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In order to understand Afro Cuban rhythms one must pursue an extensive study of the clave role and its relationship with the instruments, compositions and arrangements. For it is the clave rhythm that provides the foundation in this style of music. There are two major clave styles in Afro Cuban music the son clave and the rumba clave. They are both two bar rhythms, consisting of a bar containing three notes and another containing two. These rhythms can be approached two ways. In the !"# often refer to as the $forward clave$ and in the #"! refer to as $reverse clave$. The choice of the direction of the clave rhythm is guided by the melody, which in turn directs all other instruments and arrangements. In many contemporary compositions such as the ones recorded by Fania All %tars, &ongo %antamaria and 'uben (lades, arrangers ma)e use of both directions of the clave in different sections of the tunes. As far as the type of clave rhythm used, it depends on the style. *enerally son clave is associated with dance styles, while rumba clave is associated with fol)loric rhythms. The following shows both styles in the !"# variety. +ou will discover that the difference lies on the fourth beat of the first bar. In the son clave its on beat $four$, while in the rumba clave its on the ,and of four,. +ou should practice these rhythms clapping, while tapping -uarter notes with your foot that is beats $one, two, three and four$ then by tapping half notes with your foot that is beats $one and three$.
In the following example you will find the origins of the clave rhythm. In Cuba the clave pattern developed from various ./0 rhythms found in sacred and secular African music. Again practice by clapping the rhythm while tapping your foot, this time tapping dotted -uarter notes that is beats $one and four$.
The following example illustrates !"# son clave and its relationship with two other percussion instruments timbales and congas. First you will find the rhythm played on the cascara or shell of the small timbal for which I have mar)ed clear points of connection, and second the basic conga rhythm )nown as tumbao, which features open tones on the low drum on the $three side$ of the clave.
After practicing all the examples as written you should reverse them and approached all the rhythms in the #"! variety.
In this brief analysis of the main theme of Para Los Rumberos you will find that the melody line definitely wor)s in !"# clave. I have heard recorded versions of this tune by other artists who for some reason 8 no )nowledge of clave concepts, or understanding of Afro"Cuban rhythms, or simply as Tito 1uente put it to me $their own interpretation$ 8 have not ta)en into account the clave concept. 9hat results from that is a melody $fighting$ the clave rhythm. The following illustrates the melody in its proper clave setting: excerpt from: Para Los Rumberos by Tito 1uente
;ext time you listen to music based on Afro"Cuban music 2Latin-jazz, salsa, etc7 try and analyse the clave direction by the rhythms played, the melody, the arrangement, missing or added bars 2change of clave direction7, etc, you will be pleasantly surprised at the amount of serious wor) that these styles command in terms of composition, rhythms, arrangements and interpretation.
1erformance arrangement: %tart with burleador, then se uidora, cu, maraca and finally the re#uinto. %ome excellent recordings of popular Bombas include: CalienteA@ot Puerto Rican $ Cuban %usical &'(ression )n *ew +or, 2;ew 9orld 'ecords;9#44"#7 &odesto Cepeda Raices -e Bomba + Plena 2&C( 5>?47 'afael Cortijo Cortijo + .a,o + /us 0ambores 2Ansonia <4BB7 Cortijo + /u Combo 2%eeco Tropical %T' 5?>#57 Ca)o .a,o + /u 1r#uesta 2T' ??5?? 617 6os 1leneros De 6a #< E Conjunto &elodia Puerto Rico, Puerto Rico %i 0ierra *atal 2%hanachie >??<7 &on 'ivera E 9illie Colon 0"ere 2oes 0"e *ei "bor"ood 2Faya F%"4#7 Falde=, Carlos 3nderstandin Latin R"4t"ms 5ol.6 261F !!B 617
