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Suggested Rhythm Section Patterns for Common Styles Son/ Son Montuno ! ! !

Originally played in an ensemble consisting of a Guitar, a Tres and Clave The usual Clave pattern of the Son Montuno is 2/3, but depending on the melody it can be a 3/2 pattern Notice that the Bass anticipates the harmony of the measure following

9

Modern Songo Drum Set Variation

! ! ! !

10

Probably the most popular, most imitated Drum Set style Combination many styles (Son, Rumba, Conga, fusion, funk) Very personalized and free style Drummer should be proficient in basic patterns of the component styles

MAMBO

! ! !

Mostly up-tempo musical style (faster than the Son Montuno) A repeating instrumental section of a song, also known as Montuno Originated in Cuba and evolved as a blending of the Mambo section, elements of the Son, and some influences of American Jazz orchestras.

11

CHA-CHA-CHA

12

!

Always played in 4/4 time with a bouncy 2/4 feell

! !

A dance and musical style derived from the early Cuban danzon-mambo World-wide audience appeal

MERENGUE ! ! ! !

Popular dance rhythm native of the Dominican Republic If there is no guira (metal guiro), the drummer plays this crucial part on the Hi-Hat Along with Salsa, the most commercialized Latin song style The primary pattern of the Bass was and still is roots and fifths played on down beats

13

BOLERO ! ! ! !

14

A show lyrical ballad – not to be confused with the Maurice Ravel composition of the same name Usually placed at a show tempo Different than the Cha-cha-cha but rhythmically incorporates the same parts, especially in an open vamp section Typical Bass line rhythmic pattern is a half note followed by two quarter notes

BOSSA NOVA

! ! ! !

Based on a clave rhythm, but one that is variant of the traditional clave beat The last note of the traditional clave beat is delayed one eighth note The syncopation does not alter the basic two-measure phraseology The clave rhythm is usually placed on the snare drum by the left stick

15

SAMBA

! ! ! !

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Usually played at a faster tempo Should have the feeling of a 2/4 pulsation The syncopation does not alter the basic two-measure phraseology The clave rhythm is usually played on the snare drum by the left stick

AFRO-CUBAN 6/8 ! !

Derived from the fundamental rhythms in West África base on 6/8 feels Different styles of 6/8 are often defined by what is being played by the Congas or the characteristic Bata drums – not simply by use of the 6/8 feels

!

The 6/8 clave pattern can also be played on the cowbell or ride cymbal for different textures and feels

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Recommended Discography Irakere Irakere en Vivo Bailando Asi Irakere El Gran Combo 25th Anniversary Mejor Que Nunca Grupo Niche Grandes Exitos Eddie Palmieri Azucar Pa Ti Sentido Paquito de Rivera 40 years of Cuban Jam Session Manhattan Burn Tito Puente El Rey Para Los Rumberos Salsa Meets Jazz Celia Cruz Exitos Canta Celia Cruz Homenaje a Beny More Ray Barretto Que Viva la Musica Ritmo de la Vida Ruben Blades Caminando Buscando America *For an additional source of old as well as new recordings refer to the DESCARGA Catalogue 328 Flatbush Ave. Suite 180 Brooklyn, NY 11238 (718) 693-2966

Stan Getz Girl from Ipanema Claudio Roditi Bossa Nova Oscar de Leon La Salsa Yo Soy Con Bajo y Todo Willie Colon La Gran Fuga There Goes the Neighborhood Los Van Van Songo Arturo Sandoval El Tren Latino Arsenio Rodriguez Sabroso y Caliente Israel “Cachao” Lopez Maestro de Maestros Descargas con el Ritmo de Cachao Machito Afro-Cuban Jazz Latin Soul Plus Jazz Jerry Gonzalez Rumba Para Monk River is Deep Machito Afro-Cuban Jazz Greatest Hits La 440 Ven, Sigueme

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Cha cha chá: Basic

Cha Cha Chá

Basic Percussion Solutions Score Cuban, Clave-based (presented here in 2:3 son clave)

Drum Set

Drum Set (dry sound)

Drum Set variation (metal sound) Congas (one drum)

> y 4 ã 4 œ

> yT Œ

or Timbales

& 44

∆¥ œ¿

∆O ¿

F 4 x x 3 ã 4

∆¥ ¿

œ∆ ¿

x x œ Tœ R

> > yT y œ Ó J

> œy œ

∆¥ œ¿

∆O ∆¥ ¿ œ ¿

œ∆ ¿

x x

3

> y œ.

