Published by Music in Motion Films Ltd
PO Box 1775, Columbus, OH 43216 USA
tel. 212 358 3877 fax. 212 591 6301
www.musicinmotionfilms.com [email protected]
© 1999 Music in Motion Films Ltd
MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN
EDITED BY DAN THRESS
PHOTOS © ROBERT MANN
MIGUEL ‘
ANGA
’ DIAZ
2
o +
Tone of conga drums from the highest to the lowest
Timbongoro
bell: mouth area 1
2 3 4 5
raise tone with elbow
bell: neck area
0 = play an open tone
P = play a bass like sound with the palm of the hand
B = play a bass sound in the center of the drum with the palm of the hand S = play a slap
T = tips, play with the tips or fingers of hand
M = play a muffle sound by pressing against the skin of the drum with the hand ST = play with stick in hand
(T) = ghost note or light tap with fingers F = raise tone using the fingers, refer to video
Drums 1, 2, and 3 are the same size Drums 4 and 5 are the same size
FIVE-DRUM SETUP
ANGA’S TUNING
FOUR-DRUM SETUP
KEY
C#
A#
F#
D#
G#
As stated by Anga, Niño Alfonso with Irakere was the first to incorporate five congas. When Anga started playing
with Irakere, Niño’s style became a part of Anga. There a re five sounds that convert into a harmonic tumbao.
L P O R P L S R T L L P L T R O R O L P L T R S L O L O L S R O R O L O L T R S L T L P L T R O R O P L L T R S L O L O L S R O R O
MARCHA WITH FIVE CONGAS
Play the basic ride between each example. 2-3 clave
MARCHA WITH FIVE CONGAS—VARIATIONS
L O L T R S L T R S L S R O L T R S L S R O L T R S L S O R L T R S L O L O L S R O R O O L T L S R T L O R O L O R O R O L O R O R O L O R S L S R (T) O L O L S L O R O R L O L T R S L T L P L T R O r oO L R (T) L T (S) R S L O L O L S R O R O L O L T R S L T L P L T R S L (T) r s L S r s L S R (T) R (P) L O L O L S R O R O O T SSO T SSO T SSO T P T S O O S O O 1 2 3 4 5 01:50 02:18 02:40 02:49 03:18
4
MARCHA—MELODIC VARIATIONS
L O L T R S L T L P L T R O R O L P L T R S R S L O R O L O R O R O L O R O L T R S L T R T L O R T L T R S R S (T) L O R O L O R O O L T L S R T L P L T L O R O R P L T L S R T R O L O R O L O R O R O L O R (T) L O R T L S R O R P L T L S R T R O L O R O L O R 3 L O L T R S L (T) R S L S R S L S R S L S L T R S L S 3 R S L S R S L S L O L O L S R O R O O L T L S R T L P L T L S R O L T R T L S R O L O L S L O R O R 1 2 3 4 03:51 04:30 05:07 05:28 ghost note open slapsL O L T R S L T L P L T R O R O L P L T R S L O O L S L O R O R O L O R O R O R O R O L O R L O L T R S L T L P L T R S R O L P L T R S R (T) L O R O L O R O R O L O R O R O L O L O R O L O L T R S L T L P L T R S R O 3 3 L P L T R S R (T) L O R O L O R O R O L O 3 3 3 R O R O O R O L R O R O R O R F F R F R F R R O R O L O R O R O R (T) L O R T L T R S L T R O L T R O L T O R P L S R T L P L T L R S s r S L T R T L S R O L O L S L O R O R L O L T R O L P L T R S T R T L O R L P L T R S R T L T R S (P) L O L O L S R O R O 5 6 05:30
raise pitch with fingers; refer to video
06:10
6 O L T L O R S L S R S L O R S L S R S L O R T L S R O L T R L P S R O L O L S L O R O R L O L T R O L S R S L S R O L S R S L S R O R T R T L O R T L P R S L O L O L S R O R O O L T L O R S L S R S L O R S L S R S L O R S R O L O L T R L P S R O L O L S L O R O R 3 3 O L O R (O) R O L O R O R S L S R O R P L T L S R O L O L S L O R O R 3 3 3 3 R O R O L O L O R O L S R O R O L T R T L T R S L P L T R S L O L O L S R O R O 3 3 3 O R O R O L O L O R S L O R O R P L O R P L T L S R O L O L S L O R S R 3 3 3 O R O R O L O L O R S L O R O R P L O R P L T L S R O L O L S L O R S R 3 3 3 L O L O R O R O R O L O R O R O L P R O P L T L S R O L O L S L O R R S 7 06:35 8 07:08 ( )
MARCHA—MELODIC VARIATIONS
This is a demonstration of the basic tumbao or marc h a on five congas in conjunction with the piano. The first 12 measures are transcribed which demonstrate the
basic ride with some of the variations played in the p revious section.
APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT
L/R O/O R O L P R S L T L P L T R S R O L P L T R S L O L O L S R O R O P L T L S R T L P L T L B R o r O L T R T L S R (T) R O L T L O R R S L O R S L S R O R O L S R S r o L O R T L T R S L O L O L S R O R O L O R S L S R O R O L S R S r o L O T R T L S R T L R O L O R S L S R O S R S L R O L P R S L (T) L P L T R B r o L O R T L T R S L T R O L T R O L T O R O L O R S L O R S L S R o r O L T R T L S R O L O L S L O R O R Piano Intro 2-3 clave etc. congas 0:07:34
8
Practice Suggestion: Learn the basic ride first with all alternate sounds. This will make it easier when you start looking at the variations.
GUAGUANCO VARIATIONS
O R O L S R O L (T) R S L O R (T) L (T) R S L S R B L T R S L O R S R P R T L T R P L P R T L T R P L P R T L T R P L P R T L T R P L P R T L T R P L P R T L T R P L R P L T R T L P R P L T R O 3 3 R R R R R 3 3 R R R O R O R O 3 L P L T R B R O L T R O L S R S L B L T R O L T T R M L M R B L (T) R T L O R T L O R S L S R M L T R L M O R T L R T L S R S L B R (T) L T R O L T R O L S R S L B R (T) L T R O L T M R M L M R M L M R M L O R T L O R S L S R M L M L O R T L R T L S R S L B R T L T R O L T R O L S R S L O R T L T R O L T R T L S R S L B R T L T R O L T O R S L S R O L T R T L O R T L R T L S R S L B R T L T R O L T R O L S R S L B R (T) L T R O L T T R L M R M L O (T) R T L O R T L R O L S R S L B R (T) L T R O L T R T L M (S (O R M S) O) L B R (T) L T R O L T R O M L (O (S R M O) S) L B R T L T R O L T Basic Ride 0:10:10 3-2 rumba clave* raise tone with elbow; refer to video *
Practice Suggestion: Learn the basic ride first with all alternate sounds. This will make it easier when you practice the variations.
