Documentos de Académico
Documentos de Profesional
Documentos de Cultura
h
g lis
En
p añ
o l- El Arte
Es
de la
Percusión Cubana
The Art
of
Cuban Percussion
Idea original: René J. Vergara
Coautoría: Cyrill Schläpfer
IMPRESSUM
Método didáctico más amplio, sencillo y práctico para el aprendizaje de los ritmos de
la percusión cubana y afrocubana incluyendo la demostración 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.
Para orientar al lector de este libro, se inician con mayúscula los títulos y
nombres propios, los términos de los ritmos, patrones rítmicos, toques,
géneros, instrumentos religiosos o consagrados, así 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.
2
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 4
ÍNDICE
PREFACIO 8
4
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 5
5
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 6
INDEX
PREFACE 9
6
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 7
7
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 8
PREFACIO
Currículum vitae del autor René Jesús Vergara Gómez, conocido como “Tomy”
Trayectoria artística
Integró las orquestas: Sinfónica Nacional de Cuba,
Sinfónica Nacional de Argel (Argelia),
Sinfónica de la Opera y Ballet de Cuba,
Orquesta del Conjunto Folklórico Nacional de Cuba (de la cual fue director durante
dos años),
Cabaret Tropicana de La Habana.
Fundó la Cátedra de percusión de Música de Guantánamo.
Ejerció por cinco años como profesor en el Instituto Nacional de Música de Argel.
Realizó actuaciones como Director de Orquesta y músico en capitales en: Inglaterra,
Colombia, Rumania, Yugoslavia, Argelia, México, Rusia, Italia, Alemania,
Checoslovaquia, entre otros.
Al final de su vida concluyó “La Fantasía Domingo Aragú”, para Orquesta Sinfónica
y los Apuntes Generales con la clase demostrativa que fueron fuente de la presente
edición.
Hasta su muerte trabajó como profesor del Centro de Desarrollo Cultural de La
Habana y como músico de la Orquesta del Conjunto Folklórico Nacional de Cuba.
8
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 9
PREFACE
Born on the 5th of May 1944 in Caibaríen, Villa Clara, Cuba, died on the 23rd of
February 2004 in Havana, Cuba.
He started his musical studies at the Amadeo Roldán 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. Aragú
Rodríguez.
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 Guantánamo.
He worked five years as a teacher and musician in the National Music Institute of
Algeria.
9
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 10
10
ETNOMUSICOLOGÍA / Los conjuntos de percusión afrocubanos
DERIVACIÓN Nigeria Nigeria occidental Congo, Zaire Calabar, Nigeria Benín, Togo, Ghana
CICLO
Ciclo Yoruba Ciclo Iyesá Ciclo Congo Ciclo Abakuá Ciclo Arará
Ceremonia
LITURGIA Batá Batá de Oyo Chequeré Bembé Iyesá Mayombe Briumba Kimbisa Cabildos Kinfuiti Cabildos Carabalí Arará Tumba Tambor Radá
MUSICAL (Kuelé) Vodú Ñañigos o Francesa
Palo Vodú (profano)
Celebración
Congas
Complejo Festivo
callejeras
CONJUNTO Batá Batá Chequeré Bembé Iyesá Palo o Makuta Yuka Kinfuiti Abakuá Arará Tumba Tambor Radá
INSTRUMENTAL o Güiro Ngoma (profano) Francesa
TAMBOR Juego de Juego de Juego de Juego de 4 tambores Conjunto de 3 tambores Yuka: Conjunto de 4 Conjunto 4 tambores Biankomeko: Conjunto de Conjunto de Conjunto de
3 tambores 3 tambores 3 tambores bimembranófonos Caja tambores Kinfuiti: Bonkó-enchemiyá, Biankomé 3-4 tambores 3 tumbadoras 3 tambores
bimembra- bimembra- Bembé: Caja o Mayor Mula 1 tambor fricativo Obi-apá y Kuchí-yerema Arará Francesas: Radá:
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 14
nófonos nófonos Caja Segundo Cachimbo Kinfuiti y 3 tam- en forma de Premier Mamán
Batá: Batá: Mula Tercero bores Ngoma: Conjunto de 4 tambores copa y con rica Boula Segón
Iyá Cachimbo Rebajador Caja con carácter simbólico: ornamentación: Bebé Boula
Itótele Dos y dos Empegó, Ekueñon, Enkríamo y Caja
Okónkolo Un golpe Seseribó (ninguno se toca) Mula
Tambor Ékue: Cachimbo
tambor sagrado de fricción
(la voz del misterio Abakuá)