> > > yT Å yT Å yT Å yT Å œ. œ Ó J

R

ã 44 œ ~~~~~~ œ^ œ^ œ ~~~~~ œ^ œ^

R

x x œ Tœ R

R

œ ~~~~~~~ œ^ œ^ œ ~~~~~~ œ^ œ^

R 4 ¿ ¿ ¿R ¿ ¿R ¿ ¿R ¿ R¿ ¿ ã 4

¿R ¿ R¿ ¿ R¿ ¿ R¿ ¿ R¿ ¿

ã 44 œ œ œ œ œ œ œ œ

œ œ

3

Maracas

> œy œ

> > > yT Å yT Å y Å yT Å 4 T ã 4 œ Œ Ó

R

Guiro

> y Ó

3

œ œ œ œ œ œ

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Percussion Solutions Score Cha cha chá: Advanced

LATIN JAZZ GUIDE

Cuban, Clave-based Advanced Percussion Solutions Score Presented here in 2:3 son clave Cuban, Clave-based (presented here in 2:3 son clave) Suggested drum set part with no extra percussion

> yT Å yT Å yT Å œy œ 4 ã 4 œ Œ Ó

Small cowbell or bell of cym

Drum Set (no extra perc.)

Suggested parts with percussion added (in order)

> > > yT Å yT Å Ty Å y Å 4 T ã 4 œ Ó Œ Hi-hat

Drum Set (dry sound)

Drum Set variation (metal sound)

Congas (two drum)

Guiro or Timbales

Timbale variation Maracas

44

3S xF __ xP___Fx œT œT

xP___Fx

S

R

L

R

4 xP___Fx ã 4 L

> > yT Å yT Å y Å T œ Ó J

∆ ∆ ∆ ¿ œ œ¿

∆ œ ¿

L

> yT Å œ.

yT Å yT Å œy œ œ Ó J

‰ ∆ ¿

∆ 4 & 4 œ¿ Bell of cym

> yT Å œ.

∆ ∆ ∆ ∆ ¿ ¿ œ

L

L

L

R

R

4 ã 4 œ ~~~~~~~ œ^ œ^ œ ~~~~~ œ^ œ^

∆ ∆ ¿œ

3 Tœ œT Fx œT œT

L

R

R

L

R

R

œ ~~~~~~~~ œ^ œ^ œ ~~~~~~œ^ œ^

on shell (alt. stroke) 44 Both¿ sticks ¿¿¿¿ ¿ ¿ ¿ ¿ ¿ ã

¿ ¿¿¿¿ ¿ ¿ ¿ ¿ ¿

4 œR œL Rœ œL etc… œ œ œ œ ã 4

œ œ

4 ã 4 ∆

3

Å∆

∆

œ∆

∆

3

Å∆

∆

œ∆

œ œ œ œ œ œ

LATIN JAZZ GUIDE

Percussion Solutions Score Basic Percussion Solutions Score Samba: Basic

o

Bazilian-Based Brazilian-based

> L >R L >R L R L R = rim 2 Z eZ e œ e Z e ã 4 œ œ R

Drum Set

> L R >L R> L R >L Hi-hat y y y y y y y y ã 42 Œ œ R

Drum Set

R

L

R

L

R

L

R

L

¿ œ ¿ ¿ ¿ ¿ œ 2 œ &4 Œ œ Hi-hat

Drum Set variation

Agogô bells

ã 42 5 .

Surdo or stand-alone floor tom

ã 42 Åmute w/left

5 5.

R = mallet

œ >

hand

Cylinder or egg shakers

Pandeiro, Tamborim or Tamborine

98

5

>L R L >R Z 5 Z 5 œœ œ

R

L

R

e Z

L

e

> L R L> R> L R L> y y y y y y y y œ Œ R

R

L

R

L

R

L

R

L

¿ œ ¿ œ ¿ ¿ ¿ ¿ œ Œ 5.

5 5.

