A NEW BOOK - THE MUSICAL INSTRUMENTS USED 
As our tradition, we continue to give space to sections that speak to you about the world of dance, not just seen through the eyes of the dancers or teachers, but also going to poke into things that seem stingy less important but that can also help a lot in dance.
E 'typical in recent years, hear about Salsa and Salsa on one on two, especially when it comes to the same stage or dance classes. This distinction, however, must not only be made to distinguish a different style of ball, but instead must be rooted in the ability to listen to the music, considering that they are tools which, based on how they are played at the end create the different time of the dance, and then consequently to more than one style over another. Today we begin our discussion of the club, an instrument that sounds very particular in reference to a different way of writing a score.
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One of the arguments most difficult to deal with, always in a better understanding of the music of Salsa, is the fundamental rhythm of the clave (two wooden sticks that are struck each other according to a mathematical measure that forms the backbone for the orchestra). The clave is present in many music afrocararibiche as the Rumba or the Cuban son, with the scanning function in the construction of the base frasatura music. In fact, with five shots, scanned in two different models, defines the musical phrase and gives the dancers a constant reference. The two models in question are the clave cd 3 / 2 (which beats the 1 / 2mezzo/4/6/7) and "down", cd 2 / 3, very important per tutti coloro che ballano salsa in contrattempo (batte 2/3 5/6mezzo/8). Ballare in contrattempo (cioè entrando sul 2 della musica anzichè sull'1) e ballare " en clave dos " non è, tuttavia, la stessa identica cosa. Infatti è possibile ballare sul 2, per esempio, seguendo solo la conga (che scandisce sempre il 2 e il 4) ma non essere sulla clave. La importanza di ballare sulla clave deriva dal fatto che questo strumento scandisce ben precisi punti di riferimento, determinando l'azione dei piedi del ballerino (in particolare durante le sequenze a solo c.d. pasitos o open shines ), dandogli grandi possibilità espressive (cosa che non avviene with the conga, but that rule very well the actions of the body). La clave 2 / 3 starts its action after the first beat of music, marking the second and third with two quick shots. The dancer dancing on the clave, then, comes immediately after 'a right on two (with the conga but it is possible that an entry on 6 / 7 music dancing mishap in yes, but not on the club). The end result is a total mastery of rhythm and music, "experienced" from within and with great musicality. Certainly during the orchestral performances clave feels little, hidden by the sound of other instruments (conga while always feels great), it is necessary to build a mindset in which suonarsela mentally, of course where he began listening to the musical phrase that is, 1. With a little 'practice location of the first beat of each phrase becomes clear: it is where the singer starts singing, where the orchestra attacks, where a soloist or a group of instruments "enter." Localized' s La clave part 1 on the 2nd and 3rd beat and then scan the 5 (immediately after the rolling of the Congo), half of 6 and finally '8 together with the conga. The sonero clave de orchestra, playing either the two models 3 / 2 or 2 / 3, so the dancer who is mentally interprets this tool depending on the outcome he wants to achieve. In Puerto Rico and New York dance en clave is the most widely used. Also remember that the sauce in the same family of Mambo and chacha (who danced to force the two!), Then why Salsa should be different? As he says, moreover, one of the historic masters of Puerto Rico Don Anibal Vazquez , uncle of the great musician / dancer Roberto Roena "To dance Salsa you must learn to dominate the clubs."