SONAJA Acheré o Acheré, Juego de Chequeré, Chequeré, Acheré o Chachá, Chachá, 2 Maracas o Erikundi (Chachá) Acheré o Chachá, Acheré o
y Sonajas 2 Guatacas 3 güiros o Maraca, 2 Agogos, Maracas, Catá, Catá, Acheré, Ekón (Cencerro) Chachá Catá grande, Chachá,
PERCUSIÓN Chequeré: Chachá, 2 Ekones, Catá, Guagua, Cencerro o Guataca Itones (palitos) (maracas Tambora Catá,
Caja, Mula y Agogo, Hierro, Cencerro o Guataca metálicas), Guataca,
Cachimbo; Hierro, Cencerro o Guataca Ogán o Tanbourine
Patrón Rítmico Guataca, Cencerro, Guataca Guataca
Hierro, Guataca,
2 Tumbas Llanta
TOQUE Toque de la Batá Sacudimento Bembé Iyesá Toque de Toque de Toque de Toque de Kinfuiti Toque estilo “habanero” Toque de Yuba
Batá Jamaqueo Palo Makuta Yuka y Toque de
Matteo Masón
ORU Oru seco Oru cantado Canto Canto Canto Canto Canto Canto Coro canto Coro, canto y baile Canto Canto
Ritual no canto y y baile y baile y baile y baile y baile y baile y baile y baile y baile y baile
no baille
14
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 19
Chequeré
Percusión menor (ideófonos) / Minor percussion (idiophones)
- Claves
- Maracas / shakers
- Catá o guagua / hollowed bamboo log
- Caja china (de madera o de plástico) / woodblock or jamblock (plastic)
- Güiro o calabaza / gourd scratcher
- Guayo (metálico) o ralladera o torpedo / metal scratcher
- Acheré: maraca usada en la música religiosa / shaker used in religious music Quijada
- Chequeré : conjunto de 3 sonajas tipo de güiro / ensemble of 3 big gourd shakers
- Quijada / jawbone
- Cencerro o campana / cowbell
- Machete
- Sartén / frying pan
- Guataca o hierro o azada / hoe blade or spade
- Cucharas / spoons Sartén
- Llanta / car rim
27
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 31
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, tum-
bandera (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 20’s.
Further along in the history of the original instrumentation of the Son we encounter:
gourd, jawbone, cowbell, machete, hoe blade, bottles, marimbula, timbales and tum-
badoras on the percussion side and it completes with piano, organ, accordion, har-
monica 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 Afro-
Hispanic-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 América”, Enrique
Jorrín of Pinar del Río, made a new variation of the Danzon and came up with a
composition titled “La Engañadora”. 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.
Jorrín 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 Faílde in 1879, later received substantial innova-
tions by introducing elements of the eastern Son as those contributed by José Urfé
in 1910, or the later work of Aniceto Díaz with his Danzonete in 1929.
In 1938, the composer, pianist, bass and cello player Orestes López created a synco-
pated version of the ‘New Rhythm Danzon’ titled “Mambo” which then was interpret-
ed by Antonio Arcaño. In his elaborated presentation López used a syncopated motif
31
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 39
El cencerro o campana en la parte final The cowbell as used in the final part
del Son (Montuno) of the Son (Montuno)
Nota: en el Son se suelen utilizar dos Note: there is a tendency for two cow-
cencerros y se produce un ritmo llamado bells to be used, producing a rhythm
‘doble campana’. Esta combinación tam- called ‘double bell’. This combination can
bién puede utilizarse en la parte final also be used in the final part (montuno)
(montuno) y en la Guaracha y otros and in the Guaracha and other genres.
géneros.
Clave de referencia
39
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:20 Seite 41
Clave de referencia
Clave de referencia
Clave de referencia
Nota: el Son Montuno es la forma más Note: the Son Montuno is the most origi-
original del Son, procedente del monte o nal form of Son, emerging from the
campo. countryside.
41
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 60
EL AFRO
El bongó en el Afro (la base) The bongo as used in the Afro (the base)
1.
2.
Nota: el bongó en el Afro se toca con las Note: in the Afro the bongo is played
manos o baquetas. with hands or sticks.
