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Leseprobe Percusion-Cubana PDF
Leseprobe Percusion-Cubana PDF
Es
o
a
l-
lis
g
En
El Arte
de la
Percusin Cubana
The Art
of
Cuban Percussion
Idea original: Ren J. Vergara
Coautora: Cyrill Schlpfer
IMPRESSUM
El Arte de la Percusin Cubana / The Art of Cuban Percussion
Idea original / original idea: Ren Jess Vergara Gmez
Coautora / co-author: Cyrill Schlpfer
Colaboracin / collaboration: Alejandro Mayor
Mtodo didctico ms amplio, sencillo y prctico para el aprendizaje de los ritmos de
la percusin cubana y afrocubana incluyendo la demostracin del autor en DVD-Video.
The most comprehensive and useful text book, with a wide collection of didactic material
for the profound study of Cuban and Afro-Cuban percussion including a hands-on
demonstration by the author on DVD-Video.
2009 Shrill Music Lucerna Suiza / Lucerne Switzerland
Edicin bilinge Espaol - Ingls / Bilingual edition Spanish - English
Editorial Mundial de Msica SMP
Edicin / edition: Cyrill Schlpfer
Produccin / production: CSR Records Zurich
Impreso en Suiza / printed in Switzerland
ISBN 978 3 033 00441 2
ISMN 979 0 000 00108 4
CSR Cat.-Nr. CSR 00441
DVD-Nr. CSR 91861
edicin 001 / edition 001
Todos los derechos reservados. Prohibida la reproduccin total o parcial de este libro o del
DVD, por cualquier medio, sin el permiso escrito del editor.
All rights reserved. No parts of this publication, including the content of the DVD and
fotos, may be copied or reproduced for any purposes in any form and by any means
without the written permission of the publisher.
Para orientar al lector de este libro, se inician con mayscula los ttulos y
nombres propios, los trminos de los ritmos, patrones rtmicos, toques,
gneros, instrumentos religiosos o consagrados, as como las religiones,
ceremonias rituales y etnias.
In this book the proper names and specific terms such as rhythms, commanding
rhythms, drum patterns, genres, religious or consecrated instruments, ritual
ceremonies, religions and ethnic groups are capitalized. The English version does
not use any accents for Cuban or African musical and ethnic terms, except
proper names and titles.
NDICE
PREFACIO
11
37
38
38
44
48
50
52
56
58
12
19
26
28
34
60
60
62
C: Los
-
64
64
66
68
69
70
71
72
74
conjuntos de percusin
El Son Montuno
El Son Tradicional
El Mambo
El Bolero-Son
El Chang
El 6 8 (toque afrocubano de Palo)
El Afro (ritmo afrocubano)
Ejemplo de una orquestacin de Salsa
D: El set de percusin
- El Afro
- El Cha-cha-ch
- El Bolero
PARTE 3: LA MSICA RELIGIOSA EN CUBA
Las races de la Msica Cubana
- La Regla de Ocha
- La Regla de Palo
- Las sociedades de Abaku
A: La Msica de la Bat
Introduccin a la Msica Yoruba
11 toques bsicos del Tambor Bat y el Cha-ch Lokafn
- La Topa (Eleggu)
- Oggn
- Oshosi (Agguer)
- Babal Ay (Oyo Kota)
- Obatal (Osain y Rezo)
- Aggay
- Orula
- Shang
- Tui Tui Oy
- Oshn
- Yemay (Alrum)
- Cha-ch Lokafn
78
78
80
81
83
84
85
86
86
91
91
91
92
93
94
95
96
97
98
99
100
101
102
103
B: El Ciclo Congo
Introduccin al Ciclo Congo
- El Toque de Palo
- El Toque de la Makuta
- El Toque de la Yuka
105
105
106
108
109
C: La Msica Abaku
Introduccin a la Msica Abaku
- El Toque estilo La Habana
110
110
111
113
114
115
117
118
119
121
122
123
124
126
131
132
133
134
134
134
134
135
135
137
138
142
B: Ejercicios para la
- Ejercicios en
- Ejercicios en
- Ejercicios en
145
145
148
150
161
163
155
189
190
191
