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A very common rhythm in Afro-Cuban music is the quick tristece of an accord or accent. An accent note is a note which is played without a rest. The open high or root note of the chord is the accented note. Accents are designed to provide a smooth feeling while providing a rhythmic tension.
A second standard feature is the rhythmic interlocking created from the accented notes, which complements the designated note of the chord. Using this feature, Afro-Cuban musicians design rhythmic patterns incorporating accents and notes of a chord into a framework of compound rhythms. A couple of standard patterns which sound well on a piano are a combination of a dotted-quarter note going into a quarter note going into a trese, or an accented octave going into a trese. However, there are ways which you can enhance the original pattern by simply dragging or carving the rhythm as you play on the piano.
Compound rhythms like this can be assimilated into a song which is created by writing suitable chords, and then selecting sounds from the piano that are appropriate to the chord. These sounds should be individual keystrokes on the piano, and should have a wide range of pitches. Some notes of a chord should be played with large dynamic feeling.
For example, an accented trese note going into a compound rhythm of the chord should have a feeling of power and dominance. The next example shows a piece of Afro-Cuban piano music in which I have added some of this feel. I have written the chord "C minor with six flats" as an illustration.
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