The rhythms presented here are examples of the style adapted by the ;ew +or) bands who popularised the rhythm in the late <5.?s, and in particular the band led by Hddie 1almieri which featured the great &anny 3-uendo on timbales. According to noted bassist Andy *on=ale= 29CC'"F& interview, <55>7 G&anny had a great deal to do with popularising the &o=ambi-ue. The actual pattern has become the repertoire for almost every timbal player, a standard rhythm that &anny synthesised from a bunch of parts played in a big ensemble of drummers. To this day you as) any drummer or timbalero to play &o=ambi-ue, and he or she will play the beat that &anny came up with. It,s too bad he didn,t patent itJI. In &anny 3-uendo,s &o=ambi-ue style for timbales, the right hand plays a cha cha bell 2small high pitched bell7, while the left hand with a stic) plays muffled and open tones on the low drum. The conga part presented here is one of the most popular parts employed in this style. The clave pattern is the one that provides the foundation in Afro"Cuban styles. The patterns 8 son clave and rumba clave 8 can be approached two ways. In the !"# direction often referred to as the Gforward claveI and in the #"! direction referred to as Greverse claveI. In the example presented here the claves play the rumba clave style. The rhythms are written in #"! clave. Conga Cey: Timbal Cey: 3A 3pen Tone '@A Cowbell %A 3pen %lap 6@A 6ow Drum 2with stic)7 3A 3pen Tone &A &uffled Tone
%ome excellent recordings featuring &anny 3-uendo and the %ozambi#ue rhythm include: Hddie 1almieri %ambo con Con a is %ozambi#ue 2Tico %61"CD"<<#.7 %olasses 2Tico %61"CD"<<407 Cal Tjader Bamboleate 2Charly CD <547 &l /onido *uevo 2Ferve !<4 ><5 0<#"#7
In terms of my own experiences with the berimbau I have a (ra=ilian made instrument, and also one I made myself, which I must say possesses a better tone. The first time I heard the berimbau was on an Airto &oreira record. I found the sound and the rhythms fascinating, soon after I made my first berimbau. &y interest in the instrument is for the musical -ualities which I tend to incorporate to original compositions and performances. I have a composition on my first cd 28le' Pertout7 entitled %anaus in which I played two berimbaus, the fundamental notes tuned a fourth apart. 3n the recently released cd by (rian (rown which I also produced 29li "t ;ewmar)et !?<4.#7, I have a composition entitled 9riends"i( which is based entirely on a berimbau rhythm. The practice of using the berimbau outside of its traditional role is not always appreciated by many associated with Ca(oeira. According to Almeida 2<50.7 $many berimbau players are not Ca(oeristas, because the instrument can be played out of the context of Ca(oeira, as in /amba -e Roda, or even as a rhythmical instrument in contemporary music$. @e goes on to mention ;ana Fasconcelos and 1aulinho Da Costa as $two excellent percussionists who produce extraordinary effects with the berimbau$, but he concludes $the exclusive use of the berimbau to ma)e music with no relation to Ca(oeira is for me not correct$.
@ighly recommended recordings include: Capoeira %en=ala de %antos Ca(oeira, /amba de Roda, %aculel: 2(uda 5#>B>"#7 1aulinho Da Costa 8 ora 21ablo 3KCCD .!?"#7 Airto &oreira 0"e &ssential 2(uddah (D% >..0"# 617 ;ana Fasconcelos /audades 2HC&<"<<4B 617 1apete Berimbau & Percussao 2Lniversal %ound L%CDB7 (lac) music of %outh America )n Praise 1f 1'al 8nd 1t"er 2ods 2;onesuch @"B#?!.7 %ergio &endes Primal Roots 2AE& 6!4.?! 617 &ic)ey @art Planet drum 2'y)odisc 'CD <?#?.7 @ighly recommended boo)s include: Almeida, (ira Ca(oeira 8 Brazilian 8rt 9orm; ;istor4, P"iloso("4 and Practice <50. 'ugendas, Koao & 5ia em Pitoresca 8traves do Brasil <5>4 %haffer, Cay 1 Berimbau -e Barri a e /eus 0o#ues <50..
