African DNA: balanced between binary and ternary rhythmic figurations(Letto 29 volte)

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AFRICAN DNA

Balanced between binary and ternary rhythmic figures

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The origins

Africa's cultural revenge started with music.

When Africans touched the shores overseas, they communicated through rhythm, song and body language.

After an initial imposed condition, over time the ancient culture and its strong traditions found their rightful place in Western society, enriching it and unleashing a strong energetic power that changed the customs of the host country.

Africans dance, but not as a pastime like those who frequent discos. It is a real need that requires rhythm, alternating accents and polyrhythm, closely linked to the dance steps and the intrinsic meaning of each of the many rhythmic patterns.

The Griot family, popular Senegalese percussionists, called people from village to village with their drums, keeping them updated on all the latest news; they were a kind of town criers.

The USA, Brazil, and the Caribbean are the undeniable examples of the transformation that occurred after the arrival of African culture in these lands: Jazz, Samba, and all the Afro-Cuban rhythms.

The influences

It's impossible to imagine today's world without the influence of this music. George Gershwin, despite his classical training, was so captivated by the blues that he wrote the famous "Rhapsody in Blue" as well as many other famous compositions for the musical: "Porgy and Bess" and "Summertime," to name a few that later became standards covered by jazz musicians.

Binary and ternary rhythms

To go into more detail about rhythmic figures and the “binary and ternary”, ternary rhythms are the characterizing matrix of Afro music, the interaction with binary figures creates a “polyrhythmic wave” that is anomalous and fascinating at the same time.

It is up to the performer to choose whether to focus more on one of the two figures rather than the other; it is not just a matter of mathematics but of interpretation.

The great Peter Esrkine said during a master class that the effect of the samba rhythm is a bit like listening to two bands in two different rooms at the same time, where one plays a shuffle (ternary) and the other a rock song (binary).

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Typical samba rhythm of the “Batucada” percussion ensemble of the carnival schools

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