Pur WoRD PastTOs LITERALLY (MEANS “LETVLU STICKS” ANID THE PARE 1YO8 AE JUST CLIA'T—1WO NFIEKS USED To FLAY VARIOUS RY TOBE ba TERNS —MOST LORIMONLY USED in the Ramba siyles Yomi, Guaguanes, and Columbia, When die wnt is applied ia hese siyles it refers wo both playing the podilo—the instcument—vs well as playing the fdtas rhythn—biaiever Sspeeifie pattern is called for in he particular piece that is being played. ‘This is identical Co saying *play clave,” jn tat the teem encompasses both Ue instrument and the rhythndie pattern. ‘The Palitos are traditionally played on an instrument called the GuaGua—a piece of bamboo mounted on a stand that produces a hollow wooden sue! (Gui-Gitais the trame of a bus oF ven in Cuba—and Puerte Rice ancl other Latin American Iskancls—and this sasteurnent sor of dius the ensernble, hence the adaptation of the manne) Tes alo played ont any wood sound sich a8 fue? aiwoodblock, shell of 4 conga drain, shell er rim of the bamibo or large tom tom, jam block, or anything that pro- duces a round, hollaw, wooden tone. In cettain pieces or in sections of certain pieces the politos are also played! ou a cowbell sehich is either mounted ot sirappedl to the side ofa bombo or (ueabadora (conga cum). This often happens tyr section that bas bailin rhythmic activity and intensity. Some, tines the rhythmic pattern is also hanged 3 nore active or Thythinie cally complex ane. The syitch fom ‘wood! eo neta along avith the change in pate increases the yohunie as ell as ereates more intensity “The pauterns of the paliios ave Gloscly tied to the clave. Generally, once a paler ia begin itis kept constant except for perhaps au attanged change ata specifie: secvion, Ji traditional styles Ube palitas player daca not improvise within a piece, but may introduce some saviations of die paern. fo vontradi- tional siyles shese paterns are excellent as improvisational motif, especially when waved in Latin jez siyles on the dirwin set or perenssion and in soloing in uhese siyles ‘The palivos rhythms can be played with edt her the Son or Rumba clave, but0 Ris qramost used in the Rumba siylesand combinations are derived fro this peqacmtly heard wth the rurnbasclave, _rbytun. May tis ehytinn in one hand and the cline rythm in the other. Also Following isthe Rumba clave with keep in ruind that ou sould be able fo the baste paftto Hhyshon {with no Accenis start Ghese on either bar to accommodate foc non)-All of the twe-haniled palito both the 3-2 and 2-8 clave positions en odd dy Lay ipod Ty ‘he following are oea-handed player. The first three examples contain combinations bated-o: the basic pal: he most comnion acsent patterns, The cooaerpeve. There area couple of things frst accents the rlyythim of the clave, the to notice and prnetice. There isan second accents the basic Rumba shytim accent pattern (usually in the right of tne bomba, The third is the most Heat Gatoullines aagecethyihm: common for comping in the Sn ses Yicl: accent pattern is ued clepends The remaining patterns all contain on the musical style being played and commen variations, ‘ the ehythmic effect desired by the ou aS eon gd dy to Accant pattern outlines the Cleve rhytam mpg) aad Tt ‘Accent pettern outiines the bombo riyythm. mig delat 1d ge rweiek patieEpa cun accu 2 * ming tL Lye ol +t nga) belts LTody Le e i Oe the three pawerns create degrees of rhythmic intensity | oe pgp tt eg Io. nana agin) Leb Leany —— re a om ee TL ooo oy myo ld Dintedy td Tad the bass drum) is struck by reaching | ! of tworhanded patterns. These patterns end playing the note on the head of the Og ering bourne © asics Teena of ne GACT played sresceand de bombo Qasdrun, ov Re mead su0e type of combi Balsa reecha eri wets) ee tauen Pru ee Cone EO and ast Arties when eomning bombo bat b mote 20007 clone parts 0f different inatraments. The by playing the entire pattern on & an ves For bombo or large tomom. The wood aormed ie played on the sie oF Une rm dnd you reach in and hit the head for \ the hombe note: ( f ‘The following are yet another variety following are some this combination. In. each of the pate [oene the bombo note of the clave (he pecented and oper-tone andof two on yop np ll a lay phe eT +l unter ec eee | a sce luce the ruse derime aerupe sisi Debere REELS EOE payedon the pungan im sranyf fee. p plsed on ereeuing svrmngament Svietion Degen ne ee a dadome got ots (AMS Minba Columbia, Abalus orany of the patierm vauer, pawcern #2 shown a different [the same paitern, Patterns T ) te oN gn bl url 25 “gg ib 4 —Ukese Guban styles and there are a couple of different types used! for didierent styles. For our purposes we'll Focus on the specific patterns of each style rather tan dhe different clrams, bul there are a couple ofspecifie deurns ta be ware