The con a drum is played with both hands and is capable of a variety of sounds which have to be developed fully before moving to the rhythmic repertoire available. The main sounds employed are: open tone, muffled tone, slap, open slap, muffled slap, bass tone, fingers and palm. I usually give my students many exercises which are first of all aimed at developing sound, hand co"ordination, and then rhythm. These exercises include simple -uarter note and eighth note patterns where the student plays the written part: a7 right hand only, b7 left hand only, c7 alternating right and left, and d7 incorporating double stro)es right, right, left, left. This is a very important part of the developmental process, much li)e a flute student wor)s on developing a good tone on the instrument by slowly playing long even notes. The following are examples of these exercises, the first one combines open tones with muffled tones, while the second open tones and slaps. These exercises are to be played very slowly, concentrating on developing a good, even and round tone, with both hands throughout. Hxercise <7
Hxercise #7
3nce you feel comfortable in playing the sounds with both hands it is time to move on to the basic Afro"Cuban con a drum pattern )nown as tumbao. This pattern is traditionally incorporated in a variety of styles. The tempi vary from fairly slow C"a C"a C"as, and 2uarac"as, to very fast %ambos. 3ne of the important features to be mastered is the steady flow played by the left hand 2in right handed players7 of Gpalm E fingersI. This is unfortunately often neglected by the beginner player, ma)ing the rhythm sound rather wea), as too much emphasis is placed on achieving the muffled slap on beat GtwoI and the open tones on beats GfourI and Gfour"andI by the right hand. In order to develop the Gpalm E fingersI flow I tell my students to wor) one hand at a time on a simple two -uarter note exercise. The routine is to a7 play the full palm on the head 2beat one7, then b7 lift the fingers but leave the heel on the s)in, c7 play the finger tips 2beat two7, and finally d7 lift the hand off the s)in. 3nce you are comfortable with the Gpalm E fingersI flow, start adding the other sounds played by the right hand eventually arriving at the full one drum tumbao pattern as written below. 0umbao
(ongo 6eyend:
S")'T REA*"N) R'.T'M; "ntro&u in/ #uarter Notes0 #uarter Rests 1 Ei/hth Notes
The most important element in becoming a proficient reader is to develop an ability to count precisely while maintaining a steady tempo. In order to develop this counting method, you should set the metronome at a slow tempo and proceed to count aloud -uarter notes 2or crotchets7 then eighth notes 2or -uavers7. It is important to develop each one separately, ma)ing sure that each division is accurate before incorporating the practice of going from one to the other. The counting method should be practiced three ways: a7 counting, b7 counting and clapping, and c7 counting and tapping 8 alternating hands $drumming style$ right, left, right, left.
The next important step is to learn the e-uivalent rest for every note. Hxample ! features -uarter rests. !. Ouarter 'ests: 3ne, Two, Three, Four
After practising the individual exercises spend some time on the following two eight bar studies. These studies will help you not only develop reading, but also develop rhythm. &a)e sure to count aloud and to spend some time practising the studies at different tempi. /tud4 1ne incorporates -uarter notes and -uarter rests, while /tud4 0wo incorporates eighth notes and -uarter notes.
/tud4 1ne
/tud4 0wo
S")'T REA*"N) R'.T'M; "ntro&u in/ #uarter Notes0 #uarter Rests 1 Ei/hth Notes
The most important element in becoming a proficient reader is to develop an ability to count precisely while maintaining a steady tempo. In order to develop this counting method, you should set the metronome at a slow tempo and proceed to count aloud -uarter notes 2or crotchets7 then eighth notes 2or -uavers7. It is important to develop each one separately, ma)ing sure that each division is accurate before incorporating the practice of going from one to the other. The counting method should be practiced three ways: a7 counting, b7 counting and clapping, and c7 counting and tapping 8 alternating hands $drumming style$ right, left, right, left. <. Ouarter ;otes: 3ne, Two, Three, Four
The next important step is to learn the e-uivalent rest for every note. Hxample ! features -uarter rests. !. Ouarter 'ests: 3ne, Two, Three, Four
After practising the individual exercises spend some time on the following two eight bar studies. These studies will help you not only develop reading, but also develop rhythm. &a)e sure to count aloud and to spend some time practising the studies at different tempi. /tud4 1ne incorporates -uarter notes and -uarter rests, while /tud4 0wo incorporates eighth notes and -uarter notes.