Simbología: el bongó
Abierto, sonido grave Abierto, sonido agudo
Open, low sound Open, treble sound
60
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 70
El Changüí es una de las formas más anti- The Changui is one of the oldest forms of
guas del complejo musical del Son cubano the musical complex of the Cuban Son and
y es de origen rural de la región oriental originated from the rural areas of the
de la Isla (Guantánamo). Es interpretado eastern regions of Cuba. It is performed
por el quinteto sonero que integra tres, by the Son quintet integrating the tres,
marímbula, bongó, maracas, güiro o marimbula, bongo, maracas, guiro or
machete o guayo. En el Changüí el bongó machete or guayo. In the Changui the
no establece un patrón fijo como en el Son. bongo doesn’t establish a fixed or steady
Se ejecuta una marcha libre, improvisan- pattern like in the Son. Rather a free
do golpes característicos de este género. and improvised figuration is used.
Nota: la parte de las tumbas en el Changüí Note: the tumba part which later became
es un aporte que se le hace al ritmo, una popular in Havana, is an additional con-
vez que se hace popular en la Habana. tribution to the rhythm of the Changui.
Originalmente no llevaba tumbas. Originally the Changui was performed
without tumbas.
70
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 74
Doralys
Bolero
Abanico
74
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 84
ARARÁ YORUBA
CARABALÍ
BANTÚ
84
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 91
Cada tambor tiene dos parches, uno a Each drum has two heads, one on each
cada lado y con dos sonidos diferentes: end, each producing its own sound: one
Uno grave ‘boca’ y otro agudo ‘chachá’. bass ‘boca’ and the other treble ‘chacha’.
La boca se toca con la mano fuerte. Los The bass head is played with the strong
tres tambores Batá son ejecutados a la hand. The three Bata drums are played
vez por tres percusionistas, creando un simultaneously by three drummers, cre-
número infinito de polirritmias. ating an infinite number of distinct poly-
Cada toque representa a una deidad rhythms. Each rhythm represents a dif-
Yoruba y cada uno de ellos se baila de ferent African Yoruba God and each has
forma diferente. its individual dance steps. The Iya drum
El tambor Iyá es el líder instrumental y is the lead instrument and it shapes the
conforma como llamador la melodía rít- rhythmical melody together with the
mica con el Itótele. El Okónkolo fomenta Itotele. The Okonkolo basically favors the
básicamente el acompañamiento. Sus per- accompaniment. Its percussionists are
cusionistas tienen una categoría especial. considered a special category. On occa-
A veces completa el conjunto un Acheré. sion the Achere is added to the ensemble.
A continuación aparece una lista de los 11 Below appears a list of the 11 strokes fea-
toques presentados en el DVD, dedicados a tured in the DVD, dedicated to the Yoruba
los dioses Yoruba o ‘orishas’ y sus respec- gods or ‘orishas’ and their respective
tivos santos en la Religión Católica. Cada saints in the Catholic Religion. Each orisha
orisha tiene sus propios toques, uno o más. has its own drumbeats, either one or more.
91
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:21 Seite 93
2. Oggún
La llamada / Intro
boca chachá
93
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:22 Seite 109
Nota: en el Toque de Yuka la significa Note: in the Yuka stroke the indicates
que esta nota se golpea con una baqueta a note played with a stick at the side of
en el cuerpo o a un costado del instru- the body of the instrument on both, the
mento en el cachimbo y en la mula. cachimbo and the mula. When both
Cuando se han de tocar ambos sonidos a sounds must be performed simultaneous-
la vez (unísono), se toca uno con la mano ly (unison), one is played with the hand
en el parche y el otro con la baqueta. on the head and the other with the stick.
Caja:
Nota: el Toque Yuka se ejecuta en ‘fies- Note: the Yuka stroke is performed at
tas paleras’ de carácter profano y de profane and entertaining events called
divertimiento, pero su música tiene tam- ‘fiestas paleras’. Originally however its
bién un trasfondo religioso-mágico. music had a religious-magic background.
109
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:22 Seite 110
110
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:22 Seite 118
Quinto:
Clave de referencia
118
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:22 Seite 134
Simbología: la batería
134
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:22 Seite 138
Figuras musicales y sus silencios Description of the notes and the rests
whole note half note quarter note eight th note sixteenth note
Cada figura es el doble de duración Each note is held twice the duration
de la siguiente. of the following note.
Esquema de la relación de valores de The following table shows the relation bet-
duración entre las figuras ween the values (duration) of the notes
138
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 155
Nota: el dominio técnico en la ejecución de los Note: building up technique to control the exe-
diferentes sonidos de la tumbadora facilita y cution of different sounds on the tumbadora
enriquece el lenguaje del percusionista en este improves the percussionists style and musicali-
instrumento. La combinación entre estos dife- ty. The combination of these different sounds
rentes sonidos requiere de adiestramiento en requires strict training in the various positions
las diferentes posiciones para lograr limpieza in order to master precision and clarity in the
y claridad en el fraseo de los distintos ritmos. phrasing of the distinct rhythms.