of ‘The hombo used by the Gomparsas for the Conga vbytlinis of the: Cuban Carnaval is Mat and wide Weo-siled rtm dhacis hung around the player's neck and played wi x auailet or thick dowel and the hand. The bombo wsed iy Rumba can vary. The osiginal bombu was the large Gajon—large wuodent box Frorn the seis of three woolen boxes, jones—originally used to play the Rumibat. The Ronba ¥ often played! om the eajones anc! sil) uses the Haditional bombo. The cajones sare played with the bands, For the Rumba Guagiancé the drum ean be a large bast ruin mounted ona stand pr a lige bass drut (urned on its side and siuing on the floor wich the player siting on Lop of il ane playing lyy reach= ing down 10 the head on one side— meh ike hove the drums of the Tuaba Brmicesa ave played. Thisis played.with a ‘mallet or dove! suid the hand. Today many groups wse a large Moor toms from ae drunn sets ati seeans io work quite ‘well fr virtually all sgt. isis sill very The first group of patierns are the furdamenes! pawerns for the Rumba Guayuanes, There are also improvised vinialions played as dhe energy and intevsity oF the Rumba progresses These cxmmples ave wiilien ia the $2 clave position, The *#* indicates closet! /rnitedl tones played by noting tie head with the hand and playing laser! nies in the head with the mallet. The "o" is for open tones,“These patterns are for the Conga de Comparsa and ate also used forthe Mozambique. (More on this later.) Which of these potterns is used and shen depends on the musical setting — the ensemble, instrumentation, geo graphical region of origin of the piece keeping patterns and the variations improvised by the player. The frst pattern is the most fundamental end the eecond the most common variation, “The last five are sometimes played as patterns themselves but ustially fora fection ofa piece or more often used.a8 yariations to the more basic patterns. eS | being played, and musical arrange- ment. Again there are the basic Ume- leper php ot hep preter 10. i = me orre |! here OL “fl ecoeai Mere Biter a Tt ooo Jan. There are now many variations of his style. It very often has these two dilleren Bombo patterns playing simaubianeotsly Following are eo patierns for the Mozambicgue. This rhythm evolved feom the Conga de Comparsa andl was developed prirmarily by Pello El Afro- eto eer orgy canged as the Bombo paris for two different sections of one pices: Also, all Of the Conga/Comparsa patterns above could be combined with any of these four Mozambique patterns “The following is another combina- tion from some Mozambique arrange: nents of Pello EL Afrokan. These create a imutch more syncopated Feel. These tivo and the two above could be ar- eho Beer d“fre 2 ue cownnes ov ttn AFRO-CUBAN STYLES COMB IN § WIDE VARIETY OF SHAVES AND SIZES AND 4 WIDE VARIETY (OF DELLS ABE USED— SONI IMTS SINSUL: TANEOUSLY —FOR THE VARIOUS STYLES. ‘While many bells exist, we will concer ourselves with only che following bells anc their respective patterns. + Guataca-Hoe Blade + Campana-Concerro + Membo~Timbate Bells + Cha-Cha Bells + Charanga Betts » Consparse Belis-Sarienes Pictured at the top left, shows the Cualaca-—titerally Blade that ie strick with a nail or a spike. This was the First cowhell oF metal sound wsest in Afro-Cuban music igure T hoe Thee and is til usell today in folkloric enscibles, Also pictured are four arieti¢s of the Guataca’s descendents, the large cowbell coumnonly referred to as the erro or the Campana, 2 Orchestra terini- inology-—te Bongo Bell—since itis the igell tvat the Rongozere (bengo player) plays duting the Montuno section of an darrangement. This hand-held bell ig also sed in the Cuban Carriaval’s Conga ce Compra chythun as well as in Mescanbipuestyc igune 2stiows several varieties of the Mambo Bel—also called the Timbate Bell This bell is usually mounted on the timbales and is played by the Thubatere duriog the Monday sections (and sometimes omer sections) of ap as sangenient, This is one of the timbale'sthree nidesounds—the other to being the sicles of the drums (called Paile or Caseara) andl the cymbal. Figure 4 shous three vaticlics of the ChaCha Bell. This is the second-to- smallest bell and is used almost exclt- sively in the Cha-Cha and other slower sijles like the Guajira. The quarter note pulse played on this high-pitched bell is ‘The Guatace (pictured at right) can bye said to be the father of the present day Afro-Cuban combell and its chyth- mie factions. Its literally a garden hoe blade played with a large nail or spike. It began as an imprompta. instrament ereated by slaves working the Felds and adapting to maintain their nusical traditions While not common in popular music settings, many traditional folkloric ensembles ‘still use i for its very