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African DNA: poised between binary and ternary rhythmic figures


Article by: Salvatore Corazza

Biografia di Salvatore Corazza

Salvatore Corazza, drummer, percussionist and arranger, was born in Ozieri and began playing as a self-taught musician at the age of 11. After experience with Gruppo 2001 and in dance formations in Bologna, in Rome he joined the orchestra of 'Domenica In' directed by Pippo Caruso. He has collaborated with Andrea Bocelli, Giorgia, Alex Baroni, Mike Francis, Paola Turci, Banco del Mutuo Soccorso, Riccardo Fogli and Baraonna. He has played on world tours with 'Il Volo' and with artists such as Renato Zero, Fiorella Mannoia and Ornella Vanoni. He was part of the orchestra for 'Natale in Vaticano' accompanying BB King, Dionne Warwick, Tom Jones and others. He participated in the 'Jubilee 2000' orchestra and played on TV shows such as 'La Corrida' and 'Maurizio Costanzo Show'. He has taught at schools such as Timba and Percento Musica and organised masterclasses with Gary Chaffee and Peter Erskine. He was the producer of the "Musica per i Borghi" festival from 2003 to 2013.

 


AFRICAN DNA

Poised between binary and ternary rhythmic figurations


Origins

Africa's cultural revenge started with music.

When Africans reached the shores overseas they communicated with rhythm, song and body language.

After an imposed initial condition, as time went on, the ancient culture and their steadfast 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 for pastime like clubbers, it is a real need that needs rhythm, the alternation of accents and polyrhythms, closely linked to the dance steps and the intrinsic meaning of each of the many rhythmic patterns.

The 'Griot' family, popular percussionists from Senegal, used to call people around the villages with their percussion instruments and update them on all the news; they were a kind of town criers.

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

Influences

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

Binary and ternary rhythms

To be more specific about rhythmic figurations and 'binary and ternary', ternary rhythms are the defining matrix of Afro music, the interaction with binary figurations creates a 'polyrhythmic wave' that is both anomalous and fascinating.

It is at the performer's discretion whether to push more on one rather than the other of the two figurations, it is not just a matter of mathematics but of interpretation.

The great Peter Esrkine said during a master class that the effect of 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).


Typical samba rhythm of the 'Batucada' percussion ensemble of carnival schools

Click on the arrow to start the video


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