Doubles – Developing Speed
Doubles – Developing Speed
This section will deal exclusively with all the aspects relating to doubles and how to develop a This section will deal exclusively with all the aspects relating to doubles and how to develop a
well balance
well balanced roll. We’ve been asked many timed roll. We’ve been asked many times: s: “How can I devel“How can I develop the doubles on theop the doubles on the
conga?
conga? My My answer ianswer is sims simply: ply: Practice Practice and Patiand Patience. “ence. “
Here is a very basic method to develop doubles. When you hit the conga typically the middle Here is a very basic method to develop doubles. When you hit the conga typically the middle
part of your hand hi
part of your hand hits the border of the conga (not thts the border of the conga (not the rim) and your finger hits close to the rim) and your finger hits close to thee
center of
center of the drum. the drum. Normally the hand Normally the hand will bounce nwill bounce naturaaturally lly on the on the drum. We think drum. We think of it of it moremore
like a snare drum.
like a snare drum. If you have nevIf you have never played snare drums then we wouler played snare drums then we would like to recommend for d like to recommend for
you to start listening, watching and learn about snare drums; pa
you to start listening, watching and learn about snare drums; pay close attention to marchingy close attention to marching
drummers especially. drummers especially.
We try to visualize ourselves playing a snare
We try to visualize ourselves playing a snare drum and then listen to the conga drudrum and then listen to the conga drum for m for
articulation
articulation. . We’ll explWe’ll explain it ain it like like this:this: “Learning to do doubles is “Learning to do doubles is like learning a new language.like learning a new language.
It’s hard in the begin
It’s hard in the beginning, you don’t unning, you don’t understand a word but with pderstand a word but with practice and determinatractice and determinationion
you can domina
These are the main exer
These are the main exercise to develop doubles. Practicise to develop doubles. Practice this daily. ce this daily. Start at a slow tempo andStart at a slow tempo and
eventually increase the tempo gradually. Let’s do s
eventually increase the tempo gradually. Let’s do some rudiments that involve doubling:ome rudiments that involve doubling: Half Half
Drag, Full Drag, 5 stroke rol
“The Half Drag”
“The Half Drag”
This rudim
This rudiment should bent should be practiced sle practiced slowly. owly. You can gYou can gradually builradually build up thd up the speed. e speed. We highlyWe highly
recommend practicing this rudiment using a towel on t
recommend practicing this rudiment using a towel on the conga drum. Now, let’s take a he conga drum. Now, let’s take a look atlook at
the exercise. the exercise.
“The Full Drag”
“The Full Drag”
A
A Full drag Full drag consists of aconsists of a half drag half drag , followed by a, followed by a single accented stroke. single accented stroke. The latter is madeThe latter is made
with the same hand that completes the
with the same hand that completes the half drag.half drag. This rudiment should be practiced sThis rudiment should be practiced slowly andlowly and
increase the speed
“The Five stroke roll”
“The Five stroke roll”
“The Nine stroke roll”
“The Nine stroke roll”
Slowly increase the speed while practicing this exercise. Slowly increase the speed while practicing this exercise.
“The Single
“The Single Paradidd
Paradiddle”
le”
This rudiment combines two single strokes with one double stroke. This rudiment combines two single strokes with one double stroke.
These are just a few rudim
These are just a few rudiments for you to use. ents for you to use. Create your own comCreate your own combination and exercises wibination and exercises withth
this. this.
Soloing –What’s involved?
Soloing –What’s involved?
Soloing is an art. When you solo you want to draw a picture in which the audience can see and Soloing is an art. When you solo you want to draw a picture in which the audience can see and
hear your masterpiece. A clear understanding along with inspiration is what makes a soloist hear your masterpiece. A clear understanding along with inspiration is what makes a soloist
construct a meaningful solo. A sequence which ends
construct a meaningful solo. A sequence which ends in a climax is an excellent solo or in a climax is an excellent solo or aa
sequence which creates a climax and it ends
sequence which creates a climax and it ends with awith a decaying or entregadecaying or entrega (Spanish word for to(Spanish word for to
give in) is another outstanding way of soloing. give in) is another outstanding way of soloing.
In Latin music, the way y
In Latin music, the way you perform a solo is different from any ou perform a solo is different from any other style. other style. In this genre youIn this genre you
want to use meaningful phrases based in
want to use meaningful phrases based in claveclave, either , either 2/3 or 3/2, Son, Rumba, and 6/8.2/3 or 3/2, Son, Rumba, and 6/8. That isThat is
why is necessary to practice phrasing in a
why is necessary to practice phrasing in all claves to master the patterns ll claves to master the patterns in every clave. Whenin every clave. When
we teach soloing we always start w
we teach soloing we always start with quarter note phrasing, follow by eight note phrasing, thenith quarter note phrasing, follow by eight note phrasing, then
syncopated phrasing
syncopated phrasing, and finally sixteenth phrasing, and finally sixteenth phrasing. . Don’t forget thDon’t forget the clave concept with everye clave concept with every
phrase. phrase.
