos géneros populares o folclóricos.}\par\pard\ li1320\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {En este breve estudio se i
ntenta expl}\fs22\cf0\f1\charscalex100 {icar cómo se relacionan las claves}\par\pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {rítmicas con distintas fra ses melódicas; cómo se coloca una clave rítmica con}\par\pard\li613\ri0\sl-293\slmult 0 \fs22\cf0\f1\charscalex100 {relación a una melodía dada y cómo a pa}\fs22\cf0\f1\cha rscalex100 {rtir de ahí se su}\fs22\cf0\f1\charscalex100 {bordina el sistema}\par\ pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {rítmico correspondiente al género popular o folclórico que se desea}\par\pard\li613\ri0\sl-293\slmult0 \fs24 \cf0\f1\charscalex100 {interpretar. Conocer esto es imprescindible.}\par\pard\li 1320\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {No obstante, deseo aclarar q ue por lo}\fs22\cf0\f1\charscalex100 { complejo y versátil del asunto no}\par\pard
8/16/2019 Las Claves Ritmicas de La Musica Cubana7
\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {pretendo dar definiciones, ya que a lo la}\fs22\cf0\f1\charscalex100 {rgo de mi carrera profesional he sid o}\par\pard\li613\ri0\sl-293\slmult0 \fs22\cf0\f1\charscalex100 {testigo de disc repancias fraternales entre percusionistas o músicos cubanos}\par\pard\li613\ri0\s l-293\slmult0 \fs24\cf0\f1\charscalex100 {de reconocido prestigio que en determ} \fs24\cf0\f1\charscalex100 {inadas melodías, músicas o arreglos, }\par\pard\li613\ri 0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {no se han puesto de acuerdo sobre cóm o}\fs24\cf0\f1\charscalex100 { se coloca una clave rítmica. Y es}\par\pard\li613\r i0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {que el músico cubano siempre ha resu }\fs24\cf0\f1\charscalex100 {elto el problema de forma empírica}\par\pard\li613\ri 0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {aunque muy objetivamente, porque si n duda, en cualquier melodía cubana o}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0 \f1\charscalex100 {afrocubana hay una clave rítmica impl}\fs24\cf0\f1\charscalex10 0 {ícita y de una manera, no de dos.}\par\pard\li4866\ri0\sl-213\slmult0 \fs18\cf0 \par\pard\li4866\ri0\sl-346\slmult0 \fs24\cf0\f1\charscalex100 {- o -}\par\pard\ li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-373\slmult0 \fs24\cf0 \f1\charscalex100 {Todo sistema rítmico cubano o afrocuba}\fs24\cf0\f1\charscalex1 00 {no funciona a partir de cómo va }\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\ f1\charscalex100 {la clave rítmica, de cómo se coloca la clave rítmica a partir de una música }\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {dada.}\par \pard\li1320\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {Los instrumentos que ejecutan las cl}\fs24\cf0\f1\charscalex100 {aves rítmicas (las claves, los}\par\ pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {cencerros, las campana s o gangarrias }\fs24\cf0\f1\charscalex100 {y otros, etc. ) pueden estar o no}\p
ar\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {presentes en un conjunto instrumental}\fs24\cf0\f1\charscalex100 { y sus ritmos pueden estar o no}\ par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {implícitos, pero ind ependientemente de esto, cada músico del conjunto }\par\pard\li613\ri0\sl-293\slmu lt0 \fs24\cf0\f1\charscalex100 {instrumental(pianista, bajista, percusio}\fs24\c f0\f1\charscalex100 {nista, cantante, etc...) debe conocer }\par\pard\li613\ri0 \sl-293\slmult0 \fs24\cf0\f1\charscalex100 {cómo va, cómo se coloca una clav}\f s24\cf0\f1\charscalex100 {e rítmica dentro de una frase melódica.}\par\pard\li1320\ ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-346\slmult0 \fs24\cf0\f1\cha rscalex100 {Primero está la melodía, luego la}\fs24\cf0\f1\charscalex100 { clave rítmi ca correspondiente al}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex 100 {género de música que se quiere inte}\fs24\cf0\f1\charscalex100 {rpretar y desp ués el sistema rítmico que}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscale
x100 {se construye a partir de cómo va, de cómo se coloca la clave rítmica. Por lo}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {tanto, todos los el ementos, (melod}\fs24\cf0\f1\charscalex100 {ía, clave rítmica y sistema rítmico}\par\p ard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {derivado) están interrela cionados.}\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-3 73\slmult0 \fs24\cf0\f1\charscalex100 {También se puede construi}\fs24\cf0\f1\char scalex100 {r una melodía a partir de un sistema rítmico. }\par\pard\li613\ri0\sl-293 \slmult0 \fs24\cf0\f1\charscalex100 {Pero en este caso también es necesario conoce r cómo colocar esa melodía a}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charsca lex100 {partir de la clave rítmica que está}\fs24\cf0\f1\charscalex100 { implícita en el sistema rítmico.}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {Por eso comenzaré a explicar a través de algunos ejemplos.}\par\pard\sect\sectd\sbk page
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lmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-426\slmult0 \fs24\cf0\f1\chars calex100 {La clave rítmica más conocida y más común en la música popular}\par\pard\li61 i0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {cubana es la CLAVE DE SON. Esta ti en}\fs24\cf0\f1\charscalex100 {e dos partes; la parte que pudiéramos}\par\pard\li6 13\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {llamar (A), que tiene tres gol pes o acentos principales, y la parte (B), que}\par\pard\li613\ri0\sl-293\slmult 0 \fs24\cf0\f1\charscalex100 {tiene dos golpes o acentos principales.}\par\pard\ li1320\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {Si se coloca así: (A \uc1\u8 211X B), si va así en una melodía, se dice que está en}\par\pard\li613\ri0\sl-293\slmu lt0 \fs24\cf0\f1\charscalex100 {posición 3 \uc1\u8211X 2. Pero según la frase meló}\fs 24\cf0\f1\charscalex100 {dica, también puede colocarse, o ir en}\par\pard\li613\ri 0\sl-213\slmult0 \fs18\cf0\par\pard\li613\ri0\sl-360\slmult0 \fs24\cf0\f1\charsc
alex100 {forma de B \uc1\u8211X A, o sea, }\fs24\cf0\f1\charscalex100 {en posición de 2 \uc1\u8211X 3.}\par\pard\li1280\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li12 80\ri0\sl-373\slmult0 \fs24\cf0\f0\charscalex100\b {Ejemplo Nº 2}\b0 \par\pard\li1 320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\pa r\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \f s18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\ slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\r i0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\par d\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\c f0\par\pard\li1320\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1320\ri0\sl-213\slmul t0 \fs18\cf0\par\pard\li1320\ri0\sl-466\slmult0 \fs24\cf0\f1\charscalex100 {¿Cómo se analiza una frase melódica para saber cómo va la clave}\par\pard\li613\ri0\sl-293\s lmult0 \fs24\cf0\f1\charscalex100 {rítmica, cómo colocarla?}\par\pard\li1320\ri0\sl-
293\slmult0 \fs24\cf0\f1\charscalex100 {En la música popular cubana las fras}\fs24\cf0\f1\charscalex100 {es musicales tienen partes débiles }\par\pard\li613\ri0\sl- 293\slmult0 \fs24\cf0\f1\charscalex100 {y fuertes, compases con una fuerza rí}\fs2 4\cf0\f1\charscalex100 {tmica mayor o menor. La coincidencia }\par\pard\li613\ri 0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {rítmica del ritmo musical con la clav e rítmica o el descanso o reposo de la}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf 0\f1\charscalex100 {frase musical, determinan la manera en }\fs24\cf0\f1\charsca lex100 {que va la clave rítmica, de cómo se}\par\pard\li613\ri0\sl-293\slmult0 \fs2 4\cf0\f1\charscalex100 {coloca. Así mismo, el llamado}{ }\fs24\cf0\f0\charscalex10 0\i {cinquillo cubano}\i0 \fs24\cf0\f1\charscalex100 {, a partir del cual se des