distinel sound. cave and ici es ferro | ee enn play wi0) the ao exaunples ADE: i “The Following are atvernate bell con Bride drums. These are wo-handed: patterns that can be played if someone pauzorns anc are ically split up 09 59 @ Pepeady covering (ne psimary cowbell bells N41 ct e played on one be ts above These are the patterns ting the neck and mont for the High, Bs ar arousing pane) or anon sound nay 4) 1 peo wep yt ty semble. These are also beter split ap ell pa two bells but can be played om one: Here are four more alternate b pater that ean be added 10.00 € | si by inet te Te dhe bombo is aireatly played by usionist then you ead play t0 OU ination ofclave and it hat ways Ideally you shoul! be able to 49 another pere' the following com a opel egal A tort fz: ‘The most significant offstioot of the Conga style is he Mozaubiquie rhythin, developed in the carly 1960s by Pedro Irquicrdo (Pello El Afrokan) and 3 group called Lox Afrokanes. This group Used the Conga rhythms of the Com pacsas as the basis for its band arrange- inents creating the Mozambique style. This rhythm ras influenced many later Afro-Latin styles and found its way into many java, fank, and fusion settings as well, {Ulnas heen usec! in the arrange- meitts of many contemporary Gubaa groups as well as those of New York based! Latin Jazz groups like thase of Maisny Oquendo ave Eddie Palinics andl anany others since the mick1960s. cas alsy developed into a drum set syle by bot Latin and non-Latin drum sel players ‘This rhythm hasa number of inter pretations that have resulted in a variety of patterns and approaches to the style. We'll look ats few of the basic patterns and then pot thern together into parts Tor the timbales ‘The first group of examples shows Four basic cowbel) parts along with the lave, They are written with a high and tow ling, indicating either high and low bells or neck andl mouth stokes on one. bell. Ics very important to articulate this correcily, Either hand can play either part. These would be used witha conga trummer and ifthe bombo pact is being playod by another percussion- ist, You then ever she cowbell anc clave. Which bell pattern you play depends on the specific rousical situa tion —which type of Mozambique, what iype of ensemble and che instruments tion of the ensemble The following is another pattern for the cowbell, This is nettally two bell parts for one player and comes from ‘one af the Mozambique approaches of Pello Fl Afcokan. For this pattern te really work you need to have the corresponiling bombo pasts./ Mi erotica use these there isa conga Jee of the cowbell purts ino. Depending on ‘The bell pattems can also be o bined with the bombo play can combine ay bombo part, The It patiern a3 with jation #1 and #2, CCU NGRCUeaReTewes a i Co Tt up between the high and The fast example PTT 4 aAH gels Pa th Por fp re aL 2Pe ucbuaodcts ‘wid one bat from another, Following ane wo variations created Crom the 4 previous patterns ane shown here wie technead work! but will give yon a fot of Fihe bombo variations. In adi lythinie waccebndary to ise in this syle sional sellings yon pretty 1uuich have stick Lo hy basic pauuerns bat in 10a divignal or non-Latin seulings you em basically create any combinations Ma Make sure to go back and play every © bell pattern end the clave usith every bowndo gariation, This will wot only be a great You cin also create lifferent vania- ions of the four basic bell patierns by combining one bar from one patiern ne : hn o oN [As dliscussed in une previons chap ter, there ave Unvee Rumba styles: Guaguanc ba and Columbia Originally Rumba was played on the cajones—woodlen boxes of Uitee dillerent sizes—dhat Tunctioned as the three congas do nov. The primary Instrnmeniaticin of the Rumba does ‘Phe firs! combination is the basic palito rhythm. You can play this on the timbale sides, Le woodblock, the conbell or combinations of the three throughout the partiewlar pices you're playing. The secon! example is the some ws the frst buewith thre tefl band also playing dhe bombo's open ac- cented nole on the low timbal. The work with dhe music you're playing, LA “gett dye = not inclcle Gimbaltes so if you're playing linsbales sil performing one ‘of the rumba styles you would play one of the palite of bell rhytinas and pethaps the clive and the bombo nolayg ‘on une low timbal. Listed below are ag sone possibilities for 6 third example is dhe basic one-handed ceascara rhylhin iat one hand and the runiba clave in the other, You ean pl the cascara ou the sides or, bel seth the clave ow the woodblock. The ve left hand also playing the bombo ote ou the low limba 4cow poet haat ay For che Yarnba we pave the basic clave in the other nett Pad fete hia palite rhydim in one Han and the camba this