a master's approach to timbales-changuito

ACKNOWLEDGEMENTS -----------------------------------------A WORD ABOUT THE RECORDING _JOSE LUIS QUINTANA CHANGUITO _How TO PRACTICE THIS BOOK _A HISTORY OF THE PAILITAS CUBANAS •....THE TIMBALES _SETTING Up THE TIMBALES _

TUNING THE TIMBALESNOTATION KEY _

SOUNDS OF THE TIMBALES -------------------------------------Compact Disc Track:2a- The Sound of the Shell

Zb -Sound of the Macho Rim ShotZc-Sound of the Macho, OpenZd-Hembre, Open with StickZe-Hembre, Open with Sobado

A SHORT HISTORY OF THE COWBElL WITH TIMBALESCompact Disc Track:3a- Two Sounds of the Mambo Bell

3b- Two Sounds of the Chacha BellTHE CLAVE 27

CLAVE RElATED HAND EXERCISES AND WARMUPS ••............ , ... 29Compact Disc Track:4a-C1ave Hand Exercise 1 29

4b-C1ave Hand Exercise 2 304c-C1ave Hand Exercise 3 314d-Clave Hand Exercise 4 31

DANZON 32PRELIMINARY EXERCISES ..............................•••. 33

Compact Disc Track: 5a- Traditional Danz6n 35Sb-Denzon Example 1 365c-Danz6n Example 2 36

8910121418202122

2223232323

252626

ABANICOCompact Disc Track: 6a-Abanico for Checheche

6b-Abanico and Traditional Danz6n with Bell

________________________________________ 373737

CHACHACHA 38PREliMINARY EXERCISES ........••••.•...•••••............ 38CAMPANA/CHACHA BEll EXAMPLES •••.•............•..••..... 39

Compact Disc Track: 7-CampanalChacha Bell 398-Basic cnectieche ~9-Chachacha and Hembra10-Chachacha, Timbales, and Cor-ee

MAMBO _PPEL ;,'li.;:~\ E:X:EPCIS~S

__ 41

---

THE CASCARA ..........................•••••.. , 44THE PAUTOS PATTERN .. , , , , ...•• , • , , 45THE CATA PATTERN •..•...•••. , , .. , .••... , ...•• , , .• 45THE ClNQUILLO CUBANO , ..... , •. , , •• , , . , ......•..•......• 45ACCENTING THE CASCARA PATTERN ••.•..• , ..... , .... , •••••... 47

Compact Disc Track: t t=Cescere Pattern (2-3) 4712-Cascara Pattern (2-3) with Sobado 47t s-Cescere Pattern with more typicalSobado 47t a-Cescere Pattern (3-2) 4815-Cascara Pattern (3-2) with Sobado 4816-Cascara Pattern with more typicalSobado 48t Z-Cescere with both Hembra Patterns 49

CASCARA AND CLAVE, . , , , . , ......• , .. , . , ••••..• 50EXAMPLES OF CASCARA AND CLAVE. , . , , . , .. , ...••........ , ••. 51

Compact Disc Track: tts-Cescere and Clave (2-3) 5119- With Congas 5120-Cascara and Clave (3-2) 5121-With Congas 51

CASCARA AND RUMBA CLAVE (2-3). , . , , , 51Compact Disc Track: 22-Cascara and Rumba Clave (2-3) 51

zs-wtu, Congas 5124-Cascara and Rumba Clave (3-2) 52zs-wun Congas 52

Two-HANDED CASCARA PATTERNS , •••• , ..••. , ...........•.•. 52Compact Disc Track: 26-Two-Handed Cascara (2-3) 52

zr-wn» Congas 5328-Another Two-Handed Cascara (2-3) 53

ADDING THE BASS DRUM .. , , ..........• , . , .•••... 54Compact Disc Track: 29-Adding the Bass Drum to Cascara (2-3) 54

30-Another Bass Drum Pattern 5431-Another BassDrum Pattern with Cascara (2-3) 54

THE ABANICO WITHIN THE MAMBO , ........••....•.•... 55Compact Disc Track: 32-First Note of Abanico a Contratiempo (2-3) 55

33-Adding the 7-Stroke Roll in the Abanico 55ADDING THE MAMBO BELL .......•..•••. , 56

Compact Disc Track: 34-The Mambo Bell following the Abanico (2-3) 5635-Adding the Hembra to the Mambo Bell 5636-Another Hembra Pattern 5737-Clave and Mambo Bell (2-3) 5838- With Congas 5839-Another Mambo Bell Pattern 5940-Another Hembra Pattern with Mambo Bell (2-3) 60

COMBINING THE MAMBO AND THE BONGO BELLS ....••••........... 61Compact Disc Track: 41-Bongo Bel! (2-3) 61

42-Mambo Bell (2-3) 6143-Playing the two Bells Together 62

ADDING THE BASS DRUM , •......••••• , , •••••.......•..••• 62Compact Disc Track: 44-Adding the Bass Drum to two Bells 62

45-Another Mambo Bell Pattern 62T-E IURO FILL 63

Compact Disc Track:46- The Intra Fill 63MAKING THE TRANSITION-THE TRANSITION EXERCISE .•••.•....••...• 64

Compact Disc Track:47- The Transition Exercise 64PILON 65

PRELIMINARY EXERCISES .....••.•..••••••••••..••••.•.•••• 65BUILDING THE PILON EXAMPLES .•••..•••••••••••..••••...••• 66

Compact Disc Track: 48-Pilon, Bell and Crass Stick 6649-Adding the Macho and Hembra 6650-More of the Hembra 6651-Complete Pilon Groove 6752-Pilon, a bit more advanced 6753-Advanced Pilon 6854-Another pattern for Pilon 68

MOZAMBIQUE 69PRELIMINARY EXERCISES .•.•.••••..••••••••••..•.••.•.•••• 69PRIMARY BELL PATTERNS .....••••..•••••.•••••.••••.•.•••• 70

Compact Disc Track: 55-Mozambique, Primary Bell Pattern (2-3) 7056-Adding the Hembra 7057 -Mozambique, Full Pattern 71

MOZAMBIQUE BELL AND RUMBA CLAVE .•••••••••••.••••••.•••• 71Compact Disc Track: 58-Mozambique Bell and Rumba Clave (3-2) 71

CLAVE AND BOMBO (BASS DRUM) •....••••.•••••..•••••..•••• 72Compact Disc Track: 59-Clave and Bombo 72

60-Another Bombo Pattern 72MERENSONGO 73

PRELIMINARY EXERCISES .•••••...•••....•••..••••••.•••••. 73BASIC MERENSONGO ...••••••.••••.••••...••••••..•••••• 74

Compact Disc Track: 61-Basic Merensongo 7462-Bell Pattern For Merensongo 74

MORE ADVANCED MERENSONGO .•.•••..•••••..••••••..•••..• 7463-A more advanced Merensongo 74

