The Songo he Songo is one of the first of the Cuban rhythms to be developed for the drumset as against adapting traditional rhythms, and playing them on the kit. Afrokan”. He took the comparsa percussion parts and reduced them, allowing. Afro Cuban Rhythms For Drumset Book And CDCompanion CD The companion audio CD is invaluable to anyone interested in adapting these rhythms to the. Author: Frank Malabe Pages: 64 Publication Date Release Date: ISBN: Product Group:Book Read here.
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Afro-Cuban Rhythms For Drumset - Free download as PDF File .pdf), Text File . txt) or read online for free. Afro-Cuban Rhythms For Drumset. Afro Cuban Rhythms for soundofheaven.info - Download as PDF File .pdf) or read online. Работа по теме: Afro-Cuban Rhythms For Drumset. ВУЗ: СПбГУКИ.
It may be played by a singer who is used to playing clave on other dance feels. The son style laid the foundation for the popular Afro-Cuban dance music which emerged in Cuba. Portugal shipped slaves from its colonies Mozambique and Angola in southern Africa to its New World settlement, Brazil. Four bars of cascara with rumba clave to four bars of cascara with son clave: In those days in the Americas, that need was filled by the African slave trade. To turn such "undeveloped" lands into moneymaking enterprises required huge amounts of cheap labor.
Variation 4 is typical of pop music from Central.
Variation 3. Variation 1. West African pop music tends to use more syncopated drum parts. Eastern and Southern Africa. Listen to this basic jazz feel: The jazz feel. The hi-hat can be opened for a more syncopated feel. Play both feels on the ride cymbal. Try playing the first backbeat on the last triplet note of "1" for and interesting syncopated feel.
The hi-hat pattern could be played on the ride cymbal during instrumental solos or louder musical sections. Playing on just the last note of the triplets pushes the rhythm forward.
Some jazz standards. Try to listen to recordings and performances where these feels are played together. I am using time signatures to adapt to adapt these rhythms to a form we are more familiar with. African and Afro-Cuban rhythms are based on repeating phrases and figures and not on time signatures. You can play 4. This exercise will help show the direct relationship between the two phrases.
It actually sounds more like this: Although you will usually see this clave written in eight-notes. This example will strengthen your internal feel of clave. This is called clave. This calve is called rumba clave because it is used in musical gatherings called rumbas. Rumba also refers to the rhythms played at these gatherings. It is also sometimes called the black clave.
Most Afro-Cuban music goes in and out of and clave. The only difference is where you call "1". The first bar is called the 3-part of the clave and the second bar is called the 2-part of the clave. Looking at the two bar clave pattern in the next example you will notice that there are three notes in the first bar and two notes in the second bar.
This is the key to understanding rumba clave. As you have probably realized. Rumba clave is sometimes called Cuban clave because of its use in Cuban folkloric music. The clave is simply the reverse. By saying "1". Try playing clave and without stopping. Rumbas are informal "get-togethers" combining African drumming and Spanish or African vocal traditions with improvised dancing and singing.
The son clave is named for its use in son music. The son clave is sometimes called the salsa clave because of its use. It differs from the rumba clave by only one note. Let's listen to an example of clave: Now try two phrases of rumba clave followed by two phrases of son clave.
Puerto Rico and New York City. The son style laid the foundation for the popular Afro-Cuban dance music which emerged in Cuba. Son is indigenous Cuban music combining African rhythms and Spanish harmonies. This clave is the same as a very popular and prevalent clave found throughout sub-Saharan Africa. The bombo drum plays a one-bar clave figure.
It is usually played with a silent "1". We'll look at the African and Spanish uses of this clave. The next two example will show the and This clave is found in Africa. The basic part played by the upright or electric bass in Afro-Cuban music comes from the one-bar clave figure. An important drum played in the folkloric music called conga is the bombo drum. Try playing the bombo pattern on your floor tom. South America. One-bar clave: One of the most popular claves in the world is a one bar clave pattern.
Here is the same rhythm played on the bass drum. The clave figure within the palito pattern is not accented. In this pattern the unaccented notes are played as ghost notes. Notice that this pattern breaks on the 2-part of the clave. Listen to the phrasing and again try to imitate it: Sometimes a near-flam is played between beat 3 of the second measure and the "and" of beat 3.
The next example is another palito pattern that is often used. The clave is traditionally played by another person along with the palito patterns. The sticks used are called palitos little sticks. Most of the palito patterns are played with the rumba clave in the right hand and the rest of the pattern with your left hand.