GUAGUANCO—COUNTER MELODIES
R T L S R S L B R (T) L T R O L T R O L S R S L M R (T) L M R (T) L M R (T) L M R (T) L B R T L T R O L T R O L S R S L B R (T) L T R O L T T R S L S R B L (T) R T L O R T L O R T L T R B L T R T L M R M R M R M R L B T R T L O R T L R O L S R S L B R (T) L T R O L T R T L S R S L B R (T) L T R O L T R O L S R S L O R T L T R O L T R T L S R S L B R (T) L T R O L T O R S L S R B L T R M L M R M L M R L O L (B) T L O R T L O R S L S R B L (T) R T L O R T L R T L S R S L B R (T) L T R O L T R O L S R S L B R T L S R S L (T) 3 3 R O L O R O L O R O L O R O L T R O L S R O L S R S L B R (T) L T R O L T T R P L S R T L T R P L O R T L O R P L S R T L T R P L S R T L 1 2 3 4 5 6 10:50 11:03 11:17 11:28 12:01 12:40 Ride variation10 T R S L S R B L (T) R T L O R T L 3 R O L P S R S R L O R O R O R O R O R O L R O O R O R O R T L T R T R T L O R O L O R O R R O R O R O L O R O R S L S R B L (T) R T L O R T L T R S L S R B L (T) R T L O R T L O R M L S R M L T R M L O R M L T R M L S R M L T R M L O R M L (O) O R M L S R M L T R M L O R M L (O) 9 7 13:10 13:48 8 14:15 * raise tone with elbow alternate sound
A solo has three parts: 1 beginning
2 middle 3 end
In between those parts you can have variations, differ-ent rhythms, experimdiffer-entation of differdiffer-ent formulas, etc. Nonetheless, it should always be within these three areas. This is the formula for producing a good solo. The beginning of the solo on the video starts out with a tabla pattern from India. This is the main theme. It then goes into other areas more related to the congas. To achieve a solo, one must have peace and tranquillity within and concentration. One must not think of it as an opportunity to show off technique and do a lot of hits. It’s like composing a piece of music.
SOLO ANALYSIS
The first exercise comes from Changuito’s creation: “la mano secreta.”
TECHNIQUE EXERCISES
R O 3 3 R O L P L T R S R O R O L P L T R S R O 23:57This exercise comes from the school of Tata Guines.
3 3 3 3 R O L P L T R O L P L T R O L P L T R O L P L T 36:11 3 3 3 3 R O L P L T R B L P L T R O L P L T R B L P L T 27:20
The 2nd exercise can then be combined with different sounds such as an open and bass sound on Example 3.
Note: Do not use the heel or the outer edge of the palm. It is always the whole palm followed by fingers. Work up these exercises to a fast speed.
12 R P L T R T L P R P L T R O L T R O L T R T L B R T R T L O R T L P R S L T R B L P T R R O L T R O L T R S L B R T R T L O R T P L S R T L B R P L T L O R T L O R T L S R B L T R T R O L T R R T L M R T L M R T L M R O L M R O L M R S L M R T L M R O L M 31:17 1 2 31:36 3-2 rumba clave
TECHNIQUE EXERCISES GUAGUANCO VARIATIONS
TECHNIQUE EXERCISES—DOUBLE STROKES
Anga speeds up this pattern to a very fast speed.
T h e re are two types of doubles to practice. Start out slow and gradually build to a faster speed. Note: Practice
Exer-cise 2 with open tones or open slaps with the fingers only. The second note of each double is accented as indicated.
R P R T L P L T R P R T L P L T R O S R O S L O S L O S R O S R O S L O S L O S 1 2 32:40
DJ GILB-R & ANGA IMPROVISATION
Setup: Four congas (eliminate the lowest drum), timbongoros, bells, two bells with foot pedal.
Maintain the cowbell pattern with your feet throughout each example (1st line played with right foot; 2nd line played with left foot).
L (P) L T R S L T L P L T R S R O L P L T R S L O L O L S R O T L S R P L T L S R O R P L T L S R O L O L S L O R L T R S L P L S R O r o L O L S R S L O L O L S R S 34:09 1 2 3 35:00 35:05 35:18
14 L (P) T L S R T L P L T L S R O R S L S R O L O L S L O R o r O L L T S R B L R T S L O R O L S L S R O L O L S L R T O R (P) L T L S R T L P L T L S R o r O L S L S R O L O L S L O R T L P L T L S R T L P L T L S R 3 3 3 3 O R O R O L O L O R L T O R O R B L T R T L S R 3 3 3 3 O R O R O L O L O R L T O R O R B L T R T L S R 3 3 3 3 O R O R O L O L O R L T O R O R B L T R T L S R L P L T R O L P R O L S R O R O L T R R L T R R L T R 5 35:40 6
high bell med. bell low bell 8 35:44 7 35:47 9 37:47
DJ GILB-R & ANGA IMPROVISATION
In Example 9, play with a stick in right hand. Open tones with the right hand are also played with the stick.