ADDING THE BASS DRUM-PRELIMINARY EXERCISES ••.•••••••.•••••. 75Compact Disc Track: 64-Adding the Bass Drum to Merensongo 76

ANOTHER MERENSONGO VARIATION-PRELIMINARY EXERCISES •....•••••• 77Compact Disc Track: 65-Another Merensongo 78

ADVANCED MERENSONGO-PRELIMINARY EXERCISES .••••...•.••...•• 79Compact Disc Track: 66-Advanced Merensongo 80

CONGA 81PRELIMINARY EXERCISES ..••••...•••.•...••..••••••..••••• 81BASIC BELL PATTERN ...•••••..•••.....•••.•••••••.•••••. 82

Compact Disc Track: 67-Conga Habanera, Basic Bell Pattern 8268-Adding the Hembra 82

ADDING THE BASS DRUM ••••.•••••...•••....•••....•••••• 83Compact Disc Track: 69-Conga Habanera, adding the Bass Drum 83

AiJOTHER BELL PATTERN FOR THE CONGA HABANERA ....•••••..••••. 84Corntiec: Disc Track: la-Conga Habanera, Another Bell Pattern 84

71-Conga Habanera, Adding the Clave 8d-.- ., --': ~.I_=: 0::,_',' 1", "'" I , •• , I I '" '" " I I.' I I I 1 I 84

L _

g RHYTHMS 85PRELIMINARY EXERCISES ••••••••.•••••.••.•••.••.••••••.•• 85

Compact Disc Track: 73-1 Bell Pattern 85Compact Disc Track: 74-1 Bell Pattern, adding the Hembra 86

BEMBE BELL PATTERN •••••...•••.....••••.•••••••....••. 86Compact Disc Track: 75-The Bembe Bell Pattern 87

76-Another 1 Bell Pattern 8877-Adding The Hembra 89

TIMBA SONGO LAYE 90PRELIMINARY EXERCISES ...••••..••••••••.•••...•••••••••• 90THE BELL PATTERN •.•.•••.•...•••...••••••...••••...••• 91

Compact Disc Track: 78- Timba Songo Laye Bell Pattern 9179-Adding the Cross Stick 9180-Adding the Open Tone 9181-Another open tone with 77mbaSongo Laye 9282-Adding the Bass Drum 93

INDEPENDENCE EXERCISES 95CASCARA IN ONE HAND/SOLO PATTERN IN THE OTHER HAND .•.••••••••• 95INDEPENDENCE EXERCISE 1 96

Compact Disc Track: 83-lndependence Pattern Number 1 9684-lndependence Pattern Number 2 9685-lndependence Pattern Number 3 9686-lndependence Pattern Number 4 9787 -Independence Pattern Number 5 9788-independence-the whole pattern 97

INDEPENDENCE EXERCISE 2 98Compact Disc Track: 89-lndependence Exercise 2 98

INDEPENDENCE EXERCISE 3 99Compact Disc Track: 90-lndependence Exercise 3 99

INDEPENDENCE SOLO 1 100Compact Disc Track: 91-lndependence Solo 100

INDEPENDENCE IDEAS WITH THE I(LAVE .....••••••••••...••••.. 102Compact Disc Track: 92-lndependence Exercise Using 1 Bell Pattern 102

93 -Another IndependenceExerciseUsing/ BellPattern 10394-Another IndependenceExerciseUsing/ BellPattern 105

Independence Solo 2 105Compact Disc Track: 95-AnotherlndependenceExerdseUsing/Bell Pattern 105

96-Changuito's Solo 107REFERENCES 108LISTENING LIST 109OTHER GREAT TIMBALEROS TO LISTEN TO 11 0GLOSSARY 111

•Introductionand Solo

Jose Luis Quintana, Changuito, drummerand percussionist extraordinaire, has influ-enced many drummers around the world.

As timbalero and drum set artist with the sem-inal Cuban group, Los Van Van, Changuitohelped set the stage for what would be one ofthe major percussion innovations emanatingfrom Cuba: the rhythm of Songo. This majoraddition to modern drum set and percussionrepertoire has helped to changed the way manydrummers play "latin" music.

From the early '70s to the '90s, Changuitoforged new percussion ground, propelling LosVan Van to international fame. Los Van Vantoured throughout the world, bringing theirnew swinging grooves to thousands and thou-sands of dancers, musicians, and new convertsto the Afro-Cuban pulse. As the years pro-

10 Jose Luis Quintana-Changuito

gressed, so did Changuito's style. What startedout as just timbales was soon replaced by adrum set. Changuito's drum set mastery onthe song "Guarare," from an early Van Vanrecording, was a real eye-opener for those ofus who had the opportunity to hear it. Thiswas new drumming; cutting edge, hard-hittinand soulful. But the drum set era did not last.The timbales beckoned and Changuitoreturned. A new style of playing timbales wasabout to begin. And Changuito would foreverchange the drumming of the whole world.

Typical patterns, like cascara, were alteredslightly, a note accented or doubled in such away as to flavor the groove in a new and excit-ing way. The timbale bells were also subject tochange. New patterns were invented, discard-ed, renewed, reworked, all in the name ofgroove and swing.

One of the most amazing things, to manydrummers and percussionists worldwide, wasthe new vocabulary of fills and solos whichChanguito offered. Chances were taken atalmost every opportunity to be outlandish,unpredictable, and still retain the groove andswing. Fills seemed to come out of left field,darting around hair-pin turns, and returningonly to fall short or after the downbeat, addingto the tension created by the clave-influencedrhythms. It must have been something to be amusician performing in Los Van Van at thistumultuous time, not knowing where or whenone of these fantastic fills would occur. Theycall him El Misterioso (The Mysterious One).His ideas emanate from some hidden cave ofcreativity, and boil up to the surface in vol-canic eruptions. Without all of these, Los VanVan would have still been great. With the addi-tion of Changuito and his inventive nature, LoVan Van remained at the pinnacle of Cubanpopularity for decades.

Changuito's recorded solos are rare thingsof beauty. They have influenced generations ofCuban percussionists, in turn influencing uall. You may ask if solos can have uc_ a dra-

matic effect. My answer is an unqualified yes.Incorporating his trademark unpredictability,flashes of technical genius, and solid Afro-Cuban roots, Changuito's solos are highlyprized pieces of art. And, as such, they containprize nuggets of percussive and musical inspi-ration for those willing to take the time toabsorb and understand the sweat and strainfrom whence they came.

A relatively new addition to Changuito'spercussion arsenal is his extreme indepen-dence. Why extreme? To this drummer,Chango's independence at times seems like it isat the apex of its development. One example ofthis development might be playing the cascarapattern with the right hand while the left handsolos on the two drums and other bells. This isnot just independence, it really is art. It seemsthat the body has been split in two, that twobrains occupy the same skull. The most amaz-ing thing is that each pattern is steeped in feel

and musical meaning. Practicing and perfoing these patterns is a humbling experience.