Å

œ >

5

ã 42 >œ œ œ >œ >œ œ œ >œ

>œ œ œ >œ >œ œ œ >œ

+ ã 42 œ

≈ œ+

œ+

ϡ

œ+ œ°

Percussion Solutions Score

Samba

Samba: Advanced Advanced Percussion Solutions Score Bazilian -Based

Brazilian-based

Drum Set

> Ride cym. 2 œy ã 4 œ

> y œy œy œ y œ œ y >

> œœy

> > œy œy œy œy œœy œy y œ y œ œ >

> > > > > 2y e y e y y e y ã 4 œ. œ œ. œ

> > > > e y e y e y y e œ. œ œ. œ

Hi-hat

Drum Set

Drum Set variation

Agogó bells

2 ¿¥ &4 œ

> ¿¥ ¿¥ ≈ ¿¥ ¿ œ œ ¿ œ

2 ã 4 œ

œ œ œ

R = mallet

Surdo or stand-alone floor tom Cylinder or egg shakers

* Pandeiro, Tamborim or Tamborine

R

ã 42 Å mute w/left hand

œ œ

>R œ.

Å

ϡ ϡ

>œ+

L

>j ¿¥ ≈ ¿¥ .. œ ¿ œ œ

¿¥ ¿ œ

œ œ

œ œ

R

Å.

œ œ >R Å œ. L

L

Å

ã 42 >œ œ œ >œ >œ œ œ >œ

>œ œ œ >œ >œ œ œ >œ

+ 2 > œ ã 4

+ ≈ >œ

>œ+

œ° ≈ œ° °œ

* Pandeiro can also play a sixteenth note, thumb-finger-palm-finger pattern similar to the Cylinder/egg shaker part above.

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Family of Common Cuban Percussion Instruments

Bongos

Timbales with mounted wood block and cowbells

Maracas Shékere

Claves

Guiro

Congas Photos provided courtesy of Latin Percussion

®

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LATIN JAZZ GUIDE

Set Up, Tuning and Maintenance of Latin Percussion Instruments (By ED EAST) A successful experience performing any style of music begins with the selection of a quality instrument. Visit the companion website: www.latinjazzguide.com for recommended instruments and music retailers.

Conga Drums When playing two or more conga drums, customarily the high drum is centered in front of you and the lowest drum is placed to your right. When playing 2 drums, the lower sounding drum is always placed to the right of the (right handed) drummer. However, many different 3 drum set ups can be used, depending on the performer and the context.

Mid Conga drums are the most commonly used instruments in the performance of Latin Jazz.

High

Low

X

Tuning Conga drum tuning varies greatly from performer to performer and is dependent on the instrument itself. Nonetheless, you can hardly go wrong by listening to recordings of outstanding “congueros” [cohn.guhr.ohs] (conga players) and copying the way they tune their instruments. Alternatively, you can try tuning the drums to their best resonant pitch. As a rule of thumb, tune them a perfect fourth apart. You don’t have to tune the lugs in a diametrical pattern, as is the case with most contemporary drums. Low Check for equal Hightension on each lug by placing a finger on the center of the drum and striking the perimeter of the drumhead. Listen for pitch differences and tighten or loosen the corresponding lugs in order to achieve the same pitch all the way around the drumhead. Remember, when playing a set of two or more drums makeXsure the lowest drum is to your right and the high drum is centered.

Maintenance The amount of maintenance your congas and bongos require will depend on the kind of weather to which they will be exposed and on the kind of drumhead you choose. Synthetic drumheads don’t require much attention. However, extreme heat can melt some brands of synthetic drumheads. Heat and dryness can, and will, tighten calfskin (or any animal hide) drumheads to the point of breakage, depending on how taut they already were. Cold temperatures and humidity will slacken the calfskin drumheads and detune them. When performing under humid conditions, you will need to check the drums’ tuning often and continue tightening the drumheads in order to keep them tuned. Make sure to loosen the rawhide drumheads after every performance, particularly if your drums will be exposed to extreme temperature/humidity changes. The lugs should be oiled at least once a year. Some manufacturers suggest that you oil them more frequently. Certain manufacturers of wooden congas and bongos suggest that, before putting on a new drumhead, you should sand the rim of the drum making sure that it is smooth and free of rough spots. This will allow for smoother tuning and will prevent damaging the new drumhead. 158

With use, drumheads will become dirty and their sound will deaden. For synthetic heads, follow the manufacturer’s cleaning instructions. For animal hide heads, some manufacturers recommend using a mixture of warm water and saddle soap to clean the head. Others suggest replacing the head.