The pattern should sound like one phrase with all notes at roughly the same volume. We will be playing the palito patterns on the rim of the floor tom. The hi-hat is included on "1" of each measure only as a reference and is not traditionally played. Think of the clave as you're playing and try to feel how the palito pattern falls on the clave.
Let's start with the most popular palito pattern. For rumba. Seeing timbales played live is the best way to understand how this works. Timbales were eventually brought into the bands and orchestras playing son music. Palito pattern 4: Cascara is the Spanish word for shell. The other hand usually the left plays a muffled tone on "2" and an open tone on "4" on the low timbale. Cascara is played in salsa during verses and softer sections of music such as piano solos.
Timbale is the Spanish word for timpani orchestral kettle drums. The danzon orchestras played music for the upper classes. On drum set we can imitate this technique on the side of the floor tom. Timbales were used in charanga bands. Arsenio Rodriguez. The basic cascara pattern is the same as the basic palito pattern.
Eventually timbales were added. Palito pattern 3: A fourth variation on the basic palito pattern differs from the first palito pattern in that the first note of the second measure is played on the "and" of "1". As son music moved from the rural areas to the cities the instrumentation changed.
The timbales were the Cuban adaptation of the larger European drums which were used in danzon orchestras. From the danzon orchestras came charangas. We're playing it with rumba clave only to show how the cascara pattern is related to the rumba clave. We can play the cascara figure by reversing the measures of the previous example: Some of the modern bands in Cuba and New York are using cascara with rumba clave. Cascara played with right hand rumba clave: Try playing the cascara figure on the side of the floor tom while playing rumba clave with a cross stick on the snare drum.
This is not a traditional pattern. Cascara in right hand. Cascara is not traditionally played to rumba clave but to son clave. Let's see how cascara is traditionally played with son clave: Now reverse the cascara pattern and try it with son clave: All they are doing is starting figures and phrases on different parts of the same clave.
Try the cascara figure on the side of the floor tom and son clave with a snare drum cross stick. This is an important concept to learn because many charts for Afro-Cuban music will go in and out of and clave within the same song.
After playing several patterns without stopping. After several patterns go back to counting "1" at the beginning of the first bar. To help feel the difference between rumba and son clave.
Four bars of cascara with rumba clave to four bars of cascara with son clave: Let's try the same exercise played The ruff and rim shot that opens the rhythm is called abanico. In adapting traditional rhythms played in son music to the drumset. Abanico is used especially in patterns. Let's listen to timbales played with a conga player. They are played with matched grip. It can be played as a fourstroke ruff or five-stroke roll.
Afro-Cuban dance music did not involve drumset. Notice the metallic sound of the timbale shell. Tumbao played to son clave: Until recently. Timbale sticks are untapered. This compliments the tumbao figure with a single note on "4" instead of two notes. The right hand plays cascara on the side of the timbale while the palm of the left hand plays muffled and open tones on the lower of the two timbales.
On timbales cascara with a conga player son clave: Let's try the cascara pattern with the bombo note played with the bass drum: And again with clave: The bombo note is accented in folkloric music congas. In the bombo drum pattern all notes are muffled except the bombo note. Bombo note: The second note of clave is called the bombo note because the bombo drum played in the conga rhythm accents this note of the clave.
Let's try the same pattern played to son clave: Here's a syncopated cascara variation which is played in Cuba.
Some bands in Cuba. Playing the hi-hat also tends to interrupt the syncopated flow of the cascara patterns. But remember. In fact. The bass drum can imitate the lower conga drum by playing two notes on the three part of the clave which answers the tumbao figure played on the higher conga. Brazilian music.
Syncopated cascara: Since the hi-hat is not part of the timbale set-up. This pattern uses only certain notes of the basic cascara pattern.
The mambo bell is used in many of the dance feels based on son music. Played with timbale sticks. We will hear how both patterns work in the popular dance music based on son which includes mambo. The timbale set-up includes a mambo bell which is a long. Mambo Bell Patterns: In softer sections of dance music the cascara pattern is played on the side of the timbales.
During louder sections the mambo bell is played. The most common mambo bell figure sounds like this: We have written the accented notes in parentheses because although the notes are accented it is important not to over accent them.
Notice how the mambo bell pattern synchronizes with the 2-part of the clave. The son clave is the clave heard most often with mambo bell patterns. Let's play the son clave with a snare drum cross stick.
The cha cha bell is used mostly in cha-cha-cha. The mambo bell is mounted on the timbales so that it lies perpendicular to the player. This can be helpful in finding the clave pattern. We'll only write in the accents one time for the and patterns. Let's try the mambo bell pattern played Now let's add the clave rhythm with the left hand. As we saw before.