Above all, Changuito plays from his heart.The man is not going to sit down and writeout exercises for you. He doesn't slow hisgrooves down for you either. "This is not howthey sound." "How can I play it this way if Icannot feel it this way."Well, it's a different wayof learning. Coming from a country steeped inrhythm, where clave seeps from the soil and ispart of the very air, learning can also be differ-ent. There are wonderful music schools inCuba where young musicians can learn andpractice their art. Changuito was not allowedto attend. His learning came from the musicwhich surrounded him. A true innovator andmaster of his craft, Jose Luis Quintana will for-ever be known as a Master Drummer.

-Chuck Silverman

Jose Luis Quintana-Changuito 11

This book is very special in that it bringsto you one of the premier artists in thefield of Afro-Cuban music, Jose Luis

Quintana, Changuito. It contains very impor-tant information and needs to be practicedwith special care and attention. Includedthroughout are tips on how to go about learn-ing and applying these patterns. Most impor-tant are some very basic practice concepts.

These five relatively simple rules will helpyou immensely in the learning and applicationof the rhythms and ideas found in this book.

Practice Rules:1. Practice slowly.2. Listen to what you play.3. Watch what you play.4. Feel for any tension while you are playing.5. Sing the different rhythms.

1. Practice Slowly:Practice slowly and methodically those

phrases and exercises which give you the mostproblem. It is very easy to give up and try toget by these patterns. If you stick with it andreally learn the patterns you will find your play-ing and your confidence improving. In this way,other patterns willbecome lessof a bother, easiertolearn, and your playingwillget better.

2. Listen:Listen to what you play. There are many

subtle areas in this book: accents and ghostednotes, mouth and body of certain cowbells,sticking patterns which may be unfamiliar toyou. (Ghosted notes are notes which are playedmuch more softly than a regular note. A ghost-ed note will also be notated a bit differently.)Listening to what you are playing helps you todo the most important thing in order to learn:concentrate. Listen to the sound of the hembra(the large timbale), and to the sound of thecrack of the macho (the smaller drum). Listento the difference between the bells and the dif-ferent sounds each bell has to offer you. Listen_. ::1;0 sour d L',f the ":,15(a1'd (the sound of the

tern). Is it sharp and definite, or is it dull? By lis-tening you are putting more of yourself into thework and you are spending your time wisely.

3. Watch:Watch what you play. Pay attention to

where the stick hits the drum. For the rim shotof the macho, compare your stick position tothe pictures at the bottom of page 22. Likewise,when playing cascara, the position of yourstick(s) has a lot to do with the sound you aregetting out of the shells and the drums.

4. Feel:When encountering patterns which require

your learning new independent movements,pay attention to how your body feels. Are yourelaxed during these patterns and exercises?Are you playing slow enough to where you areperforming in a calm manner? Or are youtense? Perhaps performing a bit too fast? Bypaying attention to signs of tension in yourbody, you can better tune in to the exerciseswhich may need more work and/or more time.Don't neglect the tension in your shoulderswhen trying to play mambo bell and clave, northe stiff feeling in your forearms when practic-ing the chacha bell pattern. These signs canactually assist you in the learning process!

5. SingOne other technique which you can use is

to sing the lines you are learning. If it is amusical line with two voices (i.e. bell anddrum), play one voice and sing the other. Thismethod of learning is another way to internal-ize the rhythms you are learning.

There are patterns in this book for drum-mers of all levels. For those of you who findyourself really challenged by some of the pat-terns which require a high level of indepen-dence, remember that these patterns are notmeant as exercises. They are real, usable grooveswhich just happen to be different than what youare used to playing. Your playing will improve aswill vour feel. Give all of these patterns a chance>.' enhance vour percussion skills.

The Time Signature used most often in this book:Which time signature to use for the writing of thisbook, 2/4, 4/4, common time, or 2/2 (cut time)?Music in Cuba is written in all three different timesignatures. (Yes,for all of you two-bar phraseclavepurists, clave can be written as a one-barphrase in common time.) It is common to seemost "salsa"music written in cut time. And some

Afro-Cuban music has been written in 2/4. Youwill find that most of this book is written in cuttime. The reason is quite simple; many of the pat-terns are easier to read in cut than in commontime. But most importantly, and over-riding anydiscussion of notation or technique, is feel.Thebottom line is, how does your playing feel.Keepthat in mind as you learn from this book and CD.

usanne Moss)13

from a pair : qT=?~Can you hear -- _ sc;::;:;.::.:.:name is alsonamed "tabl", - --- -Moorish invasio - -the name became u- 4-~'':''''':;~"

Minor had drumssami," "tabl-al gawig, ~ - -These drums were also ;--,~~5 a:

Pailas Cubanas (© Susanne Moss)

The drums that most of us know as tim-bales have a very rich history. In Cuba,timbales are known by many different

names. Pailitas cubanas, pailas cubanas, pailas,pailitas, timbaletas, panderetas, bong6, tim-bales; all of these names have been and are stillused in Cuba. The most common name, usedin most if not all parts of Cuba, is bong6! Forclarity we will refer to the instrument either astimbales or pailitas Cubanas.

What of the roots of timbales? Not surpris-ingly, some people believe that the first drumwas in the form of a tympani, formed from thetrunk of a tree and animal skin. Famed Afro-Cuban musicologist Fernando Ortiz has saidthat the word "tirnbal" is of onomatopoeic ori-gin that the sound of the drums are similar to

e name of the drum. Imagine the ound

Even farther back in - of tim-bales can be traced to _ - _ r : or, andeven India. In the ancien - - - - Titing ofIndia there are mention 0 -a _ ympani-type instrument with a tigh - . ,a sy tern ofmetal hooks for tuning, playe ith twocurved sticks. In the eighth century, during theCrusades, contact was initiated between theIberian Peninsula (Spain and Portugal) andthe Moors of Northern Africa. This, in associa-tion with the conquest of the ByzantineEmpire by the Turks, helped to bring the tym-pani to Europe.

Most musicologists agree that the tympaniof Europe are one of the antecedents of mod-ern day timbales. The Spanish word for tympa-ni is timpano or timbal. It is known that inEurope in 1670 tympani were incorporated aspairs for the first time. (Curt Sachs, [Ortiz]believes that the first tympani in Europe wereused in the 14th Century.) The next date ofgreat importance, according to LaureanoFuentes in his book Las Artes de Santiago deCuba (The Arts of Santiago de Cuba), is 1852when, for the first time, tympani were playedin Cuba. They were played in Santiago de Cuba,in an Italian opera, Donizzetti's "Lucia diLamerrnoor," and were played by Antonio Boza.

Cuban-style tympani were first played inthe eastern parts of Cuba's "Oriente" provinces,principally in Holguin and Manzanillo. Theywere often found in the organ groups that werefamous in that region. Tympani were alsofound in circuses.