1.
2.
3.
4.
5.
6.
Simbología: la tumbadora
155
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 160
5.
1.
Clave de referencia
2.
Clave de referencia
160
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 190
190
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 191
Al final del DVD se puede ver una descarga cubana. Se reúnen varios instrumentistas y
en un momento determinado comienzan a ejecutar ‘solos’ en cada uno de los diferentes
instrumentos de forma libre. Descarga quiere decir soltar la carga.
Significado de descarga para los músicos: expresar, tocar, soltar, lo que siente el músico
en su interior, en su mente, en su espíritu, de forma libre pero respetando el concepto del
género musical que se esté tocando. /
At the end of the DVD you will find a Cuban jam session. It's the gathering of several
instrumentalists where they improvise 'solos' on each of the different instruments.
A jam session is a kind of relief for the musicians where they can freely play and
express themselves and what they carry in their mind and spirit, but always respecting
the general musical concept of the genre they are playing.
Los músicos de la descarga en el video / the musicians of the jam session in the video:
René J. Vergara Gómez
Hans-Jörg Fuchs
Sergio Quirós Alfonso
José Fernández
René Ricardo Vázquez
Eliab S. Aguilera Romero
Los tocadores del tambor de la Batá en el video / the players of the Bata drum in the video:
Sergio Quirós Alfonso
José Fernández
René Ricardo Vázquez
BIBLIOGRAFÍA / BIBLIOGRAPHY
191
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 192
Créditos
192
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 193
Prof. Manuel Alejandro Mayor López, graduate in music, percussion teacher at the
Instituto Superior de Arte (ISA), La Habana de Cuba, for his collaboration, his impor-
tant contribution, advise and corrections;
Prof. Stephan Sommerauer, graduate in professional music, for the music notation;
Sergio Quirós Alfonso, José Fernández y René Ricardo Vázquez, Cuba, the Bata drum-
mers in the video;
The drummers of the jam session: Sergio Quirós Alfonso, José Fernández,
René Ricardo Vázquez, Eliab S. Aguilera Romero, Cuba, Hans-Jörg Fuchs, Austria;
Luis “Papín” Abreu, percussionist with the group “Los Papines”, Latino Grammy
award winner 2001, La Habana de Cuba, for the photos of the tumbadora strokes;
Leandro “Leo” Moré Alfonso, co-founder of Pello Afrocán’s orchestra,
professional percussionist, La Habana de Cuba, for showing me the Mozambique rhythm;
Further for their general support of the following professionals:
Gregorio Hernández Ríos el Goyo, founder of the “Conjunto Folklórico Nacional”,
professor at the ISA, Cuba;
Emilio del Monte Valdez, percussionist and teacher at the ISA, Cuba;
Oscar S. Quesada Ricardo, Miguelito Cuni jr. and Matías Giovanni del Pino Rodríguez,
general director of the folkloric group “Yoruba Andabo”, La Habana de Cuba;
Willy Kotoun, percussionist and percussion teacher at the Lucerne University of
Applied Sciences and Arts, Switzerland;
Charlie Weibel, percussionist, teacher and author of percussion text books, Switzerland;
Stefan Weber, bata percussionist and percussion teacher, Switzerland;
John Deckard, Fort Wayne, Indiana, USA, for his English translation;
Ursula Sieber, Mexico-City and Prof. Mercedes O’Reilly Arnau, Universidad de La
Habana, for their text corrections;
Fe Nefertitis Tellería González, La Habana, for her editorial work;
Prof. Ana Teresita García Fortún, graduate in history of arts, Museo de Guanabacoa;
Prof. Lino Neira Betancourt, percussionist and musicologist at the ISA, Cuba;
Prof. Dinorah Valdés Pérez, musicologist at the ISA, Cuba;
Prof. María Elena Sainz, historian at the ISA, Cuba;
Prof. Aristalia Damarik Favier González, head of the percussion dept. of the ISA, Cuba;
Credits
193
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:23 Seite 194
194
Notenbuch_Cuba_171209_2c_v2:*Notenbuch_Cuba_4.0 23.12.09 17:24 Seite 196
9 783033 004412
ÈÒÌÍ ÌÚFFFÚFFGFNÚJ
ISMN 9790-000-00108-4
O"/;2(2(#<<=<D@"
www.csr-records.ch