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    Giovanni Hidalgo 'In The Tradition' Book (Por Antonio Clave) PDF

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    beer. Giovanni Flidalso In The Tradition MUSIC EXAMPLES AND ARRANGEMENTS BY GIOVANNI HIDALGO TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDON Edited by Dan Thress Spanish translation/Bobby Reverén Music Engraving and Design/Chelsea Music Engraving. Cover Design/Jack Waltrip Distributed by Warner Bros, Publications. 15800 NW 48th Avenue, Mian, FL33014 (© 19% DCI Music Video on of Warner Bros, Pblsions, Inc KEY TO TERMS (O = open tone P = bass like sound with the palm of the hand B = bass sound with the palm of the hand S =slap * T= tips ofthe fingers Mz muffled sound made by pressing against the skin with the hand Note: jovani Hidalgo is a left-handed player. All the examples are written for a right-handed player. First drum Second drum LEYENDA O = tono abierto P= con la palma de la mano, similar al sonido de bajo B = sonido de bajo (con la palma de la mano) S = seco/tapao* T = con las yemas de los dedos M = sonido ahogado. Esto se logra presionando sobre el cuero con la misma mano Nota: Giovanni Hidalgo es zurdo. Los ejemplos de este libro estén escritos para personas que usan la mano derecha. Ghost notes or light taps Cowbell or paila (metal sides of the timbales) Note: Any other variations on the music notation are explained in the text FOUR FUNDAMENTAL SOUNDS OF THE TUMBADORA ‘The four fundamental sounds of the tumbadora (known as conga in the U.S.) are the open tone, slap, bass and muff. OPEN TONE: produced by striking the drum withthe hand and letting the drum ring o resonate. SLAP: to produce a slap, cup the hand and strike the drum without lifting the fingers. BASS TONE: produced by striking the drum withthe palm of the hand on the center ofthe drum. MUFF: a muff is a mulled sound produced by striking the drum and muffiing the sound by pressing down on the skin ofthe drum with the fingers. Refer to the video for exact placement of hand and fingers for cach ofthe sounds. As suggested by Giovanni, the four different sounds can be practiced by playing quarter-notes ata slow tempo. It is sug- gested that one devote atleast ten minutes for each sound. This will give you 40 minutes of practice with each hand. After prac~ ‘icing the four sounds with one hand, rest afew minutes and continue with the other hand. It is extremely important that ‘one fully develop these sounds. Otherwise, the sounds that come from the drum will not be as they should. You must give ittime “A veces el sonido “ahogado” se convce como “tapao.” LOS CUATRO SONIDOS FUNDAMENTALES DE LA TUMBADORA Los cuatro sonidos fundamentales de la tumbadora (conocida como conga en los Estados Unidos) son el tono abit, se, baja ¥ tapas (on srdia) TONO ABIERTO: se produce golpeando dl parche (de cuero) con la mano y dejndolo vibrarlibremente. ‘SECO/TAPAO: para producir ¢l seo, ahueque a mano — com para tomar agua —, péguee al euero y no despegue los dedos. TONO DE BAJO: se produce al golpear el centro del cuero con la palma de la mano. AHOGADO: un ahogado es un sonido asondinado que se produce golpeando el cuero en forma parecida ala usada en el tono abiert, pero dejando la mano abajo, presionando sobre el cuero con los dedos. Refiérase al video para la colocacién exacta de la mano y los martillo RLRLRLERL 3) “epiques” 2 muff open T= tps ofthe fingers T= yemas de los dedos TH = side of thumb TH » costado del pulgar = open tone on low drum © = tono abierto en el ambor hembra (grande). BOLERO ‘The bolero is comparable to an American ballad in that it is usually played ata slow tempo and lyrics deal with some aspect of love, sadness, etc. It goes back to the 1940s, '50s, and °60s when it was, and is, still played in the cabarets, dance halls, etc. Giovanni first demonstrates the individual sounds coming from each tumbadora as, shown below: 1ST DRUM BOLERO El bolero se parece a la balada americana en que usual- mente se toca a un tempo lento y la