In Los Instrumentos de la MusicaAfrocubana Vol. IV, Ortiz describes the "paila,"which many musicians nowadays use as anoth-er name for timbales or for a musical directionas to when to play the cascara pattern.According to the writer Pichardo, paila is a ves-

sel of iron or copper inthe shape of half anorange. These vesselswere used in the sugarcane factories and wereused to hold guarapo orthe juice of the cane.They were also used tofashion the Cuban tym-pani. In many cases,only one paila was usedbecause one drum wasmore portable. It was upto the musical techniqueof the pailero to get allthe sounds necessary forthe various musical gen-res. The instrument wasplayed with sticks andmost of the time thepailero had to use his

Notice the Tympani hand to assist in eitherproducing a deep tone

or a sharp note. The free hand would providetension to the head which was played with the

stick. There was no macho or hembra as thereare with timbales today, and according toCarlos Borbolla, an organist and pailero fromthe early twentieth century, "one timbal alonemust handle the acoustic endeavors of bothsexes." In the Eastern provinces of Cuba, upuntil this century, musical groups consisting ofan organ, a guayo (a large guiro), and a paileromade their music in the streets or at dances forthe lower classes of Cubans.

Organ Group with Pailero

The oldest of these pailas or vessels of cop-per were taken to Africa in the fifteenth centu-ry and were used as musical instruments inGuinea as well as by the people called may-ombe. Ortiz believes that the Africans weretrying to imitate the Europeans who hadbrought the instruments to the continent. InZaire, for example, the inhabitants copied thetimbales (remember that these are what weknow of as tympani) and alsothe costumes and fin-erywom by the musicians,who were often soldiers.

Soldiers and the military have often hadgreat influence over musical styles in manyparts of the world. Drums have always beenused, in one way or another, with the military.The earliest Cuban musicians who played inbands mostly came from the military, havingbeen trained as musicians in the military bat-talions of the day. There was a racial distinc-tion in the military battalions; the black battal-ions being called "pardo," and the black andwhite battalions "moreno." The orchestras ofthe day reflected this racial distinction, whichwas maintained by the Spanish military. Theinfluences in the "pardo" battalions and theirbands took the form of the inclusion of guirosand rhythmic patterns and improvisations per-formed by the timbalero (tympani-player).

A History of the Pailitas Cubanas 15

Military Battalion with Tympani

Ortiz had some very interesting ideas aboutthe origins of modern day timbales. Hebelieves that bongoes are part of the

antecedents of tim-bales. One reason forthese roots is that thebongoes were heldtogether with a centerpiece, as are our tim-bales. The bongoeswere also played seat-ed. And lastly, thebongoes had one headand were open on thebottom. Ortiz alsobelieves that theseinstruments evolvedfrom of all places thekitchen. At some timein Cuban history,sartenes (frying pans)were covered withskin, probably that ofa goat, and tensionedwith either rope or

Orquesta Tipica with Tympani screws of some type,connected to a rim.

These drums were also played with one stickand one hand. The word paila has asits derivatives the antique Frenchword "paele" which in turn comesfrom the Latin "patella": a kind offountain or metal plate. In modernFrench, "poele" means frying pan("sarten" in Spanish).

were great economic problems inCuba and drums the size and com-position of the European style tym-pani were not possible to make.Drummers used the same calderos orpailas in which was manufacturedsweets or guarapo as the basis ofsome of their adaptations of theEuropean tympani. Goat skin wasalso used. The resulting drums werein various sizes but they were easierto make and easier to transport.These were called pailas.

A veryimportantlink in thechain ofpercussiveeventswhichbrought usthe pailitascubanas arethe timbali-tos found in

Cuba.They werecalled tim-balitosbecausetheyresembledsmall tim-bales, or

How does what we know of astimbales today emerge from the tym-pani? In the early part of the twenti-eth century there was a great demandfor the tympani due to the popularityof certain types of music in Cuba.Among these kinds of music were contradan-za, danza, and danz6n. During this time there

16 A History of the Pailitas Cubanas

Old Style Pailas Cubanas from Matanzas, Cuba

tympani. They were made of wood and mostprobably were small barrel) cut in two and

held olives imported into Cuba fromAndalucia. Goat skin was nailed to the wider ofthe two openings. Now, the pailero could com-fortably sit and play an instrument muchsmaller than the tympani. Also, the two drumscould now be mounted together instead of onseparate tripods.

Notice the Wood Drums

The next generation of timbales weresmaller and allowed the performer to sit andplace the drums somewhat between his legs.The pailitas were seen as "children" to theEuropean tympani and the Cuban pailas. Thedrums were also set up on a tripod, not sepa-rately as the tympani were played. In the firstpart of the twentieth century, pailitas cubanasbegan to make their appearance as the orques-ta tipica (which played many types of musiclike contradanza and danza) began to fade andbe replaced by the charanga or charangafrancesa, which played more danzon and dan-zonete (and later, chachacha). Even in theorgan groups of the eastern provinces, pailitascubanas began to replace the larger timbale ortympani.

The author respectfully submits thishypothesis. In the very early twentieth century,Cuban families who could afford to sent theirmusically talented children to the United Statesto learn the new American music, jazz. Jazz atthat time included many different styles ofmusic, like fox trot, charleston, and otherstyles. The Cuban musicians would then returnto Cuba to perform at dances for the upperclass. Also performing at these dances were theorquestas tipicas. The drummers in the jazzbands had a small trap set, most probably bassdrum, snare drum, cymbal, perhaps wood-

block and cowbell, and a "chinese" tom. Thetimbalero in the orchestra played tympani. Ifyou were playing a larger drum like tympani,wouldn't you perhaps investigate the "other"drummer's trap set, looking at the small snaredrum, perhaps playing it to hear how it sound-ed without snares? Perhaps this is one of thefirst inspirations to "downsize" the Cuban tym-pani, making the pailitas more like a snaredrum with one head. And then there were thecowbells and woodblock so common with theearly American trap set. Another inspirationfor the pailero? Perhaps.

Cuban percussionists developed differentstyles of playing first the tympani then thepailitas cubanas or timbales. The Cubans usedtheir hands and fingers to produce sound, atechnique called "manoseo del cuero." Also, asa forerunner of cascara, Cuban drummerswould play on the shell or cascara of the tym-pani. They also would more commonly play onthe rim or "border" of the tympani. The lefthand would keep time on the hembra, the larg-er of the two tympanis. This sound was usedduring specific sections of songs, a forerunnerto modern timbales, when, for example, cas-cara is typically used for verses. The sound ofbaqueteo was also first developed on the tym-pani where simultaneous beats were producedby a stick on the head or cascara while the fin-gers produced another sound, filling in whereone hand did not play.

As you can see, timbales as we know them havea long and very interesting history. All the wayfrom Africa and India, with influences fromEurope and North America, playing Cubantimbales is an art well worth learning.