192
192
INDEX
PREFACE
11
37
38
38
44
48
50
52
56
58
16
19
26
31
34
60
60
62
C: The
-
percussion ensembles
The Son Montuno
The Son Tradicional
The Mambo
The Bolero Son
The Changui
The 6 8-rhythm (Afro-cuban palo stroke)
The Afro (Afro-cuban beat)
Example of a Salsa orchestration
64
64
66
68
69
70
71
72
74
D: The
-
percussion set
The Afro
The Cha-cha-cha
The Bolero
78
78
80
81
83
87
88
88
89
91
91
91
92
93
94
95
96
97
98
99
100
101
102
103
105
105
106
108
109
110
110
111
PART 4:
113
114
116
117
118
119
PART 5:
121
122
123
124
126
PART 6:
131
132
133
134
134
134
134
135
135
PART 7:
137
138
142
145
145
148
150
155
161
163
189
190
191
193
193
PART 8:
PREFACIO
Currculum vitae del autor Ren Jess Vergara Gmez, conocido como Tomy
Naci el 5 de mayo 1944 en Caibaren, Villa Clara, Cuba y muri el 23 de febrero
2004 en la Ciudad de la Habana, Cuba. Comenz sus estudios de msica en el
Conservatorio Provincial de Msica Amadeo Roldn en La Habana, cursando estudios
de teora, solfeo, armona y trompeta entre otras asignaturas.
En 1965 comenz los estudios de percusin con el Profesor Domingo F. Arag
Rodrguez. En 1968 obtuvo una beca para la Escuela Nacional de Arte, en la cual se
gradu de profesor y msico en el ao de 1973.
Trayectoria artstica
Integr las orquestas: Sinfnica Nacional de Cuba,
Sinfnica Nacional de Argel (Argelia),
Sinfnica de la Opera y Ballet de Cuba,
Orquesta del Conjunto Folklrico Nacional de Cuba (de la cual fue director durante
dos aos),
Cabaret Tropicana de La Habana.
Fund la Ctedra de percusin de Msica de Guantnamo.
Ejerci por cinco aos como profesor en el Instituto Nacional de Msica de Argel.
Realiz actuaciones como Director de Orquesta y msico en capitales en: Inglaterra,
Colombia, Rumania, Yugoslavia, Argelia, Mxico, Rusia, Italia, Alemania,
Checoslovaquia, entre otros.
Al final de su vida concluy La Fantasa Domingo Arag, para Orquesta Sinfnica
y los Apuntes Generales con la clase demostrativa que fueron fuente de la presente
edicin.
Hasta su muerte trabaj como profesor del Centro de Desarrollo Cultural de La
Habana y como msico de la Orquesta del Conjunto Folklrico Nacional de Cuba.
PREFACE
Curriculum of the author Ren Jess Vergara Gmez, known as Thomy
Born on the 5th of May 1944 in Caibaren, Villa Clara, Cuba, died on the 23rd of
February 2004 in Havana, Cuba.
He started his musical studies at the Amadeo Roldn Conservatory in Havana where
he studied, among others: the trumpet, harmony, music theory and solfege.
In 1965 he started his studies in percussion with Professor Domingo F. Arag
Rodrguez.
In 1968 he received a scholarship from the National School of Art, from where he
graduated as professor and instrumentalist in the year 1973.
Activities
He worked with: National Symphony Orchestra of Cuba,
National Symphony Orchestra of Algeria,
Opera and Ballet Orchestra of Cuba,
National Folklore Orchestra of Cuba, which he directed for two years
Orchestra of the Tropicana Cabaret of Havana.
He founded the Percussion Faculty in Guantnamo.
He worked five years as a teacher and musician in the National Music Institute of
Algeria.
He performed as musician and as orchestra director in England, Colombia,
Rumania, former Yugoslavia, Algeria, Mexico, Russia, Italy, Germany and former
Czechoslovakia.
He wrote dozens of musical pieces for concert and dance music. His last two creations were: The Fantasy Domingo Arag for Symphonic Orchestra and this book.