rhydtn one possiity ern with, loping e ensemble Fated note on the three examplesare the sume as the (rstTimbeler aad Timbalites nee [ | | he bottom on the npc the basic wadigional bell pavtabown playedt on a sina bebe Ae pe 4 5 Sai Practically all of ihe previously Iyrie style that define the style and many y cea From, introduced f jauierns this syle. In all of these fol is generally the‘Tuntbadoras and che ond Py Pica ae LeE dh at Ll a CEE TTT ananawt ot Es For the Bembéall ofthe previously ke basic aicerm nnd one bell pawtert ino cieea parts can be wed depen thats Often pleyed on amal! combell: Jag on the musical setting, Shows here inp pe ddl 1 dy ‘ng bl Dbl a os v ‘The Pildn is a predecessor of the bell ancl be more closed (short netes) Gongs, Notice the simllariesin the Of the bro botlom lines, Ihe nidldle Is palierns, You basicallynecd to projecta the high timbal ane the lowest one the Panilar feel for both. The notation for. low drum. The note marked WB means Tae as ollovs,The tap line is the _woadblock, THe accentex! note in He reabetL with the right Rand, Observe middle ine means a rim shot on te the accents. The accented notes should high timibal, These examples are the be toward the moudi of the belland 3-2 clave position. The naies enclosed sing ong noes), The accent a in parenthesis are optional igs a +H a Lt Py rfl ee doped ul supe iThe Songo is probably Cuba's most well known aud interesting misc of the folkloric and contemporiy styles Te isa blend of the Son and use Ruinba styles, 4s well as the Cuban Carnaval chythms—- the Conga de Comparsa ana the Mozambique—the Pikém, chee Cha Cha Lokua Fun, and many other infheences incluuling funk andl jaaz styles, Nest to the Son sizles there's probably na Cuba rhythm whieh Mas gotten as much attention aod been iniuted as tnuch by drinnmers chroughout the world. A percussinnise by the name of Jose Luis Quintana~Chaniguiiomot ihe Grodip Los Van Van is credited with and influence of many styles andl players Sines lke Sougn has so many influences alsa fas ww equally vasl number of approaches (a playing it, Heing a con temporary rhython ivalso has the influence of the dram set and improvisa- tional music, and while thece are cereain patiems that are considered standard Songo patiers, the approach to the atyle fs generally wry free, Following are various possibilities for die timbtes, ‘The frst wo patterns are pretty stauchard orchestrations far the tm: bales. The third and fourth are veally combinations of two different cowbell bociig the facher of the Songo but like patiers played simultaneously, most styles it also evolved from the input | oe rt|The following yhyihrus ace none Goban soles butt still fall uncer dhe. genctal calcgary of Alro-Latin or Atro. As mentioned eaclier, the Merengue ails from the Dominican Republic and Js basically i's national dance and musical form, The primary percussion instruments of the Merengite are the Tamubora and the guira. The timbales are not pavt of the traditional en~ semble. fn large dance orchestras that are nol exclusively Merengue groups, butdo play this ngle in their repertoire, congas, banger, Hinbales, snd ever a dram see are sometimes usec. Basically anything you would play on the thbates ‘would he eattaetions from the standard sion pats, so in learning those yor ig yrntsel more vocablany for ‘The Plena isa folkloric style from Puerto Rico. Is normatly played on tambourines called fiandeetas, Che _guichor, and cowbells. [Lis also inter pee eee Caribbean music and mos! are quite wall known and influential Hroughout the worl this syle. Following are three patterns, ne far each of the bsie styles orsections Of the Merengue. The Fst example is the basic Merengtie patera, the second is for the Jaleo, ancl he third for the Pambiel Adalitianal notation is shown for these excnples end is az follorse: The top line is Line Heft frnd, eithier Muted (marked M), or Slap (marked §). The next line down is tie right hane, playing either Tim (or woodblock or stnall cowbell) Gnarked R). The next line down i cither a right of left stroke as marked), phyed as an opeit tone on the low timbal. The suggested sticking (or the preted an (he congas. Following is a asic pattern for the timbales, a combi nation af wo eosbell parts RRL 68‘The Boba is another folkloric thythm from Puerto Rico played with the band dnems—the fndeadarancl ‘mpainto, and the small guiro called the yuicharo, and ihe eva a suid sound). ‘The eita part ltas come to be played on beelis also. The bell part would he played by the tinnbalero if the tnubsales were included in the ensemble, but Hey are weet ‘The Calypso originated in Trinicat and js another rhytho which has undergone many Lansformations andl been inte no, m: shoots. Polleaving are some basic pat- ‘The fis is for uso earvbells RAUL ERIE ES pp ete | ted LTD, [ieemecearee tcc. Mie eee sometinves not anal the bell i simply thund held. Fatlowing ave some baie ppattcens. The fist i ¢ basie bell patern. weit a left hand pact played othe bor tinnbal. The second is the sme byt swing (he high tind as well “Phe isd in combination of uso eta patterns, You can play Uese on a hell and ood sound or two bell high andl a tov, duplicating the brake drums used in che Ladivionsll pas, ensembles. The second aud third are common orehestatinus Jar the tin. bales with the top line being de bell and the bottom the high and low liinlnates, LT 3 RRLLRRLL 2 q °Tar Guino is 9 GOURR wrTHt INGEN GARVED THEO THE FRONT AND. PAYED BY BERAPENG THE RLOGTS JeTTIL A THIN WOODEN SICK. SOM TIMES OIE SGRAFEAN—BAMNGO OR METAL ARE USED Nib a vaticly of ifferent guiros (like the smaller guivos of the Bomba and Pen Uaditions). Being made of'a natural material, the original, unditional uinos come in many eilferent shapes ancl sizes. Specific sizes andl types are ised iy specific musica! styles Today many of the (raditional pomrels ane manufactured of synthetic nrateri: ‘ln plastics and metals—sivee the gourd is someshat fragile and easy Lo Break, The ones made of gourel have # ‘watuier mare rratuiral tone white che plastic ones ate more cee wvorthy: ‘The yuito emanates irom dhe Changui and Son groups as well as the Gharanga traditions and is now used in sivuualy all pes of Latin popstar music tensemibles as yell avin folkloric set- tings. The sound, rhythm and cexture it provides isan indispensable part of the groove aud in the San siyles the om Femible would sownel thin a empty without “She notation of patterns played on the guiro cannot accurately capture die nuance of the articulations required to make these pasterns groove right, Yon thst listen but yout must also Zee some- done do iin order to understand the technique involved. Yes, you serape dlownsirokes and wpstrokes in quarter sone eigttls note combinations, but there isa sweeping motion macle on cenain doyenstrokes Unat actually reslls jv a upstroke sound that is very long find sort of pulled back from the puke (Inst certainly does not slow down the tampa) Sivaciditinn to providing this texture iLalso accents the pause of the iyi. Keer aso hard to desecie this in ores amet musieal notation, so agai ave someone who knows play this for yon se you can seewhat's goilig on The following illusion shoves the playing position Fallowod by examples Drihe hasic pattems. The first Figure shows the strake en eat onve—ihe flownstroke—the foug dlownstroke.‘The second figure shows thie encl of possible within dhe tppo of the pjece that stroke. Notice the “dovarnp” «Phe li) sample is the basic patterns avvovis on bents one and three ip the Tovallo; jhe Som styles. jzmiples (xo following examples, The aitick on these roniglt Mow wiphee vapiations fpr tbeais isa dowostroke tbat sweeps jhe Danan style. The hisptvo exayples urate cent the Tonge serepe, ye pus ti | Tro hele etea de tall, jt j gee OD ny ped fiat ee ey 5 mutate ee The Dominican gufnnis'a metal canister wilh ridges seraped with 2 neta muultispronged scraper. Ieis used in che Merengue siyles aud ity playing. can be very complex because of the improvised varintions of the basic pattern and dhe sometimes very fast Lempos of some Merengus. tne baste pattern soonigly 5 the purse but Tike in the previous exaniples, the actual nuance andall the variations played yn jens so you can ppielce oy ri ceily, Fo} yg are piste pauls4O oe a Tih MARACAS ARE CANLST IIS HiRILeD WITTE BEANS MOUNTED OW 4 HaWus.. TH ORIGINAL CANISTERS WERE MADB OF A TARDENED DE on THIN 00 MANY rODAY ARE made of plastics. Emanating from ic Son traction, this instrument provides a substic but vital element oF the groove of these styles. The basie pattern consisis of eighth notes bu the articul these gjghths cannot be ne very unique say that you eam only have to listen 10 capture tie fee caplure avwally. {1 an orchestra this Another very common paitern is he instrament. is usually played by one of addition ofa aripiei, butthis isnot the vocalists, Following are thiee strict triplet. The motes are slurred ina common patterns: eT DT ST) my * po DAT TTYTite Quyana is aN INSFaunmN is the origival predecessor of wdayés Mibrer Stap. Musically iis used mostly to puuneniate rhydins on the downabeais of SOUND GEN eters oe pli jometinnes itis also, ING OF Tax-rEETIC HOM THE bottom of played in an improvised! fashion ts a Une jaw being struck against Ute Lop: Ie percussive or Cextumal sound effect, e - e e « « ] « - @e o- Se - e e‘Thr Suenent (a1s0 srrntnn Guexzai), on cauino Aont (rine, TRADITIONAL YORUUAN NAME FOR ‘THIS INSTRUMENT), IS A GOURD (catMuasis) wearten