Old Style Timbales with Macho on Right

Timbales come in many sizes and aremade out of many different types ofmaterials. The most popular sizes are

the 14" and 15" drums. Another popular pairof sizes are 13" and 14". Timbalitos are alsomanufactured. They are smaller than the 13"and 14" drums and have a higher pitchedsound. Recently there has been great interest,from players and manufacturers alike, in mini-

timbales or drum set tim-bales, ranging in size from6" to 10". They can be usedin a variety of settings.

.Changuito uses 14" and15" drums. He also hasused drums called tim-balones which are quite abit deeper than the regulartimbales. Timbalones arecommonly used in the typ-ical charanga orchestras.

Timbales can be madeof stainless steel. Brass tim-bales are also common.Other materials, such as

Brass Timbales wood, may also be used.Each shell material has its

own distinctive cascara and drum sound.Changuito uses steel drums.

Setting up drums is a very personal thing;each of us have our own ideas about how todo it. There are several facts about timbaleswhich are very important to know and whichmay help you when you are setting up.

The larger drum (hembra) is the low drum(mellower tone) and the smaller drum(macho) is the high drum with a sharper tone.The reason given for the naming of the drumsis interesting. With many drums of Africanorigin, there is a sexualization, where onedrum or the other (when in pairs) has certainmale or female characteristics. The mellowertone of the hembra corresponds to the mel-lower characteristics of the female, while themacho has a more aggressive "personality" anda much more assertive tone.

The two drums are set up with the smallerdrum (macho) set up to the right-handedplayer's right. The larger drum (hembra) is onthe left. This is a very important point whensetting up your drums. Setting up this waymakes it easier to play the hembra while play-ing cascara or bell. The drums should be posi-tioned so the rim shot on the macho is easy toplay. This is an important part of your vocabu-lary and it is very important for you to be ableto play this comfortably .

The center post of most timbales is whereyou would mount cowbells, wood blocks, and

Old Setup of Cha-Cha Bell and Woodblock

other items. There does not seem to be any"stock" set up for bells, etc. Here is a very typi-cal way of setting up two bells. The "mambo"bell is set up with the mouth facing the right ofthe right-handed player. (The mambo bell canbe used for many different styles of Afro-Cuban music.) The chacha bell is set up so thatthe mouth of the bell is easily accessible.

If a cymbal is to be set up, it is most com-mon to find it in the position featured in thephotograph. It should be easy to reach. Which

type of cymbal to use? Some cymbal compa-nies are now manufacturing cymbals specifi-cally made for playing with "latin" grooves.These cymbals have a prominent bell soundwith a lot of definition afforded by the body ofthe cymbal. They can also be crashed. As withdrums and bells, the choice is a personal one.

If a bass drum is to be used, it should alsobe set up so it can be played comfortably.

Setting Up the Timbales 19

Amadito Valdes and Jose Sanchez, bothwonderful Afro-Cuban percussionists,agree that tuning the two drums a

fourth apart is the most effective method.Changuito, everthe non-con-formist, dis-agrees and saysthat a fifth is theway to go.MaximilianaJaquinet, in herscholarly paper"Approximaci6nalas PailasCubanas" writesthat tuning of afourth or fifthapart is com-mon. Whicheverroute youchoose to go,tuning is accom-plished very eas-ily on mostmodern tim-bales by using a

Amadito Valdes

~ to turn bolts whiche hells.

The predece - _ y's drums weretuned in assorted a -. -:;-'ey could have tun-ing keys which the p er 'ould manuallyturn, much like their ani ancestors. Some,like the timbalito ) had e goat skin tacked onto the wooden shell .. still others weretuned by holding them dose to a fire.

Tuning modern timbales can be accom-plished in many ways. Fir tighten each ten-sioning rod (usually some kind of bolt) so thatthe drum is in tune with itself. The head isproperly seated when, after a few turns of eachtensioning rod, the drum produces a tonewhen the head is struck. Then begin at onebolt and, tightening an eighth of a turn, pro-ceed in a clock-wise fashion around the drum.When I have had my own questions about tun-ing I have just listened to my favorite percus-sionists and copied their tuning. On the accom-panying CD you have a great opportunity to lis-ten to Changuito's tuning and copy it!

Jose Sanchez

Cowbell 1

Body Mouth Cowbell 2

Body Mouth

I IMacho-High Timbal Hembra-Low Timbal

Note: When a particular style requires only one cowbell, only one line is shown above thestaff, with instructions or an indication of which bell to play (i.e. chacha bell, mambobell, bongo bell). When a style requires two bells there is one line corresponding toeach bell. Some examples also include an additional reduced staff above each exampleshowing the direction of the clave.

• J

The sound of the shell, or cascara, is avery important part of the overall sour: -of the timbales. This sound is used typi-

cally, in salsa-style songs, during verses, pianosolos, solos by other instruments as indicatedin the musical directions, and in other musicalsections. The sound is also found in othertypes of Afro-Cuban song styles. The sound isdry and crisp with a bright attack. The metalused to make the timbales has a lot to do withthe sound. Steel and brass are the most com-mon metals used to make timbales and eachgives a distinctive flavor to the cascara.

The cascara is written on the top line of thestaff.

J J

The macho, orsmaller of thetwo drums, has

two main soundsavailable to you. Oneof the most importantsounds from themacho is the rim shot.This sound is one ofthe most recognizedtimbale tones. It isachieved by striking,with sufficient force,the head and rimsimultaneously evok-ing a sharp, bright andsomewhat resonanttone. Since this is suchan important feature of the timbales, youshould take the time to make sure that the

22 Sounds of the Timbales

height of your drums is adjusted 0 that _ r:

ing the rim shot is consi tent.

The rim shot on the macho is written on the third space of the staff with an accent mark.

•>- >- >- >-;!gl-----JI-----JI-----J"-----

Another sound from the macho is the opentone. You don't want to use this drum just forrim shots! Very typically, the macho is struck

•with the stick, not with an open hand. (Thehembra can be played this way, as we will learnlater.)

;!gl-----JI-----JI-----J"-----

The hembra, or low drum, also has severalsounds available for you. It is very, veryrare to play rim shots, as in the macho,

on the hembra. More commonly, the opentone of the drum is used. This sound can beachieved by playing with a stick. You don'thave to strike the drum very hard to achieve a

•

good tone. If the drum is tuned correctly theopen tone should sing out when skin is struckwith stick.

Counting from the bottom up, the hembrais written in the second space of the staff.

Open tones on the hembra can also beachieved by striking the skin with the hand orfinger, or fingers. This method is usually used

•when the other hand is playing another patternon the drums, i.e. cascara, or bell patterns.

Changuito's main method for achieving theopen tone on the hembra is to gently stroke it,while cradling the stick in the crook of thethumb and forefinger. This may take some get-

ting used to but this is the primary wayChanguito gets this sound. One of the varia-tions is using the middle and fourth finger fin-gers to achieve this sound.

