The drum is played by two performers: one straddles the drum, playing on the drumhead with both hands and a foot (which is used to dampen and undampen the drumhead in order to produce different pitches) the other performer uses a pair of sticks (called tibwa) to beat out characteristic and intricate cross-rhythms on the side of the drum. Cinquillo-Tresillo in the French Antilles īélé (also called belair) was developed in rural Martinique and is played on a drum of the same name. Tresillo and the habanera rhythm are heard in the left hand of Gottschalk's salon piano compositions such as Souvenir de la Havane ("Souvenirs From Havana" ) (1859). With Gottschalk, we see the beginning of serious treatment of Afro-Caribbean rhythmic elements in New World art music. Gottschalk uses the tresillo variant cinquillo extensively. "Night of the Tropics") (1860) was influenced by the composer's studies in Cuba.
In addition, Louis Moreau Gottschalk's first symphony, La nuit des tropiques (lit. The second divides the span of two main beats by three ( hemiola): one, one-ah, two-and. The first measure divides each beat in three: one, and, ah, two, and, ah. Therefore, it is indicated by the number 3 between the halves of a horizontal bracket over the notes, as shown below. In its formal usage, tresillo refers to a subdivision of the beat that does not normally occur within the given structure. Tresillo is a Spanish word meaning " triplet"-three equal notes within the same time span normally occupied by two notes. 5 Cinquillo-Tresillo in the French Antilles.3 Basic rhythmic cell (common usage in Cuban popular music).Rumba ( guaguancó, columbia, yambú, batá-rumba, guarapachangueo).Pattern used in Latin American music Music of Cuba
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