One of the books we use is
One of the books we use is “Syncopation”“Syncopation” by Ted by Ted Reed. Reed. After going After going through all the through all the pagespages
before the
before the syncopation syncopation starts, we set up the metronome and go from page one (using thestarts, we set up the metronome and go from page one (using the claveclave
pattern on a
pattern on a jam block jam block with my with my left foot). left foot). Once that is Once that is mastered then we mastered then we continue with thecontinue with the
syncopation
syncopation part, playing one measure phrase, part, playing one measure phrase, then two measures phrases, and finally throughthen two measures phrases, and finally through
the wh
the whole page. ole page. Always at Always at the end the end of a practiof a practice session ce session we create our we create our own combinown combinations. ations. WeWe
do the same thing with the triplet section in the book and we apply the 6/8 groove to it. do the same thing with the triplet section in the book and we apply the 6/8 groove to it.
Especially the accents have unlimited combinations because we can apply different sounds to Especially the accents have unlimited combinations because we can apply different sounds to
them. them.
Transcribing solos is another good device to increment your solo
Transcribing solos is another good device to increment your solo vocabulvocabulary. This ary. This is somethingis something
we are constantly doing, either mentally or written. We
we are constantly doing, either mentally or written. We also ask our students to do also ask our students to do the same.the same.
This way we are always getting new ideas and also getting involved in the development of how This way we are always getting new ideas and also getting involved in the development of how
solos change from time to t
solos change from time to time. Transcriptions may includeime. Transcriptions may include solos solos “típicos”“típicos” (Spanish word for (Spanish word for
simple), melodic phrases from perfor
simple), melodic phrases from performers such as Carlos “mers such as Carlos “Patato” Valdes, Mongo Santamaria,Patato” Valdes, Mongo Santamaria,
Ray Barretto, etc. or
Ray Barretto, etc. or contemporary style, which is a combination of melodic phrases with speed.contemporary style, which is a combination of melodic phrases with speed.
You can hear contemporary soloing from “Master
You can hear contemporary soloing from “Master Congueros” such as Giovanni Hidalgo,Congueros” such as Giovanni Hidalgo,
Miguel Anga, Paoli Mejias and Richie Flores. Miguel Anga, Paoli Mejias and Richie Flores.
In summary, solos involve everything you have at you disposition, from the basics
In summary, solos involve everything you have at you disposition, from the basics to the mostto the most
complicated rhythm.
complicated rhythm. Solos can be performed in variSolos can be performed in various styles depending on ous styles depending on the effect thethe effect the
performer wants to achi performer wants to achieve.eve.
How to apply rudiments in to my
How to apply rudiments in to my solo?
solo?
The first conga Masters used very
The first conga Masters used very little rudimentslittle rudiments. . If you If you listen to listen to their music you mtheir music you may hear aay hear a
flam, a ruff, a five stroke
flam, a ruff, a five stroke ruff,ruff, and probably aand probably a paraddiddl paraddiddlee but but that was that was it. it. Often times thOften times they didey did
not even knew that they were using them; it
not even knew that they were using them; it was the nature of transferring some rwas the nature of transferring some rhythms thathythms that
included those
included those rudimentsrudiments. . Everything changed with Everything changed with one person, Giovanni one person, Giovanni Hidalgo; He took Hidalgo; He took
conga drumming to levels never seen before
conga drumming to levels never seen before byby applying applying all the snare all the snare drum rudimentsdrum rudiments in to thein to the
conga drumming. He inspired the new generation of percussionists to st
conga drumming. He inspired the new generation of percussionists to st udy the entire snareudy the entire snare
drum rudiments and applying them to the congas. As a
drum rudiments and applying them to the congas. As a matter of fact, in our private matter of fact, in our private lessons welessons we
teach all of our students to
teach all of our students to go through, “go through, “The Buddy Rich’s Snare Drum rudimentsThe Buddy Rich’s Snare Drum rudiments”, “”, “150150
Rudimental Solos by Charley Wilcoxon
Rudimental Solos by Charley Wilcoxon”, and “”, and “Portraits in Rhythm by Anthony CironePortraits in Rhythm by Anthony Cirone”,”,
all of these books are to
all of these books are to be played on congas, using all dynamic levels.be played on congas, using all dynamic levels.
Of course, learning how to ex
Of course, learning how to execute all of these books is part oecute all of these books is part of the process. f the process. Next we woulNext we wouldd
play each book
play each book with the clave using thwith the clave using the wood block on e wood block on the left foot and finally the left foot and finally create your owncreate your own
solos based on th
This solo is just an example of what you can do with some of the
This solo is just an example of what you can do with some of the rudimentsrudiments applied on aapplied on a
soloing situation. soloing situation.
Now let’s take a loo