Sounds Of the Timbales 23

Cuban drummers name this sound sobado.The way this was described to me was thatwhen you have a stomachache and your mom

rubs some salve on your stoma t, --

used is the Spanish verb sobar. 1- -or massage.

Another story is told by Jose Sanchez. Iosays that one timbalero, by mistake, hit a cov-bell in the montuno section of a danzon. An .the new sound was liked by everyone in theorquesta tipica. He says another story is tha ~timbalero forgot his wood block. One of themusicians in the band happened to have acowbell (perhaps he too had purchased one:a cow!) and he lent it to the timbalero. He - -it, everyone liked it, and the cowbell stayed.

Why does the timbalero play cowbell,or in some cases, cowbells of varioussizes? There are various stories about

the roots of the cowbell, but none as interest-ing as the story about Antonio Orta Ferrol,also known as "Menengue," Menengue was a

very famous tim-balero in Cuba inthe very early 20thcentury. There is nomention in thestory whetherMenengue playedtimbales (as weknow them) or theCuban pailas (tym-pani). In a book byLeonardo PaduraFuentes (EdicionesUnion, 1994), theauthor writes thatin 1912, before heleft for a job with adance band,Menengue wasasked by his motherto buy a bell fortheir cow. Ever theabiding son, he didwhat he was told

Antonio Orta Ferrol, "Menengue" and placed the bellin a sack. On his

way to the job, Menegue got quite drunk aswas his custom. At the gig, thingsgot hot and heavy. Well, it seemsthat at the height of musical pas-sion, probably more than slightlyintoxicated, Menegue reachedinto the sack, brought out the belland proceeded to play it, just as ifhe had always done it that way.This situation occurred in theorchestra led by the flautist TataAlfonso. The pianist in theorchestra was Antonio MarfaRomeu, a very famous Cubanmusician. This story was told tome by more than one person.

Amadito Valdes says that it may have bethe great timbalero, Ulpiano Diaz, who firplayed cowbell. Changuito says it may havebeen another great, Guillermo Garcia.Whatever the story, the cowbells are a veryimportant part of the timbale set-up.

There seems to be no set method for eplacement of cowbells with timbales.Changuito's set-up for this book and CD usestwo bells, a "mambo" style bell and a chacebell. The mambo style bell has more possties of sound than a bell of similar size. -:'ebongo bell. The bongo bell is used by - egocero (bongo player) during specifi :: ~of Afro-Cuban songs. The construction z sr:

bells-thickness of metal, shape of e _seems to have a lot to do with the ona _bilities. Changuito uses the full ran;::e .:sounds available from the mambo' "as from the chacha bell. He also '- -~-positioning of the bells for different _

music. (He doesn't change them during gigs,which leads me to believe he may use differentset-ups for different gigs.) Most of the time I

have seen him, his set-up allowed him to playtwo different sounds on each bell, the mouthof the bell, and the body of the bell.

One of Changuito's Cowbell Arrangements

In this example we can hear the two different tones of the mambo bell, written on differentspaces of the staff .

• Mambo Bell HK~~~--AL---rt--~~~-n--~~--~--~---r~----L---n----n---H

•The chacha bell is the smaller of the two bells. Typically, this bell is used to play rhythms like

chachacha. Changuito's set up uses the chacha bell in this manner but Changuito uses this bell .many other ways. He uses both mouth and body of bell to achieve two distinct tones and alsouses these tones in various rhythmic patterns.

Here are the two tones, once again written on two spaces in the staff.

Cha-Cha Bell n •.• J } J } J } J } I J I J I J I }U'\J t t t t AI AI AI AI t

•••

The clave is a Cuban instrument.Fernando Ortiz stated in 1928 that in allthe ethnographic museums he visited he

did not find an instrument like the clave. Inthe chapter on clave in Ortiz's Los Instrumentosde la Music Afrocubana he details how thoughsearching in Europe, Africa, and in other loca-tions, he could not find any mention of claveor any history of such an instrument. Hefound the "rhythmic cells" which may define laclave, but could not find the actual instrument.There are many examples of instruments madefrom wood in African cultures but the clave isuniquely Cuban.

The word clavija means "pin" or "peg." Ithas been thought that laborers who used toload and unload ships in the harbors ofHavana and other Cuban ports made instru-ments from the pieces of rigging that whichlooked like large wooden pins or pegs. (Ropeswere sometimes attached to these pegs.) Thismay be one way that clave got its name. Thename for both sticks that make up the instru-ment is "la clave;' the clave.

There are no other (or they are rarelyencountered) instruments where the playermust cup one of the pair of claves in one hand(for a more amplified sound) and then strikethis with the other. (This, by the way, is theproper technique for playing clave. By cupping

one's hand, placing one wooden clave inhand and then striking, a more mellifluo -tone is generated.) Montad6n, cited by 0 .talks about how important the clave is as aainstrument. He writes that both "bodie :" --:pieces of the clave are of balanced importancebecause they both are equal partners in esound produced when hembra is struck b 'macho. As a percussion instrument (in taefamily of idiophones) this is a rare occurrenceand gives the clave an important structure,

Ortiz calls the clave the spirit of themelody! The feeling of the clave in Cuba zsmuch more than just a rhythm, two ieceswood being struck together. It is life. It is "-symphony. It is one of the most im or; --things about being Cuban. As Ortiz .clave, as it goes out into the world .' _ -=-_everyone's life much more than the -Cuba's cane fields."

The clave, like many other in trumentsAfrican origin, has been "sexualized," Eais either male or female, macho or heThere is a female (the deeper, mello- -e - - _::wood) and a male, which generates taepitched tone. Sometimes the mello c- - - -piece of wood, the hembra, i can-to enhance the sound quality. The :::;-~r:cD'CJe:;·

the striking, in order to produce a -_from the hembra.

The clave rhythm may begin on either thefirst or second measure of the pattern. The dif-ferent directions of the clave are commonlyreferred to as 3-2 and 2-3 direction. These arealso called forward (3-2) and reverse (2-3)clave directions. The direction of the clavedetermines the feel of the music being played.(Again you could try the simple exercise asabove, but this time first play the clave-eitherrumba or son-in forward direction. Stop theclave, wait for a few moments, and then try thesame clave in the "other" direction. Notice andfeel the difference.) It is commonplace tooveremphasize the technical aspects of clave.This is the most important concept of Afro-

Cuban music but do not overemphasize it andthen forget about the feel of the music.

Written here is an example of how, evenstarting in the forward direction of son clave,one can "change the direction" of a musicalcomposition. Very simply, we have started our"composition" in son clave, 3-2 direction. Byplaying a three bar phrase and inserting repeatsigns, our "composition" has now "changed" tothe 2-3 direction. (Think of the new 2-3 sec-tion as a different section of our song.) But theclave never changed. The composition changedaround the clave!