ith heads. They range in size from very small to very large ones, with the Jarger ones producing beautiful bass tones when the base of the gow is struck The playing is done by a combic sation ot shaking and bouneing between the hanels in bod an wp ane down ancl Grrewlar motion, This allows dhe beads to suilee che head znd rausle and rotate around the head. Other tones (steps, bass ions) are produced by striking the gourd itself on the bottom with the palin Oy heel of the hanel oven the cop (neck) with the heel of the han, ‘The Shekeré is used in folkloric groups as well a8 in contemporary instrumental groups. Following are illusiratinns of playing positions ane some basic pat terns for both § styles and the Rumba. The notation RH sands for Right Heel ancl OB signifies Open Bass tone playes! witli a heel stroke on the bottuen of the gourd. (Shown in figure 1.)“Tawsona 18 a TWO-BEADED pnuy: pkom sth Dosenican Reeustte psu mnie Mgurncuk stynis. THE Tanfpors 18 GUNG AROUND THE NECK ite A SiRae AND at73 07 your Iap. Ibis layed with a nick stick in on€ Hind, febich atiikes both tbe head of ome sidle ol the dnam and dhe yooden shell oF tin of the deat, The other side is played with the hand. Showa below are {iustations of all of the siroke pes and playing positions rmigoves 3 through 8 show he lle hand strokes. Figure 3 shows che slap, Fyuve 4 the open tone, and figuceS the palin or bass tore, This position cam ako be playeel us a slap in te ceater of the bead, Following the illustrations are several eoinmon patterns For dis star tent. Also keep ia pring ty Here wee innprenisec! varia ions eo Unese patieras Figures 1 and 2 below show the Ew snaip right hand strokes, Figure 1 shows the playing on the siee of the drum. (This crurm has 2 block attached to dhe shell w play the shell stroke on), and figure 2 shows the right band siroke diveetly onthe head. famepattern for the Jaleo, the second section, of the arrangement and the third and | Fourtl are vaviatins ofthis pattern, The {if and sixth patterns are for the Pax: | hichoor Apanpichaosections, The first of the Following is de ba patiern for dhe Merengue. This patter contd be played in the Paseo (itaditional jutroduction i there is one), and any ‘verse sections. The secon is tte basic TR LRLR be RE RUAJo ay) original apd inal geoup the 4 piano wpoldl net have Dyn preset aly the ‘Tees of guts: THe bast va nally playeg on the Marimbula or Pens scORF SHOWS THE MASI INSTRUM FATATION OF THESON, THE fe ROOT OF MANY ARRO-CUBAN SON 16 7H porULAd sT¥its, EMANAT mthe . ong) Cuban peasant class and wu; Bol pn spill mpintained by syle, ibis the Founslation f joy the Cliaygt Tea ass replaced these in fhe eaify 19°98, r ity of Afro-Lai no pmaphpoe qo | os oh TD TS ATES TT TG pip) any ni nag LL} aa ees eure lee nelf-etee—t It} 4 cs AQRRBER eee dsoi) BO ue Ue eau aed Seen Tue Son Mowtono 1s THE NAME stn ‘To DescRing THE ST¥LK GF SON PLAYED BY THE ConytNTo ENSEMALES 8 THE 19408 AND "50S. T 4 Sox wir wane intricat 1 as well as any. high-intensity montung is Though it itis more ‘ould change and larger instrument sections (Mont (vocal improvisai instrumental impr OOOO, | cooly st gp lid) LL OT Oo, | lps LE oa. oy Pity Ol Oi on oy cetetepe ly al hy tySee eer dee pi Fe Aa J 0 oy ol oy phe eeUL ek ae cae Arie) SHOWN TIERE ARE TWO SeORES The Mambo evolved partly from the So traditions and from 2 vamp YocALS AND Low EYNAMIG SECTIONS, section arldec (o the end of the Dan: vio ONE FoR THE WLeHteR DYNAMIC 161 called! Nuevo Ritwe, This extended MonTuna section, The *byihraseetion vamp soetion, over which instruments anges between one section and the —_were solid or improvised, became the ollier are very sivilar to hose of the Son Moniune section and later became @ Monune style on the previous page, but style of is onn—tae Mambo. The some sight vacations in patiers are Mambo gained tremendous popularity presented hete-Also the tempo ofthe in the 19905, ‘Jos and ‘gos both in Mambo is faster. Vetyoften winx diin Cuba, the Caribbean, and New York as lbhesoneet se ayfesiiom anatheris only itcleyeloped as a rmusical genre as well fhe tempo, The Mambo is generally thea a dance. fastest oF these types of interpretations sul -off Td Ld Ty) TE Uo oe cond 1B i Papel ol 0) Be elegy JJ 4 1) yh EbUsage | seneovtat-@ ne Sees pL eo, ori pL PEae a -A Congee aC JO py pi a oy ol yg ccinve H}--¢ yd eli pole de= 4 re deel | 1 Al ca :ues =| Untine THE PEASANT crass ROOTS DF THe SON ‘TRADITIONS, Tre DAN DEYELOWED INTHE RALLROOMS AND counts or rit aristocracy. Ir EVOLVED PROM A COMBINATION of Furopenn court dances and insteumen- tation and Abiican chythmie elemenis ‘The Exopean instrumenis—woor Winds, strings sometimes brass, and tympani—(the tyrnpani were replnced by the timbates as the rhythm section