Playing "2" and "4" on the hi-hat can sometimes work if you think of it as part of the guiro rhythm and not as backbeats. Notice the silent "1" in the bell part and how it relates to the clave: Returning to the pattern. Mambo bell pattern Because this rhythm is derived from a timbale pattern. Let's try the mambo bell pattern without a conga player: The right hand plays the mambo bell pattern. This will work fine.
The bass drum can play the notes shown in the second measure imitating the lower conga part. This is what a timbalero would play. When playing without a conga player. Most cowbells that are mounted on the bass drum have the mouth of the bell pointing towards you. Many of these patterns work well for conga. These patterns can be played or If there is no conga player. Here are some other mambo bell patterns that can be played as variations for mambo and related dance feels.
This cowbell has a wider. The bongo bell pattern adds drive to the rhythm and plays an important role in emphasizing the downbeat played on the mouth of the bell. We will use both and son clave: This pattern can be played by reversing the figure.
The basic bongo bell pattern is as follows: Notice that on the 2-part of the clave only one note is played on the middle of the bell. Played with a short.
The bongo bell is played in certain sections of son style dance music. Now we will play the bongo bell pattern on a mounted bell with the right hand and add the son clave with snare drum cross stick. As well as playing bongos.
This is your key to where the 2-part of the clave falls. Bongo bell pattern with a conga player son clave: Bongo bell pattern without a conga player son clave: Notice where the patterns overlap and how they both fall on the clave.
This combination can get "busy" and works better at slower tempos. You can try playing both bell parts on one bell. The mouth of the mambo bell is too thin and the body of the bongo bell is too low-sounding.
This bell variation or the cascara pattern on the middle part of the bell are often played during timbale or conga solos. Here's a pattern which includes both mambo and bongo bell parts: This is basically what one hears when both bells are played.
Mambo bell and Bongo bell patterns together: Here's what the two bell patterns sound like played together. Certain cowbells have a wide mouth and a clear high-pitched body which allows you to play a combination of the two parts.
The higher-pitched. Conga, full drumset Bell parts for Conga Mozambique on timbales Steve Gadd mozambique pattern Frist Section: Second Section Jaleo Third Section Apanpicho Merengue, Full Drumset Merengue-Songo pattern Irving Blues Rumba Iyesa Medley of Playing examples Welcome to Afro-Cuban rhythms for drumset.
The next few pages will give a pretty extensive idea of how to apply afrocuban rhythms to a western drumset. You will find music scores and music samples throughout this website and you will need to download and install the free Real player link provided in chapter 1 before continuing.
This is my first website and it is a non-profit enterprise, it gave me the chance to learn a bit more about html and also to share what I know about these wonderful rhythms.
Through history as people have migrated around the world their culture, including their music, has mixed with that of others to create new musical forms. To account for this, we must look at the common history of the regions where these forms first began to develop.
Originally inhabited by various Indian tribes, they were over in a manner that is by now well-known: Indian populations were enslaved or eliminated until the Europeans gained control of the areas they wanted and began exploiting agricultural and mineral wealth.
To turn such "undeveloped" lands into moneymaking enterprises required huge amounts of cheap labor. In those days in the Americas, that need was filled by the African slave trade. Most came from West Africa, though many were also taken from central Africa, the region now known as Zaire. Portugal shipped slaves from its colonies Mozambique and Angola in southern Africa to its New World settlement, Brazil. From the 17th to the 20th century in the colonized regions, Europeans, Africans, and what was left of the Indian populations came together in an immense blending of race, language, religion, social customsand of course, music.
Drumming is an integral part of everyday life in Africa, and the traditions from there were carried on in the Caribbean and Brazil. Music and dance are central in these societies to religious and social ritual, communication, and entertainment. Drums are believed to have spiritual power, power to heal, to "speak", to tap natural forces and affect human energy and emotion.
The styles mentioned earlier all use African rhythms and European-derived melodies, and instruments from both cultures.
In Cuba, Puerto Rico, and the Dominican Republic, the mixture of African rhythms and Spanish music led to new forms which have recently come to be called Afro-Caribbean music.
Since the majority of the rhythms discussed in.
The name Cuba comes from the Indian word cubanacan, meaning "center place. Cuba's first inhabitants were Indians of two tribes, the Tainos and Caribs. Both were all but annihilated by the Spanish, although traces of Taino culture remained. Under Spain, Cuba became the most profitable sugar-production region of the world. Sugar was an enormously valuable commodity in the 17th and 18th centuries; individual fortunes and national economies were founded on the sugar trade.
Thousands of African slaves were brought in to work the vast cane plantations. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. Be the first to like this. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Book Details Author: Frank Malabe ,Bob Weiner Pages: Paperback Brand: