Webert Sicot left Nemours Jean-Baptiste's compas band and called his music cadence to differentiate it from compas especially when he took it abroad, and so the rivalry between Sicot and Nemours created these names. Sicot created a new rhythm, cadence rampa, to counter compas, but it was only in a spirit of competition. The rhythm of cadence rampa was identical to compas except for the addition of the second drum that sounded on every fourth beat.[5]
In the 1930s several biguine artists from Martinique and Guadeloupe moved to France, where they achieved great popularity in Paris, especially in the wake of the colonial exhibition in 1931. Early stars like Alexandre Stellio and Sam Castandet became popular in Paris. Between the 1930s and 1950s, the dance biguine was popular among the islands' dance orchestras.[6] Its popularity abroad died relatively quickly, but it lasted as a major force in popular music in Martinique and Guadeloupe until Haitian cadence and compas took over in the 1950s. In the later part of the 20th century, biguine musicians like clarinet virtuoso Michel Godzom helped revolutionize the genre. The signature sound of the biguine is the interplay between the clarinet and trombone, both solo and as a duet, which can still be heard today throughout Antilles music, from the most traditional forms like cadence or the pop sounds of today's zouk.[7][8]
The Sicot brothers, Maestro Webert Sicot and composer Raymond Sicot, are well regarded in the Caribbean for their rigorous harmonic skills. They introduced the méringue-cadence to the Caribbean, specifically the French Antilles of Martinique and Guadeloupe around 1962, from where it spread to Dominica.[9] From the 60s to the 70s, Dominica, Guadeloupe and Martinique were replete with cadence bands like Selecta, La Perfecta, Les Aiglons, Grammacks, Exile One, Les Vikings de Guadeloupe, and Abel Zenon et son combo.[9][10]
Styleedit
Cadence music is characterized by a constant uptempo rhythm, hence the name cadence. Its percussive aspect comes from the drum (in particular, the steady one-beat bass drum), an accentuated use of cymbals and, to a lesser extent, the high hat plus a distinct beat of the cowbell, tok, to-tok, tok-tok-tok, and a conga drum beating a dash of méringue.[2]
^Manuel, Peter with Kenneth Bilby, Michael Largey (2006). Caribbean Currents: Caribbean Music from Rumba to Reggae. Temple University Press. p. 161. ISBN9781592134649. Retrieved 8 March 2014.{{cite book}}: CS1 maint: multiple names: authors list (link)
^ abRabess, Gregory (2014). "Cadence-Lypso". In John Shepherd, David Horn (ed.). Bloomsbury Encyclopedia of Popular Music of the World. Vol. 9. Bloomsbury Publishing. pp. 96–9. ISBN9781441132253. Genres: Caribbean and Latin America.
^Guilbault, Jocelyne (1993). Zouk: World Music in the West Indies. University of Chicago Press. p. 50. ISBN9780226310428.
^Shepherd, John; Horn, David (24 April 2014). Bloomsbury Encyclopedia of Popular Music of the World, Volume 9: Genres Caribbean and Latin America. Bloomsbury. p. 414. ISBN9781441132253. Retrieved 27 January 2015.
^Guilbault, Jocelyne (1993-11-15). Zouk: World Music in the West Indies. University of Chicago Press. p. 71. ISBN9780226310411. Retrieved 29 November 2014. kadans.
^Martinique biguine. Bloomsbury Encyclopedia of Popular Music of the World, Volume 9. 24 April 2014. ISBN9781441132253. Retrieved 6 March 2014.
^Manuel, Peter (2001). "Indo-Caribbean Music". Garland Encyclopedia of World Music. New York and London: Garland Publishing. p. 918. ISBN0-8240-6040-7. Archived from the original on 2021-12-13.
^Guilbault, Jocelyne (1993). Zouk: World Music in the West Indies. University of Chicago Press. p. 111. ISBN9780226310428. Retrieved 20 January 2014.
^Broughton, Simon; Ellingham, Mark; Trillo, Richard (1999). World Music: Latin & North America, Caribbean, India, Asia and Pacific. Rough Guides. p. 294. ISBN9781858286365. Retrieved 21 December 2014.