Until his death he worked as a music professor at the Centro de Desarrollo Cultural
de La Habana and as musician with the Orquesta del Conjunto Folklrico Nacional de
Cuba.
10
ORU
Ritual
TOQUE
Patrn Rtmico
SONAJA
y
PERCUSIN
TAMBOR
CONJUNTO
INSTRUMENTAL
Bat
Acher,
2 Guatacas
Toque de la
Bat
Acher o
Sonajas
Juego de
Juego de
3 tambores 3 tambores
bimembra- bimembranfonos
nfonos
Bat:
Bat:
Iy
Ittele
Oknkolo
Bat
Canto
y baile
Sacudimento
Jamaqueo
Matteo
Iyes
Iyes
Canto
y baile
Bemb
Mayombe
Canto
y baile
Iyes
Chequer,
2 Agogos,
2 Ekones,
Makuta
Yuka
(profano)
Kimbisa
Canto
y baile
Toque de
Palo
Canto
y baile
Toque de
Makuta
Canto
y baile
Toque de
Yuka
Chach,
Chach,
Acher o
Cat,
Maracas,
Cat,
Guagua, Cencerro o
Cat,
Cencerro o Guataca
Hierro,
Cencerro o Guataca
Guataca
Palo o
Ngoma
Briumba
Ciclo Congo
Cabildos
Iyes Oggn Arer
Ciclo Iyes
Congo, Zaire
BANT, CONGO
Nigeria occidental
ILESHA
Bemb
Bemb
Vod
Palo
Congas
callejeras
Juego de Chequer,
Maraca,
3 giros o
Chach,
Chequer:
Agogo,
Caja, Mula y
Hierro,
Cachimbo;
Cencerro,
Guataca,
Guataca,
Hierro,
Llanta
2 Tumbas
Chequer
o Giro
LITURGIA
MUSICAL
Bat
Ciclo Yoruba
CICLO
Ceremonia
Celebracin
Complejo Festivo
RELIGIN
Bat
Nigeria
YORUBA
DERIVACIN
GRUPO
TNICO
Abaku
Cabildos Carabal
aigos
Arar
Arar
o
Vod
Tumba
Francesa
Tumba
Francesa
(profano)
Ciclo Arar
Coro canto
y baile
Toque de Kinfuiti
2 Maracas o
Acher,
Guataca
Erikundi (Chach)
Ekn (Cencerro)
Itones (palitos)
Canto
y baile
Acher o
Chach
(maracas
metlicas),
Ogn o
Guataca
Canto
y baile
Toque de Yuba
y Toque de
Masn
Chach,
Cat grande,
Tambora
Acher o
Chach,
Cat,
Guataca,
Tanbourine
Conjunto de
3 tambores
Rad:
Mamn
Segn
Boula
Tambor Rad
Tambor Rad
EWE-FON, ARAR
DAHOMEY
Conjunto de
Conjunto de 4 Conjunto 4 tambores Biankomeko: Conjunto de
tambores Kinfuiti:
Bonk-enchemiy, Biankom
3-4 tambores 3 tumbadoras
1 tambor fricativo
Francesas:
Arar
Obi-ap y Kuch-yerema
Premier
Kinfuiti y 3 tamen forma de
Conjunto de 4 tambores
Boula
bores Ngoma:
copa y con rica
con carcter simblico:
Beb
Caja
ornamentacin:
Empeg, Ekueon, Enkramo y
Dos y dos
Caja
Seserib (ninguno se toca)
Un golpe
Mula
Cachimbo
Tambor kue:
Kinfuiti
Cabildos Kinfuiti
Ciclo Abaku
Calabar, Nigeria
CARABAL
14
B:
19
Quijada
Sartn
Timbal de orquesta
Cajn
Set de percusin
Coditos
Yema de huevo
Pltano a puetazo
27
D:
The Son
The Son is a musical genre born in Cuba. Its origins go back to the 19th century and
it is an authentic example of the fusion of Spanish and African culture in the
Caribbean. The Son is a profane vocal and danceable music style and it is manifested
in many variations.