28 The Clave

Changuito uses various patterns to warmup. Presented are four which can also beused as jump off points for solo ideas.

These patterns are based on the rumba clave,perhaps giving you an insight as to howChanguito develops his ideas. If his warm up

exercises reflect this most basic of Afro-Cubanphrases, most probably many other solo phras-es are constructed similarly, reflecting basicphrases with a lot of feel. Changuito then useshis artistic mastery to develop these basic ideasinto incredible solo passages.

Clave Hand Exercise 1

•This pattern uses alternating single strokes

to make an interesting and challenging pattern.As you can see, the pattern is played all on themacho. Don't be fooled by thinking that this isjust singles with some accents. There are see-

tions which may prove difficult. The last noteof the 2nd sextuplet, measures 2, 4, and 6, canreally be difficult due to the accented left hand.This needs to be practiced slowly at first.

6 6

RLRLRLRLRLRLRLRL R L R L R L R L RLRLRLRLRLR~

6 6

RLRLRLRLRLRLRLRL RLRLRLRLRLRLRLRLR ;;

>- >- >- >- >- 6 6 >--~~.~ ...~ ..R L R LR L R L R L R L R L R L R L R L R L R L R L R L R L

R

Clave Related Hand Exerc 5

•Clave Hand Exercise 2

The hembra is now added on that accentednote within the sextuplet.

Slowly, carefully, practice until you can feel theclave.

66 >-

RLRLRLRLRLRLRLRL R L R L R L R L RLRLRLRLRLRL

66 >->-


>- >- >- >- >- 6 6 >-


R L R L R L R L R L R L R L R L R L R L R L R L


Again based on clave and first played just on the macho, this phrase utilizes an interestingsticking pattern.

R L R L R L L R L R L R L R L L R L R L R L L R L R L R L R L L

RLRLRLLRLRLRLRLL RLRLRLLRLRLRLRLL


The same phrase, with the hembra now also involved.

R L R L R L L R L R L R L R L L R L R L R L L R L R L R L R L L

R L R L R L L R L R L R L R L L R L R L R L L R L R L R L

very important because this influence gavebirth to what is known as Cuban music. Theway of dancing the contradanza, the men andwomen in a double line with couples facingeach other, was a style very familiar to theAfrican slaves. It was how many Africansdanced in their home countries. This fact isvery important because it helped greatly in the"acceptance" of the music by a majority of theCuban population. Also, parts of certain con-tradanzas (and later forms called the danza)were written and performed in 6/8. This addi-tion of the 6/8 time signature may be the firstheard influence of African music on Europeanmusic. Cuban music was born! The oldestCuban contradanza known is titled "SanPascual Bailon" and was created in 1803.

The danza is not anything else but a con-tinuation of this musical phenomenon. By1842, composers were beginning to add lyricsto the contradanza, singing them in theHabanera style. Composers of danzas, mostnotably Ignacio Servantes, used rich harmoniesand great rhythmic figures to embellish theirarrangements. The style of contradanza anddanza gave birth to the danz6n. The danz6n isslower than the genres that preceded it. Muchmore appropriate for the tropical Cuban climate!Danz6n is considered the Cuban national dance.

Cuban contradanzas were initially playedby orquestas tipicas which consisted of twoviolins, two clarinets, a contrabass, a "cometin"(a trumpet-like instrument), a trombone,"pailas cubanas" (tympani), and guiro. Thecharanga francesa, o~ orquestas francesas, orsimply charangas, are direct descendants of theorquestas tipicas. Whereas the clarinet playedin these orquestas tipicas, its part was takenover by the flute (the Cuban wood flute, withHaitian roots, with five keys and a high regis-ter) in the charanga francesa. The metales(horns) are replaced in the charanga francesaby the violins. The danz6n also featured, in thesong's first movement, elements of the son, themost important and influential music from theEastern part of Cuba.

The danz6n is one of the first examples ofpopular music in Cuba. It has its rootsin European danza and contradanza,

which were traditionally played, percussion-wise, using tympani (pailas cubanas). Thesetympani, the Cuban style, were much smallerthan their European cousins. The pailitascubanas, or timbales as we call them, weredeveloped partly as an answer to the need for aportable instrument to bring this "refined"style of Cuban music to perhaps less accessibleareas in and around Havana, Santiago de Cubaand other areas in Cuba. Traditional tympaniwere too cumbersome to carry by mule orhorseback.

From as early as the eighteenth centurythere are references of the arrival of Frenchships to the island of Cuba. The arrival of theseships, with their French crew and others onboard, greatly influenced the customs andesthetics of Cuban culture. These influenceswere enhanced by the migration of Frenchcolonists from Haiti, after the successful slaverevolution (the first record of this movementbeing in 1789). Another great influence was thearrival in Cuba of French colonists fromLouisiana, after Napoleon Bonaparte soldLouisiana as part of the Louisiana Purchase in1812. Musically, the French "contradanza" or"country dance" and the minuet were two ofthe most important French "imports." Thecontradanza was very quickly "Cubanized" andbecame the favorite dance of many Cubans,especially those in the upper classes. TheFrench colonists were in the mountainousEastern regions of Cuba but the country-dancehad no problems reaching all areas of Cubaincluding the dance halls of Havana.

There existed in Cuba two contradanzas,the Oriental (from the Eastern provinces) andthe Habanera (from Havana and surroundingareas). The Oriental was more popular, whichcaused a lot of problems. After all, Havana wasthe capital!

e 0 tradanza is

Miguel Failde is the inventor of the danz6n.Failde was born in Guamarcaro, Matanzas,

Cuba in 1852. The first danz6nwas performed January I,1879 in the Liceo de Matanzas.Its name is "Las Alturas deSimpson." Failde died in 1920.

b'S AL fL~R\,"}- IJoE. Sk·"l.1rsc'l~

pnl"'l("l cJ ~ f M I ~'

Las Alturas de SimpsonThe First Danzon

We begin the study of tim-bales with danz6n becausefrom the music, rhythm, anddance of danz6n emergedmany, if not all of the popularCuban music styles, mostassuredly chachacha and pos-sibly mambo. The son, whichcame from the Eastern regionsof Cuba (Oriente province andpossibly others), had a greatinfluence also on Cuban musicand its merging with thedanz6n provided the emphasisfor many new and excitingstyles.

Changuito has many, manydifferent ways of playing danz6n. Here arethree examples which will give you a good ideaof the rhythm of danz6n on timbales. Not onlyis there a main rhythm to the danz6n, there is

a way to "stick" the rhythm on timbales. Thesticking is written for you. Changuito uses var-ious methods to strike the drum, with sticksplaying open tones, rim shots, and muffledstrokes. Sometimes he uses his fingers to playthe muffled strokes. Following the notationand listening to the accompanying CD willclearly demonstrate the danz6n.

The basic danz6n pattern gives you a basiidea of the rhythm. Our advice, which isrepeated throughout this book, is to practiceeach pattern extremely slow, perhaps out oftime, to get a feel for the sticking involved.Some patterns may be a bit easier than others.