/tud4 1ne
/tud4 0wo
3ther percussion instruments found in the traditional styles include the cajita and the #uijada. The cajita is a small wooden box played with a stic) in the right hand while the left hand opens and shuts the top in rhythmic time. The #uijada is a don)ey,s jaw that is played by stri)ing the wide part of the jaw with the fist to obtain a rattle sound 2an instrument called a vibraslap is a copy of this instrument7, and is also scrapped with a thin stic). %ome of the popular 1eruvian rhythms include the %arinera, Lando and the 9estejo. The %arinera in ./0 time is an intricate and elegant dance of courtship accompanied by guitar, cajon, accordion and handclapping by onloo)ers. 3ther important Afro"1eruvian rhythmic styles include the Lando, which comes from an African fertility dance called the Landu, and the 9estejo which is a celebration song and dance in a fast ./0. Cajon 6egend:
Marinera
Lan&o
The 1eruvian cajon is popular worldwide. In the early 0?,s the %panish master guitarist and composer 1aco De 6ucia incorporated a percussionist who played among other instruments the cajon in his group. %ince then, the cajon has became $the$ percussion instrument of %panish popular music. Hvery $Flamenco$ group incorporates a cajon player. In <554 I visited &adrid and to my ama=ement every music shop sold cajones, they even had fibreglass onesJ In conversations I had with musicians and shop owners I was informed that the cajon had became an essential part of $Flamenco$ music. The Afro 1eruvian style and instrumentation is uni-ue among the African derived styles found in 6atin America. According to Fietta Kar-ue 2liner notes " Afro"1eruvian Classics cd <55>7 $this is secret music, it has been hidden for years in the coastal towns and barrios of 1eru, it,s not the guys with flutes and woolly hats, it,s music of the blac) 1eruvian communities. This music survived barely within the blac) communities, and was not accepted outside of those communities until the spar) of blac) pride, ignited in the <5.?,s caught fire in the
B?,s and 0?,s. ;ow in the 5?,s, this music is the pride of 1eru, cassettes are sold on the streets alongside techno, &egadeath and Andean fol) groups. And while it maintains its roots, it has attracted the creative talents of the best contemporary musicians, writers and poets who have furthered the evolution, growth and spread of this music. It,s not a secret anymore and it,s yours to dance to$. @ighly recommended recordings include: Afro"1eruvian Classics 0"e /oul 1f Blac, Peru 26ua)a (op 9( 5 4>0B0 #7 Chocolate Peru>s %aster Percussionist 26yrichord B4<B7 1eru %usica *e ra 2A%1IC P >>><>7 Inti"Illimani -e Canto + Baile 2&essidor <<>5!.7 8ndadas 2*reen 6innet *6CD 4??57
The ?amba and C"acarera are two popular rhythms that incorporate guitars, voices and an Argentinian drum )nown as bombo which is a double headed drum popular throughout the Andean region. The drum is an adaptation of Huropean field drums and li)e its predecessors it ma)es use of leather hoops, thongs and ear loops to tension the s)ins. The drum is made out of a hollowed out tree trun), carefully chiselled inside. The s)ins are usually cowhide or lamb and they retain some of the animal,s fur giving it a very mellow, deep sound. The drum is traditionally played with a stic) in the right hand and a mallet in the left hand 2in some areas this is reversed7 which stri)e both the s)in and the rim of the drum. +ou could try this rhythms on a floor tom by playing the rim or the side of the tom with a stic) in the right hand and the s)in of the tom with a mallet in left hand. ?amba 2slow7
C"acarera 2fast7
3ne of the outstanding exponents of this styles is without doubt the master percussionist Domingo Cura. Any recordings featuring him are highly recommended. The following is a starting list for anyone interested in Andean styles: Calcha)is 9lutes, 2uitares &t C"ants ->8r entine " A'; .4?B4 Inti"Illimani Canto -e Pueblos 8ndinos " &onitor &CD .<B0B La *ueva Cancion C"ilena " &onitor &CD B<B54 &isa Criolla Ariel 'amire= 2w/Domingo Cura7 " 1hillips .>#B <!. 61 Facundo 'amire= 2w/Domingo Cura7 " &ilan %ur CDC@ 0?> &ercedes %osa 2racias 8 La 5ida 2w/Domingo Cura7 " 1hillips 0!# !<4"# Live )n &uro(e " Tropical &usic .0.5!.
5. %ac>s 9anc4 " De Danann %ist Covered %ountain 2*ael"6inn CHFCD ?0B7 Irish <?. <ater 2irl " Sa)ir @ussain %a,in %usic 2HC& <!45 0!< >44"#7 Indian <<. Panc"o>s /eis Por 1c"o " Hddie 1almieri/Cal Tjader Bamboleate 2Charly<547 6atin Ka== <#. )ncident 8t *es"abur " %antana 8bra'as 2&F%6 LDCD >>#7 6atin 'oc) <!. 0"at>s 8lri "t " Kohn 6ee @oo)er 0"e ;ealer 2Chameleon D#"B40?07 'hythm E (lues <4. <ara4a " %alif Ceita 8men 2&ango CID& <?B! 040 B5!"#7 Contemporary ;orth African <>. Lusambo " Alex 1ertout 8le' Pertout 26arri)in 6'K"#B!7 Contemporary 6atin"Ka== <.. 0"e @u ler " 9eather 'eport ;eav4 <eat"er 2C(% CD0<BB>7 Contemporary Ka== <B. Proof " 1aul %imon 0"e R"4t"m 1f 0"e /aints 29arner (ros B>55"#.?50"#7 1op 9orld 9hat they all have in common is that the pulse is felt in exactly the same way. If you count in ./0 the $pulse$ 2or your foot7 will be on beats < and 4. 1ractice the following exercise by: a7 Clapping all the notes while tapping your foot on beats < and 4 " b7 Tapping $hand to hand style$ 2' 6 ' 6 ' 67 while tapping your foot on beats < and 4. It is important to count throughout.
If you thin) in 4/4 you can transfer the above example to eighth note triplets, counting <Ta #Ta !Ta 4Ta. This will give you $two bars of ./0$ in one bar of 4/4. This time the $pulse$ 2or your foot7 will be on beats <, #, ! and 4.
;ow try this popular Afro Cuban ./0 cowbell pattern by clapping the rhythm while tapping your foot on beats < and 4.
In order to fully understand ./0 rhythms, practice counting, clapping and tapping until mastered.
section contains up to !?? players, dividing them in groups of <? " !? per instrument. Among the percussion instruments used you,ll find the surdo 2a large double headed drum played with a felt covered mallet and the open hand7, the (andeiro 2a tambourine with a s)in and flat jingles7, the tamborim 2a small frame drum played with a stic)7, the a o o 2twin bells7, the cai'a 2snare drum7, the anza 2metal sha)er7, the cuica 2a friction drum7, and the re(eni#ue 2a high pitch double headed drum played with a stic), which often acts as the conductor of the bateria7. As far as the basic samba rhythm is concerned, I tend to thin) in terms of three essential parts. The first being the $pulse$ as played by the surdo with a strong open tone on beat two: 6egend: &A&uffled Tone FAFingers 3A3pen Tone 1A1alm
The second essential part is the $steady flow$ of sixteenth notes as played by among others the anza:
And the third essential part being the $syncopation$ as played by instruments such as the tamborim:
As is the case with many Afro"American forms, (ra=ilian styles ma)e use of two bar rhythms, which can be approached two ways, the direction being dictated by the melody of the tune. In Afro"Cuban music the two bars are clearly defined as !/# or forward clave, which features more syncopated figures, or #/! or reverse clave, with figures tending to fall more on downbeats 2for further information please refer to the articles: Clave Concepts Afro Cuban 'hythms and Clave Concepts Tito 1uente,s $1ara 6os 'umberos$. As (ra=ilian music does not employ a clear system to explain this characteristic, I have incorporated the letter 2A7 to identify the $first side$ 2or !/# forward clave as used in Afro"Cuban styles7, and 2(7 for the $second side$ 2or #/! reverse clave7 as written in the tamborim pattern above. (y reversing the order of the bars, you will arrive at the tamborim pattern played the following way:
The next step is to listen to as much (ra=ilian music as you can, and spend some serious time analy=ing the $rhythmic direction$ employed on the tunes. 3ne good source which is readily available, is a compact disc compilation of (ra=ilian artists entitled (ra=il Classics # "1 /amba" " 6ua)a (op/%ire 5#. ?<5"#.
Hxample #7
3nce you feel comfortable put both bars together and practise them in both directions. Hxample ! is the $A to ($ direction, while example 4 is the reverse or $( to A$ direction. Hxample !7
Hxample 47
3nce both directions are mastered, get some good (ra=ilian samba records, find the rhythmic direction of a particular tune, and play"a"long, concentrating only on clapping and tapping the patterns written above.
Hxample #7
The following are some popular samba patterns. First a pattern played by the tamborim both ways: A"( direction:
("A direction:
("A direction:
Ceep playing the patterns until you $hear$ the rhythmic connections with examples one and two. After that get some good (ra=ilian samba records, or any other well written material based on this style, find the correct rhythmic direction, and play"a"long.
3nce you feel comfortable and are playing eighth notes with a steady and relaxed rhythm, you should incorporate accents which as shown in examples #, ! and 4 shift the patterns in various directions. The next steps should involve further development by playing the patterns in sixteenths 2rather than eighths7 and finding suitable trac)s to play along to. Hxample #
Hxample !
Hxample 4