The oldest forms of the Son emerged from country festivals in rural mountain
regions in the east of the country approximately around 1860. One of its original
expressions like the Changui was performed by a Son trio or quintet with tres, tumbandera (played in the bass position), bongo, maracas and guiro.
During the early Twenties when the Son arrived in the cities as a popular music,
there appeared more variation in Son ensembles: the sextet, septet and later the
conjuntos soneros and the Cuban jazzband. The septeto de Son is a very typical
and successful ensemble that integrates trumpet, tres, guitar, bass, bongo, shakers
and claves (and vocalist). The group with the same name was the first professional
Son band that started to make recordings in the US and in this way the Son as a
vocal, instrumental and danceable genre began its rise as a popular style in the 20s.
Further along in the history of the original instrumentation of the Son we encounter:
gourd, jawbone, cowbell, machete, hoe blade, bottles, marimbula, timbales and tumbadoras on the percussion side and it completes with piano, organ, accordion, harmonica and violin.
The tres, an instrument derived from the guitar, exemplifies the traditional sound
of Cuban Son and symbolizes the process of the cultural interaction of the AfroHispanic-European roots in Cuban music.
The best-known characteristic of the Son is its anticipated bass, which is played by
the bass and the tres and is based on the rhythmic pattern called La Clave de Son.
The different modes called Son Montuno, Changui, Nengon, Kiriba, Caringa, Sucu-Sucu
and Regina are all part of the musical family of Son. Its mixtures with other genres
are called Guajira-Son, Guaracha-Son and Bolero-Son. And finally the Son became the
unquestionable root of the Salsa.
The Cha-cha-cha
In 1951, the violinist, composer and member of the Orquesta Amrica, Enrique
Jorrn of Pinar del Ro, made a new variation of the Danzon and came up with a
composition titled La Engaadora. His composition was considered to be a new
style called New Rhythm, Mambo-Rumba or Danzon-Mambo.
This rhythm, paced by the guiro, produced a particular sound when shuffling the
feet while dancing. Later, this combination led to the name Cha-cha-cha.
Jorrn introduced into the Cha-cha-cha little choral units called Montunos, which
he placed before the final section of his arrangements. He had all the musicians
sing in unison, achieving a higher volume of the vocals and consequently a clearer
understanding of the lyrics. The Cha-cha-cha is characterized by its rhythmical
base performed by the timbale player, who at the same time plays the cowbell and
the shell of the timbale, creating the drum pattern called Cascara, as well as the
famous effect of a rimshot roll known as Abanico.
The Mambo
The Danzon, premiered by Miguel Falde in 1879, later received substantial innovations by introducing elements of the eastern Son as those contributed by Jos Urf
in 1910, or the later work of Aniceto Daz with his Danzonete in 1929.
In 1938, the composer, pianist, bass and cello player Orestes Lpez created a syncopated version of the New Rhythm Danzon titled Mambo which then was interpreted by Antonio Arcao. In his elaborated presentation Lpez used a syncopated motif
31
Clave de referencia
Simbologa: el cencerro
Cencerro boca
Cowbell mouth
Cencerro canto
Cowbell edge
Cencerro centro
Cowbell center
39
Borde o canto
Rim or edge
El Son Tradicional
Utilizando una tumba:
Clave de referencia
El Son Montuno
Utilizando dos tumbas:
Clave de referencia
Clave de referencia
Note: the Son Montuno is the most original form of Son, emerging from the
countryside.
Lado de la paila
Shell of the timbale
las tumbas:
Abierto
Open
Dedos
Fingers
41
Abierto
Open
Palma
Palm
Tapado presionado
Muted slap
B:
EL AFRO
El Cencerro en el Afro
Centro
Center
Simbologa: el cencerro
Sonido en la boca
Sound on the mouth
1.
2.
Simbologa: el bong
Abierto, sonido grave
Open, low sound
60
El Chang
The Changui
El Chang es una de las formas ms antiguas del complejo musical del Son cubano
y es de origen rural de la regin oriental
de la Isla (Guantnamo). Es interpretado
por el quinteto sonero que integra tres,
marmbula, bong, maracas, giro o
machete o guayo. En el Chang el bong
no establece un patrn fijo como en el Son.