This is the basic ride. Many variations can be cre a t e d by playing on diff e rent surfaces.
Notice that Example 8 goes into a double-time in triplets, maintaining the cowbell pattern with both feet. 3-2 rumba-clave
DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS
This groove goes into a double-time feel. Maintain the bell pattern with the feet. 3-2 rumba-clave.
DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME
3 3 3 3 O R O R O L O L O R L T O R O R B L T R T L S R 3 3 3 cowbells right foot left foot L T R ST R ST L T R O L T R O R O L O R O L O R O L S R O R O L T R R L T R R L T R L P L T R O L T O R L S R O R O 38:39 *
bell bell bell
*Can be played on timbongoros, conga, cowbell, etc. The x can also be played on timbongoros, conga, etc. ST = strike drum with the stick.
16
MIXING STYLES—PILÓN + FUNK
o + + o + + o + + o + + L P L T R S L T L P L T R B R O L O L T R S L P R O L O R O R T Drumset Timbales Congas Hi Hat 2-3 clave
MIXING STYLES—BATATUMBA + FUNK
Note: Anga plays the congas with a stick in his right hand which also plays a cowbell mounted on a stand on the right side. The iyá is playing a batá rhythm that comes from Iyesá.
OS/O OS/O OS/O O O S S O O S S
R S L O R S L R S L O R O L R S L O R S L R S L O R S L Drums
Bata: Iya drum call
Three Congas w/ cowbell 41:10
In addition to the four drum setup, Anga continues the bell pattern between his feet. The bells are mounted on two separate bass drum pedals. 2-3 clave.
HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP
The first section of the piece is played with the hands on four congas until we get to Example 4 which is played with a stick in the right hand. You will notice
that these examples are variations on the basic tumbao or marcha played at a fast speed. Reminder: maintain bell patterns with the feet. 2-3 clave
1st bell with right foot
2nd bell with left foot
L P L T R S L T L P L T R O R O L P L T R S L O R T L T R O L O L P L T R S L T L P L T R O R O L P L T R S L O L O L S R O R O P L T L S R O R P L T L O R O R P L T L S R O R T R T L O R O R L T L T R O L T R O L T R O R O L T R R L T R R L T R 1 2 3 4 41:57 42:14 42:42
18
This takes us into the second section of the tune which is a guaguanco derived pattern played with a stick in the right hand. Many variations can be played by playing
d i ff e rent surfaces where the cowbell is indicated (refer to the video for ideas). Be sure to maintain the bell pattern with the feet when practicing these examples. 2-3 clave
L P L T R O L T R O L T R O R O L O R O L T R O L T R O R O L T R R L T R R L T R L O R O L O R O L T R O R O L T R R L T R R L T R 1 2 43:22
HOMENAJE A EMILIANO SALVADOR—SECOND SECTION
LATIN PERCUSSIONIST MAGAZINE
Published by Victor Rendón (Tortilla Flat Music)
Interviews
With Milton Cardona, John Santos, Candido, Bill Fitch, José Madera, Miguel "Angá" Diaz, and Johnny Almendra.
Solo Transcriptions
Guillermo Bar retto, Mongo Santamaria, Johnny Almendra, Los Muñequitos De Matanza, Manny Oquendo.
Folkloric Percussion
The Secret Abakuá Society, Tambores iyesá, and The Art of Salidor Playing.
Instructional Columns
John Almendra, Victor Rendón, Ken Ross, Louie Bauzo, Greg Askew, John Santos, and David Peñalosa.
Drumset and Timbale Applications
Horacio Hernandez, 6/8 patterns, Mozambique, bolero, cha cha chá, and solo applications.
Book, CD, and Video Reviews
Order information:
Latin Percussionist is published twice a year yearly subscription $10.00 ($14.00 international)
Tortilla Flat Music 83-15 116th Street Suite 4A
Kew Gardens, NY 11418 (latinpercussion.com)
THE ART OF PLAYING TIMBALES VOL. 1
by VICTOR RENDÓN BOOK & CD
A Complete Guide for Developing Rhythms, Solos and Tradi-tional Timbale Techniques. Includes Drumset Adaptations, Conga and Bongo Transcriptions, Play-Along Charts, and Photographs in a beautifully designed, 96 Page Book with Full Length CD with play-along tracks.