January 01, 1970
cadence, rampa, haitian, creole, kadans, ranpa, kadãs, ɣãpa, simply, kadans, dance, music, modern, méringue, popularized, caribbean, virtuoso, haitian, player, webert, sicot, early, 1960s, sources, cadence, lypso, cadence, compas, names, same, haitian, modern,. Cadence rampa Haitian Creole kadans ranpa kadas ɣapa or simply kadans 1 is a dance music and modern meringue popularized in the Caribbean by the virtuoso Haitian sax player Webert Sicot in the early 1960s Cadence rampa was one of the sources of cadence lypso 2 3 Cadence and compas are two names for the same Haitian modern meringue Cadence rampaNative nameKadans kadans ranpaOther namesCadenceStylistic originsMeringueCultural originsEarly 1960s HaitiRegional scenesNorth America esp Haiti French West Indies Dominica Trinidad and Tobago Canada and Panama FranceAfrica esp Cape Verde and Angola South America esp BrazilPortugal Contents 1 Ethnology 2 History 3 Style 4 See also 5 ReferencesEthnology editCadence rampa literally means rampart rhythm 4 History editWebert Sicot left Nemours Jean Baptiste s compas band and called his music cadence to differentiate it from compas especially when he took it abroad and so the rivalry between Sicot and Nemours created these names Sicot created a new rhythm cadence rampa to counter compas but it was only in a spirit of competition The rhythm of cadence rampa was identical to compas except for the addition of the second drum that sounded on every fourth beat 5 In the 1930s several biguine artists from Martinique and Guadeloupe moved to France where they achieved great popularity in Paris especially in the wake of the colonial exhibition in 1931 Early stars like Alexandre Stellio and Sam Castandet became popular in Paris Between the 1930s and 1950s the dance biguine was popular among the islands dance orchestras 6 Its popularity abroad died relatively quickly but it lasted as a major force in popular music in Martinique and Guadeloupe until Haitian cadence and compas took over in the 1950s In the later part of the 20th century biguine musicians like clarinet virtuoso Michel Godzom helped revolutionize the genre The signature sound of the biguine is the interplay between the clarinet and trombone both solo and as a duet which can still be heard today throughout Antilles music from the most traditional forms like cadence or the pop sounds of today s zouk 7 8 The Sicot brothers Maestro Webert Sicot and composer Raymond Sicot are well regarded in the Caribbean for their rigorous harmonic skills They introduced the meringue cadence to the Caribbean specifically the French Antilles of Martinique and Guadeloupe around 1962 from where it spread to Dominica 9 From the 60s to the 70s Dominica Guadeloupe and Martinique were replete with cadence bands like Selecta La Perfecta Les Aiglons Grammacks Exile One Les Vikings de Guadeloupe and Abel Zenon et son combo 9 10 Style editCadence music is characterized by a constant uptempo rhythm hence the name cadence Its percussive aspect comes from the drum in particular the steady one beat bass drum an accentuated use of cymbals and to a lesser extent the high hat plus a distinct beat of the cowbell tok to tok tok tok tok and a conga drum beating a dash of meringue 2 See also editCadence lypso Caribbean music Meringue Music of Dominica Music of Guadeloupe Music of Haiti Music of MartiniqueReferences edit Manuel Peter with Kenneth Bilby Michael Largey 2006 Caribbean Currents Caribbean Music from Rumba to Reggae Temple University Press p 161 ISBN 9781592134649 Retrieved 8 March 2014 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link a b Rabess Gregory 2014 Cadence Lypso In John Shepherd David Horn ed Bloomsbury Encyclopedia of Popular Music of the World Vol 9 Bloomsbury Publishing pp 96 9 ISBN 9781441132253 Genres Caribbean and Latin America Guilbault Jocelyne 1993 Zouk World Music in the West Indies University of Chicago Press p 50 ISBN 9780226310428 Shepherd John Horn David 24 April 2014 Bloomsbury Encyclopedia of Popular Music of the World Volume 9 Genres Caribbean and Latin America Bloomsbury p 414 ISBN 9781441132253 Retrieved 27 January 2015 Guilbault Jocelyne 1993 11 15 Zouk World Music in the West Indies University of Chicago Press p 71 ISBN 9780226310411 Retrieved 29 November 2014 kadans Martinique biguine Bloomsbury Encyclopedia of Popular Music of the World Volume 9 24 April 2014 ISBN 9781441132253 Retrieved 6 March 2014 Manuel Peter 2001 Indo Caribbean Music Garland Encyclopedia of World Music New York and London Garland Publishing p 918 ISBN 0 8240 6040 7 Archived from the original on 2021 12 13 Guilbault Jocelyne 1993 Zouk World Music in the West Indies University of Chicago Press p 111 ISBN 9780226310428 Retrieved 20 January 2014 a b Jocelyne Guilbault pages 82 83 Broughton Simon Ellingham Mark Trillo Richard 1999 World Music Latin amp North America Caribbean India Asia and Pacific Rough Guides p 294 ISBN 9781858286365 Retrieved 21 December 2014 Retrieved from https en wikipedia org w index php title Cadence rampa amp oldid 1220207228, wikipedia, wiki, book, books, library,