letra trata sobre temas amorosos, sentimentales, etc. En los aftos '40,'50 y “60 atin se tocaba mucho en los cabarets, salones de baile, y demas. Primeramente, Giovanni nos demuestra los sonidos individuales provenientes de cada tumbadora: R R ‘When these two patterns are combined, the result is the following pattern used in the bolero: BOLERO ON TWO TUMBADORAS PT s _T P_oO oO R R Al combinar estos dos patrones, obtenemos el siguiente patron, el cual se utiliza en el bolero: BOLERO EN DOS TUMBADORAS Petey eee POR O10) LoL R LL RR ‘We then add the bongos to the bolero. The bongos play a pattern called the martillo as shown below: BASIC MARTILLO TT T TH T_T OTH Entonces afiadimos el bong6, el cual toca un patron lla- mado martillo: MARTILLO BASICO BOLERO ON TIMBALES Next we add the rimbale pattern to the bolero. The pat- tern is played on the paila (metal sides or shells of the timbales) with sticks. There are different ways to play the 4olero on the timbales. The first example is the pattern played by Giovanni. Note that the sticking pattern leads with the left hand. The same sticking can be used by a right-handed person. The second, third, and fourth examples are some different approaches that Changuito used in the band performance » BOLERO EN TIMBALES A continuacién le atadimos los timbales al bolero, Este patrén se toca con baquetas sobre la paila (los costados metilicos de los timbales). Hay varias formas de tocar 4oleroen los timbales. El primer ejemplo es el patron que toca Giovanni. Fijese que comienza con la mano iaquierda. La persona derecha puede tocarlo de igual manera. Los ejemplos segundo, tercero y cuarto son algunas de las variaciones que utilizé Changuito en la actuacién del grupo. R LRLR L oR L RL CHARANGA ‘The charanga is a style of Cuban music which developed from the early 1900s. The instrumentation for the cha- ranga group is flute, piano, bass, violins, giiro, timbales, and tumbadoras. Some rhythms which come from the ccharanga tradition are the danzén and the cha cha cha. ‘The rhythm which is demonstrated here is also from the charanga style and is usually called by that name (cha ranga). Some fipico charanga groups are Melodias Del Cuarenta, Abelardo Barroso Y La Sensacién, Fajardo, Tipica Novel, Orquesta , Los Jovenes Del Barrio de Jobnny Almendra, La Criolla from Puerto Rico, and Orquesta Aragén. The following is the tumbadora pattern that Giovanni demonstrates for charanga in 2-3 clave: (s) (OO Priel Sila Pua Ti Olu) CHARANGA La charanga es un estilo de miisica cubana que se desar- rollé a principios de siglo. La instrumentacién para un conjunto de charanga se compone de flauta, piano, bajo, violines, giiro, timbales y tumbadoras. Algunos de los ritmos que provienen de la tradicién de la charanga son el danzén y el cha-cha-cha. El ritmo que aqui se demuestra también es del estilo charanga y normalmente se le llama asi mismo: charanga. Algunas charangas (orquestas) tipi- cas son: Melodias Del Cuarenta, Abelardo Barroso y La Sensacién, José Fajardo, Tipica Novel, Orguesta Broadway, Los Jévenes Del Barrio de Johnny Almendra, La Criolla de Puerto Rico, y la Orquesta Aragén. Lo siguiente es el patron de tumbadora que Giovanni demuestra para la charanga, en clave 2-3: Next we add the giro to the tumbadora pattern. 2-3 CLAVE Luego le aftadimos el gairo al ritmo de tumbadora. (CHARANGA PATTERN FOR TIMBALES ‘The timbale charanga pattern is played on the small bell. ‘The following is the pattern played by Changuito: (0 = the mouth or low part of the bell += the neck area or high part of the bell $ =a muff with the left hand on the low drum an open tone with the left hand on the low drum. PATRON DE CHARANGA PARA TIMBALES La charanga en timbales se toca en la campana pequefa. El siguiente es el patrén tocado por Changuito. ‘© = boca, o parte baja, de la campana, + = cuello, o parte alta, de la campana 4 = sonido asordinado en el tambor grande (hembra) con Ja mano izquierda § = tono abierto en la hembra con la mano izquierda. ° + 0 + muff open TWO BELL RIDE ‘This next