Bilingual English/Espanol
The Art of Playing Timbales Vol 1 ISBN: 0967309824
MIM003 $24.95
This excellent book and CD package is designed for the begin-ning timbalero, or drumset player, who wants to understand how to play Afro-Cuban music in a professional setting. If you have just purchased a pair of timbales, this book will teach you everything from proper setup, stick sizes, rhythms, inde-pendence, transitions, song forms, and soloing. Each music example has a cor responding track number which can be found on the CD. Simply read the music exercises, and listen to the corresponding track number on your CD player.
This book is a complete Afro-Cuban percussion work-out. Each exercise on timbales is also arranged for drumset. Conga and bongo students will find their parts in each section of the book and CD. Please note: to take full advantage of this book, students are encouraged to learn each part for timbales, drumset, congas, and bongos.
Each section features play-along CHARTS and CD TRACKS with some of NY's top Latino musicians: Sergio Rivera (piano), Victor Venegas (bass), Heriberto Rivera (bongo), Aníbal "Tito" Rivera (congas), and Victor Rendón (timbales and drumset). By using these play-along charts you will gain valuable realistic playing experience that will directly trans-late to your school ensemble or professional group.
CHAPTERS: Introduction, Position of the Timbales, Different Sounds, Clave, Abanico, Cha Cha Chá, Son, Transitions, Bell Patterns, 6/8, Independence, Mozambique, Solo Phrases, and References.
ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKE COLLAZO (Tito Rodriguez, Celia Cruz, Eddie Palmieri, Tito Puente), JOSE MADERA (Machito, Fania All-Stars, Pacheco, Tito Puente), and JOHNNY ALMENDRA (Jóvenes del Barrio, Willie Colón, Mongo Santamaria, John Scofield).
And SOLO TRANSCRIPTIONS from GUILLERMO BARRETO ("Descarga Cubana" from Cuban Jam Sessions in Miniature Descargas) and MANNY OQUENDO ("Llora Timbero" from Con-junto Libre Ritmo Sonido Estilo).
Victor Rendón is a sought after New York City percussionist
Victor Rendon has done the improbable: He has made it possible for a wide range of drummer/percussionists to approach the art of tim -bales without fear of failure. Rendon breaks down the daunting clave structure so that we all can relate, and demonstrates how the instru ments of the AfroCuban percussion section (timbales, congas, bon -gos, and sometimes drumset) function as a unit. Learning to play timbales (or to emulate their rhythms on drumset) makes any drum -mer more valuable on the bandstand, and Rendon's instructional method is as clear as it's going to get. The author's clarity in presen -tation is further enriched by his discussion of the evolution of Latin rhythms and instruments, and by his richly detailed interviews with master timbaleros. Victor Rendon has worked with giants like Mongo Santamaria and Patato Valdes, and has taught music for years within the New York community, and now he's authored the most authorita -tive book on the "original" Latin drumkit. Viva timbales!
—BILL KIELY, MODERN DRUMMER MAGAZINE
Victor Rendon's book is as close to having a virtual teacher by your side as one could get. A full-length CD helps guide you through the sounds, rhythms, styles and feels of timbales, and in context along side a rhythm section that includes piano, bass, bongo, congas, tim -bales and drumset. Not only are there typical licks, phrases and solo ideas spelled out for you, there are sample charts with a "music minus one" feature of removing the timbale track to give the stu -dent/performer the experience of really owning the groove. And, there are tracks that include drumset. Throughout the book are writ -ten grooves for congas, bongo, guiro and drumset, always in explained relation to the clave. Specific rhythms covered are cha cha cha, son, 6/8 and mozambique. But this book is SO much
more....excellent photos of stick and hand positions, beautiful layout
20
This is the best explanation of African rhythms that I’ve heard. I really love the way Mokhtar breaks everything down and presents it to you. I like the way he plays and thinks when he’s behind a drumset. — DENNIS CHAMBERS
The grooves just LEAP off the page! Mokhtar Samba's illustra -tions of African Rhythm's are wonderfully insightful, enriching, and masterfully. Thank you, Mohktar for enlightening all of us!