arrolla}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {la clave rítmica del SON cubano, tiene }\fs24\cf0\f1\charscalex100 {una parte sincopada \uc 1\u8211Xllamada fuerte-,}\par\pard\li613\ri0\sl-293\slmult0 \fs24\cf0\f1\charsca lex100 {y otra parte no sincopada \uc1\u8211Xllamada débil-.}\par\pard\sect\sectd\ sbkpage {\shp{\*\shpinst\shpleft1466\shptop2306\shpright9573\shpbottom5946\shpfhdr0\shpw r3\shpwrk0\shpfblwtxt1\shplid2035\shpz0\shpbxpage\shpbypage {\sp{\sn shapeType}{\sv 0}} {\sp{\sn fFlipH}{\sv 0}} {\sp{\sn fFlipV}{\sv 0}} {\sp{\sn rotation}{\sv 0}} {\sp{\sn geoRight}{\sv 8107}} {\sp{\sn geoBottom}{\sv 3640}} {\sp{\sn shapePath}{\sv 4}} {\sp{\sn pVerticies}{\sv 8;5;(0,0);(0,3640);(8106,3640);(8106,0);(0,0);}} {\sp{\sn pSegmentInfo}{\sv 2;12;16384;45824;1;45824;1;45824;1;45824;1;45824;2457 7;32768}} {\sp{\sn fFillOK}{\sv 1}} {\sp{\sn fFilled}{\sv 1}} {\sp{\sn fillColor}{\sv 16777215}} {\sp{\sn fLine}{\sv 0}}{\sp{\sn lineColor}{\sv 0}} {\sp{\sn lineType}{\sv 0}} {\sp{\sn fArrowheadsOK}{\sv 0}} {\sp{\sn fBehindDocument}{\sv 1}}
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f0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl -213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1 880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\pa r\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \f s18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\ slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\r i0\sl-453\slmult0 \fs24\cf0\f1\charscalex100 {La alternancia rítmica FUERTE\uc1\u8 211XDÉBIL (3 \uc1\u8211X2 ó A \uc1\u8211XB) que se }\par\pard\li466\ri0\sl-293\slmul t0 \fs24\cf0\f1\charscalex100 {produce, o viceversa, es necesario si}\fs24\cf0\f
1\charscalex100 {ncronizarla con los compases llamados}\par\pard\li466\ri0\sl-29 3\slmult0 \fs24\cf0\f1\charscalex100 {fuertes o débiles de la frase melódica }\fs24\ cf0\f1\charscalex100 {dada. Sin esta sincronía se produce una}\par\pard\li466\ri0\ sl-293\slmult0 \fs24\cf0\f1\charscalex100 {anarquía musical y rítmica qu}\fs24\cf0\f 1\charscalex100 {e los músicos populares llaman}\fs24\cf0\f0\charscalex100\i { cla ve montada,}\i0 \par\pard\li466\ri0\sl-293\slmult0 \fs24\cf0\f0\charscalex100\i {clave atravesada o fuera de clave.}\i0 { }\fs24\cf0\f1\charscalex100 {*}\par\pa rd\li1173\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {Si analizamos el primer compás del }\fs24\cf0\f1\charscalex100 {ejemplo Nº 3vemos que su ritmo es}\par\pard \li466\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {sincopado, y el segundo co mpás tiene }\fs24\cf0\f1\charscalex100 {un ritmo regularizado o a tiempo. Así}\par\p ard\li466\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {podemos comprobar que l os golpes }\fs24\cf0\f1\charscalex100 {de la clave de SON coinciden}\par\pard\li 466\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {coherentemente con la fuerza agógica de }\fs24\cf0\f1\charscalex100 {la síncopa del cinquillo en el primer}\par\p ard\li466\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {compás y con los golpes a }\fs24\cf0\f1\charscalex100 {tiempo del segundo compás.}\par\pard\li1880\ri0\sl-2 93\slmult0 \fs24\cf0\f1\charscalex100 {Ahora mostraré el ejemplo de otra forma:}\p ar\pard\li1880\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1880\ri0\sl-346\slmult0 \ fs24\cf0\f0\charscalex100\b {Ejemplo Nº 4}\b0 \par\pard\li1173\ri0\sl-293\slmult0 \fs24\cf0\f0\charscalex100\b { Cinquillo cubano co}\b0 \fs24\cf0\f0\chars calex100\b {n la clave montada o atravesada.}\b0 \par\pard\li1173\ri0\sl-213\slm ult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\ sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\l
i1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-21 3\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173 \ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\p ard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18 \cf0\par\pard\li1173\ri0\sl-213\slmult0 \fs18\cf0\par\pard\li1173\ri0\sl-306\slm ult0 \fs24\cf0\f1\charscalex100 {En este caso la colocación de la }\fs24\cf0\f1\ch arscalex100 {clave rítmica de SON no es lógica }\par\pard\li466\ri0\sl-293\slmult0 \ fs24\cf0\f1\charscalex100 {porque no apoya la síncopa del primer }\fs24\cf0\f1\cha rscalex100 {compás. Entonces es cuando se dice }\par\pard\li466\ri0\sl-293\slmult0 \fs24\cf0\f1\charscalex100 {que la clave está}{ }\fs24\cf0\f0\charscalex100\i {mo ntada}\i0 { }\fs24\cf0\f1\charscalex100 {o}{ }\fs24\cf0\f0\charscalex100\i {atra
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