"...the son's percussion [made] us aware that polyrhythms could exist within an overarching cadence. Until then, one spoke of singular rhythms - the rhythm of the contradanza, the rhythm of the guaracha, the rhythms of the danzon (admitting to a plurality within its succession of movements). The son, on the other hand, established new categories. Each percussive element took on an autonomous existence within a general tempo. If the botijuela and the diente de arado served to establish a bass line, the timbals would provide rhythmic variation. If the marimbula worked on three or four notes, marking out insistent harmonies like a figured bass, the tres - the six-stringed Cuban guitar - could resolve that energy in a cadence. The bongo played a freer role: it could be played simply, for a beat, or it could provide a glissando. It was above all when they were used to accompany singing - all of the musicians sang - that these instruments would manifest the full range of their tonal possibilities, according to the imagination of the performers who played them." (Carpentier, Music in Cuba)

***

We're going to create a piece in the style of Amadeo Roldán.

Preparation:

• Choose an instrument and develop a one - two bar rhythm pattern for it in slow (80 bpm) medium (100 bpm) or fast (120 bpm) tempo. Make sure it feels good!

Execution:

• Perform that pattern on repeat to a metronome and record for about 30 seconds - 1 minute

• Repeat the process (new instrument, new pattern, new tempo) until you have three different things to submit.

To the director:

• Organize the patterns as you see fit