developed) were coupled with a rhythin fection where the Airican elements were most prevalent I1is am inbicate compositional and arranging format ane is the only Airo- oa The Songstyles and Scores-Danzéa Cuban setting that features this instrue mentation of flutes ancl vialins Originating from che Contracianza, the Danza and the Habanera, itwaa originally a ubtee part ABAC farm. The Ais called the Pace, the B is the main le Paseo then repeats, followed section, called the Trig, which bythe is played by and Features the violins. A fourth (D) open vamp section (origi nally calle! the Nivewo Ritave) was acidet which Featured additional instrumental ‘writing and/or improvi strings, Mute and pian This section spawned the Marnbo as swell as tne Clas-Cha styles Pe , Votan = E“The first of th ia the firstscore the ng the Laguelen ancl there are no congas playing. This represents dhe waditional and initial instrumentation, ‘The second score has the imbalero i switching to the bell—in this case the sinall bell (which is smaller than the A (or possibly a This syed de ese scores shone what ChaCha bell and is called the Chae ind che addition oi the represenis slat sing Oye D section {Nuevo Ritmo or Mambo section] “This presents only the skeletal pans 4 1 rnd flute writing and arrang. Putas 11 ouns 1a Fe Piano Timboles py LB ete As aJaoe-n26 The Songstytes and Se Fee es latte jo + ey) see Ee RESALE Ae Hanon onononon, hp pO DODD Doon oon, Es Jy —R Jed —-t—| le uy 1B) Ln ayThe Songityles and Score:~Cha-Cha oun op DOO one-off 3-1» 1 AAO Onn ooh, ——fpplll fl Al Alii a Al a, = | on tego 8) 1 ning t ttt Hy ee } ey ee be geey (CUT Xft Veo) Russa 18.4 FOLKLORIC MUSIC AND DANCE STYEE TRADITIONALLY PER- YORMEN WITH PERCUSSION, VOCALS ADD DANGERS, THK ARE ALSO REGIONAL, inteerreTaTions of the Rumba within Cuba; the two prevalent ones being the Habana and Matanzas styles. ‘The Guaguancé is in duple meter (@titne) and is performed at medium to very fist tempos. The Clave, Paligos and the Bombo lay the foundation and the Salidor and ‘Tres Golpes provide the melody of the Guaguanes. The Quinto oes nol play any specific patterns but improvisea with the vocal passages and the dancers providing punctuation and 95 MDa ae era eRe ne | the movements of the dancers, All three of the drummers also improvise its calk and-response fashion with each other. ‘The dance to the Guaguancd is usually danced by couples but is some times danced bya single male dancer. The theme of the dance can depict a number of scenarios from the (sy! bolic) sexual conquest of the fernale by the male dancer ta dramatic or comical themes portrayed by a solo dancer. There is much complexity in the justaposition of the rhychs created by the interaction and improvisation of the percussionists and the vocals but the accentuation 10 the musical phrases and style is always very fluid and Flowing, i darva~t40 i 4 }--—_De er epi, 1d fH D+ love j F JB 4b Dy | i (gs eee i psa steer pets? 1 i J. Shokeré Bene ie eee E| Rene COLUMBIA Tue Couunnta 16 1H FASTEST OF penronmup IN § Time, THE KOLES OF Jur cine Qf} —23——4- yt campane oo be Toh Patitox pe shokeré oo Hit to epee Tumba one ah LL ‘A Liner Voce and Oreos all cum oso Rumba Cuaguanes but the dance is tugually danced bya single male or wo males in a sorcof challenge. ‘ THE PLAVERS ARE THR SAME as for the LJ py dd al i Ser _\_ ‘ pj Dydd a pd hada eo 4 evieies en ecco Uae6 ecco tit ojo pee dq eee He is conn |e Satta = Ce DE COMPARSA Tue ConGA 18 & CARNAVAL RIYTHM or Guna. Come, GATHERING OR CROUP OF PFATLE WHO DANCE AND SING AND MARGE AN TIIE Parane, OK someTioes to the match or parade itsell: Sometimes the tecm Comparsa is used incorrectly to de- scribe the rhythm that actually accor: panics it, called! Ganga, As with Rumba, there are also regional interpretations 2100-160 cve HLH conan f}[-2-d-d— gern jE Mg Shp deoula | Ty eg lg rR dd RRL RRL R R RULRRUR tone Nyt da AI Tony Don RURAL RL RL RL AL R es £3 DAT OT of this style—auci as the Conga Haba- wera, and Conga ting the Carnaval chythm interpretation of three different regions of Cuba. This style is played in & cium co very Fast tempos end chorus. ICalso features melocly fines and improvisations played by trumpets. DS hy RLAARLR RuRL pa cis wii LBA ley th » Oh rp fa Die a a Bie i ay tatsPee eee eeu es aa Moczameique Conga Bombo i Bombo 2 THF MOZAMBIQUE 8 a DIRECT otrsuoor oF tHe Conca be Comrasesa RIneTiins STYLES. [THE EARLY 19608 Prono F2quitiino~PeLLo FL, AFRO- kaN—PUT TOGETHER an ensemble called Los Afrokanes which took Conga rhythms and other Comparsa accompa iments and intespreted then with the addition of the rhythm section—piano and bass, This style came Lo be known fas Mowaonbique, It was furthey devel doped and interpreted by Latin Jazz artists in