Se ejecuta una marcha libre, improvisando golpes caractersticos de este gnero.
70
Bolero
Doralys
Abanico
74
ARAR
YORUBA
CARABAL
BANT
84
A:
El Tambor de la Bat
Iy
Ittele
Oknkolo
el ms grande
el mediano
el ms pequeo
Iya
Itotele
Okonkolo
the largest
the medium-sized
the small one
Below appears a list of the 11 strokes featured in the DVD, dedicated to the Yoruba
gods or orishas and their respective
saints in the Catholic Religion. Each orisha
has its own drumbeats, either one or more.
Nio de Atocha
San Pedro
San Norberto
San Lzaro
Nuestra Seora de la Merced
San Cristbal
San Francisco de Ass
Santa Brbara
Santa Teresa
Caridad del Cobre
Virgen de Regla
91
2. Oggn
La llamada / Intro
boca
La resultante
Iy boca
Iya bass
93
chach
Tapado
Muted
Nota fantasma
Ghost note
The result
Ittele boca
Itotele bass
Oknkolo boca
Okonkolo bass
Mordente simple
Flam
Example of an improvisation:
Caja:
109
Dedos
Fingers
Palma
Bass
Tapado
Slap
Presionado
Muted
C:
LA MSICA ABAKU
El conjunto instrumental Abaku, utilizado particularmente en las fiestas rituales, son los cuatro tambores: Bonkenchemiy, Biankom, Obi-ap y Kuchyerem. Se completa con la percusin
menor: Ekn (campana), Erikundi (dos
chachs) e Itones (dos palos).
The Abakua instrumental ensemble, performed in particular within ritual observances, consists of the four drums:
Bonko-enchemiya, Biankome, Obi-apa
and Kuchi-yerema. It is completed by
these small percussion devices:
Ekon (bell) Erikundi (two shakers) and
Itones (two little sticks).
110
La Columbia
The Columbia
Example of an improvisation:
Quinto:
Clave de referencia
Palma
Bass
Dedos
Fingers
Tapado
Slap
Mordente
Flam
118
El Calypso
The Calypso
La Samba
The Samba
El Bossa Nova
La Batucada
The Batucada
Simbologa: la batera
Bombo/bass drum
Tom-tom chico
Plato de pie/hi-hat
Caja/snare
Tom-tom grande
Plato/cymbal
134
redonda
blanca
negra
corchea
semicorchea
whole note
half note
quarter note
eight th note
sixteenth note
Tabla de valores
Table of values
The following table shows the relation between the values (duration) of the notes
138
C:
Note: building up technique to control the execution of different sounds on the tumbadora
improves the percussionists style and musicality. The combination of these different sounds
requires strict training in the various positions
in order to master precision and clarity in the
phrasing of the distinct rhythms.
1.
2.
3.
4.
5.
6.
Simbologa: la tumbadora
Abierto
Open
155
Palma
Bass
Dedos
Fingers
Tapado
Slap
5.
1.
Clave de referencia
2.
Clave de referencia
160
190
191
Crditos
Andy Schneiter y Christian Guler, direccin grfica y diseo;
Jrg Meyer y Felice Bruno, consultacin grfica;
Thomas Bosshard, Lutz Repro Zurich, tipografa;
Jonas Baltensweiler, ilustraciones;
Anita Schneiter, dibujos;
Nelys Leal Navas, coordinacin general en Cuba;
Cyrill Schlpfer, fotos, redaccin general, director artstico y grfico.
192
Credits
Andy Schneiter and Christian Guler, graphical direction;
Jrg Meyer and Felice Bruno, graphic consultation;
Thomas Bosshard, Lutz Repro Zurich, typography;
Jonas Baltensweiler, illustrations;
Anita Schneiter, icons;
Nelys Leal Navas, general coordination in Cuba;
Cyrill Schlpfer, photos, artistic and graphic director, editor-in-chief.
193
194
NDICE / CONTENT
ISBN 9783-033-00441-2
783033 004412
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ISMN 9790-000-00108-4
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