Abstract
Abstract Chapter 4 continues the discussion of Orkestra Rumpilezz, focusing on how it materializes Letieres Leite’s rhetoric about African rhythmic complexity. Two strategies for increasing rhythmic complexity are discussed: the transfer of drum patterns from Candomblé to the big band to form polyphonic textures; and the transformation of traditional timelines (clave-like patterns) borrowed from Candomblé and carnival music, including rotation (shifting the timeline’s reference point), truncation, and superimposing two versions of the same timeline, a phenomenon that is labeled staggered timeline alignment. The chapter theorizes unique cases of timeline usage, comparing and contrasting them with well-known studies of clave in other parts of the black Atlantic.
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