New York in the 1960s, Some nolable renditions of the New York sole are thote of Eddie Palmieri's groups af the 199s with Manny Oguendo on tirnballes, ag well as those of many other groups adapting this sound at the time This style was one of the aost com- monly carnbined with funk, fusion, and oats i rock styles ane! was adapced by many drum se. pkiyers. The Mozambique and many ol its derivations continue to be used quite frequently in arrangements of contemporary Cuban groups. The first score shows one variation ofthe Mozambique with a traditional percussion setting: the clave, cowbell, oth bombe paiterns, and the congas scored out far five players. The second score shows the same parts but the bombo rhythms are combined with the lave and cowbell paris so that three phiyers could play this on pertraps the clrum set, timbales andi congas, 1 che fast nvo examples, although the bell and borubo pacts are only two bars long, the conga druse partis four bars ong, so the phrase is a four bar rhiython,RUN eae ce ko datvo-i22 aonve 2) Glee pg 9 oY, ee > Jicots gene of: doe - a oo a | B. bee 4 DL Le pple pet oe | ans cL A i ae ty194 FD ie cities ae Afro-Cuban Ruamba and Son perension ag jnstruoenis as well as with the drum set. ILalso carries the baflucnces of fur and fusion drutn set and bass seyles. Tel probably the most imitated and inte groted Afro-Cuban chythrs 10 date. “Tee SONGO 15 4 COMBINATION OF rite Sow ann Rumna srvess. 1 ts PLAYED IN @ TIME AT MEDIUM TO VERY FAST-TRAPOS. A rERCUSSTONY NAME os Jose Luis Querrany guito—is credited with the im this style bue it is imporsant to remember that it is usually a number of people and snfluiences that contribute to the devel opment af a syle over @ period of time so there are many sources and players to look to for siudy. Ic isa very free style in the sense that the basic patterns only provid= basic skeletons of the Myth and the players are free lo improvise and interact with a weelth of variations = whatever Gre rausic calls for, o that “This soe is played with the standard they are at liberty to create These voicings vary on the frst repeat in the audio recording. = eben he = so900 HIs70000 conser} pri_tT] | LTT, i lib elas ae Sey Sarr ion {4-4-4 —$ Pp —L dy Jad.on Pie ncaa ? which preceded the use of the tum badora in these styles, The secon shows a adaptation fr ones tae second secre jon of what could sety off rythm first shows the tion of the shel j=100-126* > sean figp 2 ho jy by aro A ey ea po pot] 4 dy 4 Shekere pee ofan daco-t2s og} ae Ty nites oe typ J Ady D; a AL {fae oo ee ioe congo | songs Bae? es, Ee ra fe 2 5 ae ja. | oe 1 — Soy foil ot {|MSU eee Tur AbaRué is a SECRET MAL ‘Abakud styhy. Notice the juxtiposed SOCIETY IN CURA WHOSE RELIGIOUS sluple andi Siple meger ghyetaas in the MUSIC GREATLY INFLUENCED Tite leet pats. This is gypical DEVELOPMENT OF THE Runias and other gf yh {hey are adapiations Cuban Howis jh evolved fyom the rijval gramming Pisyedt on ey bavi roms Jjen-i20 svete OL 4 14] (fe a. Bs i 4] rs. deal) I. = dd] ad fe. Hebd put A bl —)yt ii ge PL Dk Ladi pT pl if aL os o 4 Po i rio, aa apy Soe fee ee 9 ne tries Hea Ty Pee) 1L A 17] Thy pees apis pie il. a Sy bd. js || 2 CongeTimbates Buleeder| equines culehare Werseas 3 S ‘Tur Bosna 28 4 FOLKLOAIC STYLE PROM PUERTO RIGO. In ITS PURELY PERCUSSIVE FORM TIE RITHM ARE ONE TAR PHRASES AND ARE NOT IN CLAVE BUT warn A Pince of music is arranged in a Bomba sijle then the arrangement functions in clave Inu tion the cia dhe Requint a interpreta | ay | 1-4] Lol Pal ek pet Obl) Ob) sherent ae 7 [zn Pye Punnts 1 ANOTHER FOLKLORIC auth FROM PuxTO Rio THAT IS TRADITIONALLY PLAYED ON TWO, Pate ° Geretas TWO TAMBOURINE SHAPED. ditional pe <7 Jcnbales imitating the pert eam onunta with oUL Singles. rahe Punderetas The themes of this style are often of sa fall chythin social curmentary oF political satire bass parts ‘Whe score below section, but the piano an = ee sumtete Bett {ff fT ee SaPpeaPrrceee eae) AAD yoy ah Ny re fh is oe ro oles gine Ly ee suaue| fp Yt aa) ale ni mn ny Bongoribell -ssacveee eee Gendt bantLice o rau Parr iliee aca the basic function of the shythm section during the verse sections. You should also refer to the Tambora Section for asic Tambora Tics MERENGUE HMILS FROM THE Dosrican REPURLIC AND 15 PROBABLY “hin MOST POPULAR FORM OF LATIN AMERICAN DANCE MUSIC TODAY IN ALT for Lavin Antrieica, ab well as the United States and the Caribbean, Along swith Salsa ies the most commercialized ‘Afro-L atin songstyle. This score shows (ee! | ada { ‘ l ; | other variations so t pattern, and for combinations for the Fambiene, Apanpicheo, and other sections of the standard Merengue amvangement, Fambore ff} Congar ao 0, A Dy Jat H aS ow) 1 oe 2 voy ty come L$ 4q 4 4 4 4 4 4 4 4 (