—VINNIE COLAIUTA
Mokhtar has opened my mind to rhythms I have never imag -ined before. The more I listen, and incorporate them into my playing, the more I realize that I am tapping into a source of rhythmic ideas that will never run dry. — WILL KENNEDY African Rhythms and Independence brings the traditional trap player into the land of the original swing—Africa—by spelling out the essentials on the set. Any broad-based analysis of a c o n t i n e n t ’s worth of drumming is an ambitious work, but Mokhtar keeps the common threads from country to country. Any drummer interested in a fresh look at how to orchestrate a groove on the drumset would find these rhythms uplifting, and that’s the idea, its all up! — JAMEY HADDAD
Each groove is a dance and until you dance the patterns, they may seem daunting. Dance first and read the notes after then the grooves will explode. The first time you make that connec -tion it will feel incredible. — CHRIS PARKER
Finally, a book that includes North African rhythms. Thank you, Mokhtar. Respect! — BILLY MARTIN
Mohktar has given us many creative and original adaptations of traditional African drumming styles. He presents the material in a logical order which allows us to develop each rhythmic ele ment gradually, internalizing these difficult and multilayered pat -t e rns. His con-tribu-tion highligh-ts -the sophis-tica-tion, genius, and deep feeling in traditional African music. — ROYAL HARTIGAN A welcome addition to the drumming lexicon. Ancient rhythms with endless modern day applications. Mokhtar’s material not only opens doors of insights into his music, but that of jazz and Latin, as well as any form of creative popular music. Bravo! — TONY MARTUCCI
Roots rhythms made fresh, challenging and fun! Talk about coming full circle—by embracing the past—Mokhtar points us in the direction of the drumset's future! — DAVE STANOCH For a long time I had hoped an African drummer would write a book based on contemporary African drumset playing. Mokhtar did it, and what a drummer! His book is a gem. — ALAIN RIEDER This man can really play! Many new books are just older books with an added cd. This book is a fresh, genuine project that will become a classic! — ALBERTO SEMENZATO
As Mokhtar Samba explains in the introduction to this excel -lent book, there were no drumset players in African bands as recently as fifteen years ago. But by now an African kit tradition has been established, and Samba—who’s played with, among others, Youssou N’Dour and Jean-Luc Ponty— takes the clearest, most direct route toward explaining it to a new audience. — MODERN DRUMMER MAGAZINE
AFRICAN RHYTHMS AND INDEPENDENCE FOR
DRUMSET by MOKHTAR SAMBA BOOK & CD
A guidebook for applying rhythms from North, Central and West Africa to Drumset. North Africa (Gnawa & Maghreb) Cameroon (Mangambe & Bikutsi) Guinea/Mali (Doudoumba) Senegal (Sabar)
Mokhtar Samba and his explosive drumming can be heard throughout the world on tours and recordings with Salief Keita, Youssou N'Dour, Henri Dikongue, Carlinhos Brown, Richard Bona, Tama, Ultramarine, Joe Zawinul, Graham Haynes, Nguyen Le, Jean-Luc Ponty, and many others. Mokhtar's Moroccan-Senegalese heritage mixed with the jazz and Afro-fusion atmosphere of Paris has created one of the most exciting drummers of our time.
Designed for students and professional drummers interested in exploring the roots of drumming while learning new rhythms applicable to all forms of modern music, including Afro-Cuban, Brazilian, jazz, rock and funk.
48 pages plus CD (96 tracks). Bilingual English/Français African Rhythms and Independence for Drumset
ISBN: 0967309816 MIM002 $24.95