Bongos

Tuning As with the congas, listening to recordings of great bands and the way their bongos are tuned is the best way to sharpen your ears. The most common tuning has the smaller drum (on the left) tuned very tightly and sounding almost like the bottom of a small, empty tin can. Many performers will substitute animal hide heads with x-ray film in order to achieve that sound. The larger drum (on the right) is tuned up to a point of least-possible-resonance.

Maintenance The amount of maintenance your bongos will require will depend on the kind of weather to which they are exposed and on the kind of drumheads you choose. Synthetic drumheads don’t require much attention. However, extreme heat can melt some brands of synthetic drumheads. Heat and dryness can, and will tighten calfskin (or any animal hide) drumheads to the point of breakage, depending on how taut they already were. Cold temperatures and humidity will slacken the calfskin drumheads and detune them. When performing under humid conditions, you will need to check the drums’ tunings often and continue tightening the drumheads in order to keep them tuned. Make sure to loosen the calfskin drumheads after every performance, particularly if your drums will be exposed to extreme temperature/humidity changes. The lugs should be oiled at least once a year. Some manufacturers suggest that you oil them more frequently. Some manufacturers of wooden bongos suggest that, before putting on a new drumhead, you should sand the rim of the drums making sure that they smooth and free of rough spots. This will allow for smoother tuning and will prevent damaging the new drumhead. With use, drumheads will become dirty and their sound will deaden. For synthetic heads, follow the manufacturer’s instructions. For animal hide heads, some manufacturers recommend suggest using a mixture of warm water and saddle soap to clean the head. Others suggest replacing the head.

159

LATIN JAZZ GUIDE

Cowbells, Ago-gó Care Rust and abuse are the main factors that affect these instruments negatively. Making sure that they are not stored in humid environments and wiping them off after each use will take care of the rust. Storing them with care and remembering that these are, indeed, musical instruments will help prevent abuse.

Güiros and Shékeres Care Unless they are made of strong synthetic materials, breakage and abuse are the main factors that affect these High glue or withLow delicate instruments negatively. Güiros can be easily repaired Mid with any all-purpose wood glue.

Timbales

X Customarily, the low drum is placed to your left and the high drum to your right.

Low

High

X

Tuning In tuning the timbales, it’s suggested to use the same principle—perfect fourth as a starting point—as noted for the congas earlier. Listen to recordings and try to duplicate the tuning that sounds best to you or that which best applies to the music. The high drum should produce a crisp, higher pitch “crack” when playing a rim shot. However as you listen, take care to note that some artists, notably the great, Tito Puente, made recordings using a three- (or more) timbales setup. These setups deviate from the standard, two-timbales setup. This may cause confusion as you listen to recordings looking for a satisfactory tuning for your timbales. When tuning the timbales, use a diametric tuning system (low drum on the left, high drum on the right).

Care Rust and abuse are the main factors that affect the timbales negatively. Depending on the climate and the playing conditions, make sure you lubricate the lugs once a year, at least. Always check for loose tuning nuts before playing.

160

Appendix A:

Family of CubanFamily Clave Patterns of Cu

Forward Son Clave (3:2)

Reverse Son Clave (2:3)

Forward Rumba Clave (3:2)

Reverse Rumba Clave (2:3)

Matanzas Rumba Yambu Clave (3:2)

ã 22 Û . ã 22 Œ

Û

ã 22 Û .

Û* Û J Û

Û

Œ

Œ

Û.

Û Û. J

Û J

*

ã 22 Œ

Û

ã 22 Û .

Û

Œ

Û Û. J

*

Play accented notes only = 6/8 clave

Forward Afro 6/8 Bembe Bell (3:2)

Reverse Afro 6/8 Bembe Bell (2:3)

Û J

ã 68 Û ‰ *Û ‰ Û Û > > > 6 ã8 ‰

Û

>

Û ‰ Û

*

>

Û

Û

Œ

Û Û J

Û

Û

Œ

*

Œ

Û

Û* Û . J

Û. Û

Û

Û

‰ Û

Û J Œ

Û ‰ Û >

>

Û ‰ Û ‰ Û Û

>

>

>

* = Bombo Note

161