pattern is a two-bell part that Changuito used during Giovanni's solo in the tune “Chanvanni.” The right hand bell is played on the large bell and left hand con the small bell. Take note of the “low-high” movement of the right hand bell. 2-3 CLAVE RH ° + ° +t CAMPANEO DOBLE Lo siguiente es un patron para dos campanas que CChanguito toca durante el solo de Giovanni, en la pieza “Chanvanni”. La mano derecha toca la campana grande y Ia izquierda toca la pequefa. Fijese en el movimiento alti-bajo de la mano derecha DANZON ‘The danzén developed from the European contradanza which came to Cuba from France via Haiti in the 1790s. ‘The danzén was played by “arquestas tipicas” which con- sisted of clarinets, cornet, trombone, bassoon, tuba, vio- lins, contrabass, gitro, and timpani. (This is the European timpani which later was modified into what we now know as the timbales.) Later, the instrumenta~ tion, which became know as “charanga francesca,” was changed to: a five key wooden flute, piano, violin, con- trabass, giro, and timbales criollos (our present day tim- bales which replaced the timpani). Miguel Failde, a Cuban composer, is credited with the earliest written danzén in 187, titled “Las Alturas de Simpson." In the 1930's a mambo or montuno section was added to the danzén. According to Israel Cachao Lopez, he and his brother, Orestes Lopez, were the first to use this form when they worked with the Orguesta Maravilla de Arcano, Consequently, it is believed that the mambo and the cha cha chd evolved from this section of the danzén. Around 1951, Enrique Jorrin created the cha cha chd by taking this montuno section of the danzén and establish- ing the form: introduction, verse, bridge, and coda as can be observed in his first cha cha chd, “La Engatadora,” ‘The piece that is presented here is a classic damzén titled ‘Almendra.” The fist part of the piece starts with a “bague- 10"(a combination of rim clicks and muffled tones) on the timbales. If you listen closely to the fifth, sixth, and seventh bars you will hear a five-note pattern on the tim bales called a ‘inguille." The ‘cinguillo"is not an impro- vised riff but rather a fipico timbale fill that is characteristic of just about every danzén. In the second half of the tune, the timbales go to the small bell (cha-cha bell) in the mon- ‘uno section accompanied by tumbadoras and giire. Some recordings for danzén and other charanga styles are Orquesta Aragén, Orquesta Maravilla de Arcato, Antonio Maria Romeu y Su Orquesta, and Cachao. TUMBADORA As explained by Giovanni, the tumbadora is not used traditionally in the first section of a danzén. However, ‘one can play a ‘umbao behind the music very lightly Below are two examples provided by Giovanni: ) DANZON El danzén proviene de la contradanza europea, la cual legs a Cuba desde Francia por via de Haiti, en la década del 1790. El danzén lo tocaban “orguestas tipicas” que se ‘componian de clarinetes, corneta, trombén, fagot, tuba, violines, contrabajo, giro y timbales, (Este era el timbal de orquesta, mejor conocido por su nombre italiano tim- ‘pane (sing; timpani, p!)), el cual fue posteriormente modi- ficado hasta llegar a lo que hoy dia se conoce como timbales [cubanos o criollos].) Luego, la instrumentacién, que se llegé a conocer como ‘charanga francesa,” cambié a: tuna flauta de madera con cinco llaves, piano, violin, con- trabajo, guiro, y timbales criollos, Se le acredita a Miguel Failde, un compositor cubano, el primer danzén escrito en, el 1877, titulado “Las Alturas de Simpson”. En la década del 1930, se le afiadié al danzén una seceién de mambo 0 montuno. Dice Israel “Cachao” Lépez que fueron él y su hermano, Orestes Lépez, los primeros en usar esta nueva forma cuando trabajaban con la Orquesta Maravilla de Arcafio. Por consiguiente, se cree que el mambo y el cha- cha-chd provienen de esta seccién del danzén. Cerca del 1951, Enrique Jorrin creé el cha-cha-cha, tomando esta seccién del danzén y estableciendo la forma: introduc-

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