The second measures of all the danzonecontain a left hand pattern which serves basi-cally as a time keeper. The left hand plays the"deadened pattern with fingers" on most of e"ands" of beats 1,2, and 3. AlthoughChanguito plays most of them, only the moimportant, and heard, notes have been tran-scribed.

Note: The notation of the muffled hembrplayed with a stick, is a simplified way ofnotating the actual sound. This sound is pla -~by striking the hembra with one stick while teeother hand is deadening the hembra.

Preliminar Exercises-Combinin the Sounds from the Timbales

These sections, found in each chapter, willconcentrate on getting you used to playing thetimbales for each of the rhythms being studied.There are various movements with which youwill need to familiarize yourself when learningthese rhythms on timbales. We have alreadylooked at and listened to the basic soundsavailable from the drums and bells. These exer-cises look at some combinations of sounds andthe sticking patterns and independence theyinvolve. Repeat each short phrase as manytimes as necessary in order to develop propertechnique and the proper sounds from theinstrument.

The first rhythm in the book is that 0:danz6n. Danz6n uses some interesting ",.J=.~and hand patterns. The muffled hembra -.:cross stick in the hembra is played u . :::_sticking pattern very similar to the rig - z:

diddle. Here is the pattern as it is played - -hembra. First, a muffled sound is played 0- --

hembra with stick. The muffled sound isachieved by leaving the left hand lying 0 -- ~

drum while you strike the drum, in the ce -with the right stick. This sound is follo .·:ea cross stick in the hembra with the left . -:r:

Following this sound are two more mUlTIeC.hembra sounds. Let's try this pattern.

1.~~;.~R L R R

3'~~J~_~R L R L

This next pattern begins with a left crossstick on the hembra, followed by a muffledhembra with the right hand. The next sound is

2. ~~e

L R R

Pattern 3 features four different soundsfrom the hembra. Muffled hembra with rightstick is followed by muffled hembra with fin-gers of the left hand. The open sound, right

Pattern four has five different sounds fromboth drums. A muffled hembra, right hand, isfollowed by an accented macho. This accentsound is very important! Following the accent-

new: the open hembra, played with the rightstick. Following the open sound is anothercross stick with left hand.

J - IIL

stick, is next, followed by a left cross stick. Eachof these patterns needs to be practiced manytimes to feel the flow necessary for the actualdanzon.

ed macho is another muffled hembra, righthand, followed by hembra muffled with handor fingers, left hand. An open hembra andcross stick round out the measure.

4. ::>-

;:e=i JII~ -

R R R L R L

Correct execution of these four patterns will lead you to a better understanding of the hand move-ments necessary for danz6n.

•Traditional Danz6n

LL R R R L R R L R R R R

>-

R L R R L R R L R R R L R L>-

Ii J III III J III J P¥ti J III 181 J F=1R L R R L R R L R R R L R L

>-

Ii .1 Ii III j III J P¥ti J Ii J F1R L R R L R R L R R R R L

Ii J III III j III J P¥ti * ~-

R L R R L R R L R

Danz6n 35

Variations one and two add some opentones and rim shots to spice up the danz6n.These still fall into a typical category and are

very important to learn. Striving for feel is themost important concept for this and every-thing else in this book.•

Danz6n-Exam Ie 1

>-

LL R L R R L R R L R R R L R

>-

R L R R L R R L R R R L R>-

~ J (;P (J ~U ~J Ii (81 Ji

R L R R L R R L R R R L R>-

~ J J (II (81 (g~

J (i JR L R R L R R L R R R R

~ J*

-R R

•Danz6n-Exam Ie 2

>-

••LL R L R R L R R L R R R L R

~ "IjJ t J I t J J t :II

>-

~ J (II (81 (I~ ~J III (81 J :11

R L R R L R R L R R R L R

r~

The Spanish word abanico means fan, asin ceiling fan, attic fan or somethingwith which to fan yourself. It seems to

come from the fans that were used, and insome cases still are used, in the dancing of .classic Cuban dances like the contradanza,danza, and danz6n. Each section of the dance,from introduction of the partners to the actualdance itself, had special accompanying musicplayed for the section. One section of a dancecalled for the participating ladies to all opentheir fans at a certain time. These fans are tra-ditionally made of wooden slats. Imagine thesound, if you will, of dozen of these fans open-ing simultaneously. A drummer, who historyhas perhaps consigned to anonymity, thoughtof this sound and came up with the abanico on

timbales, signifying the change between sec-tions of Afro-Cuban songs. In "Las PailitasCubanas" by Marta Rodriguez Cuervo, theabanico is referred to as "a roll which called forthe beginning of the improvisational section ofthe danz6n."

In salsa-style tunes, the abanico has beenused extensively to signal the change betweenthe verse section and the chorus section of asong. (It can also be used in other ways butthis way is very basic to the style.) The abanicois also used in chachacha and other forms ofAfro-Cuban music. Changuito uses the abani-co in traditional and non-traditional ways. Wefeel that it is most important for you to learnthis important part of playing the timbales.

Abanico for Chachacha

The abanico is comprised of two sounds, thecrack of the rim shot (there are two separaterim shots) and the dry roll in the macho. Asyou can see in the next example, the accentednotes in the macho are very important for theabanico. This is a very basic abanico .

As you listen to more and more Afro-Cubanmusic you will hear others. With this basicidea you will be able to interpret the other,more advanced patterns. Practice slowly atfirst, increasing the tempo only when youfeel comfortable.

•>- 6 >-

me - J~ * -

R L L R R L L R

Abanico and Traditional Danz6n with Bell

•Here is an example of the abanico in use with the traditional danz6n with chacha bell. It is

one of the forerunners of the chacha bell pattern.

~

n pI

J~

J~

W n Q J I IZ; x :I

Cha-Cha Bell

m e-

Enrique Iorrin is credited by many as theinventor of chachacha. The dance gets itsname, according to [orrin, from the

sound of the dancers' feet on the dance floor.In 1951 [orrin used the sound of a very typicalAfro-Cuban style band, called charanga france-sa, along with what were called danzones denuevo ritmo (danzons of new rhythm) to helpcreate this new Afro-Cuban popular dance feel.

An important feature of this new dance wasthe utilization of a new rhythms and the addi-

tion of vocals and choruses. One of the mimportant new rhythms and a very impor.: --part for the timbalero is the chacha bell. Idriving pattern and a very "up" feel. The feeenhanced by playing all of the eighth noteswithin the pattern, with the downbeats bei _accented.

Once again, the hembra plays a very i :tant part, emphasizing the tumbao of thebadoras (congas) and bass. Don't underemate this part. It is most important.

Preliminar Exercises

The accented attack on the macho is veryimportant. It is also very important to be ableto make the transition from this sound to thesound of either cowbell. This transition is very

important with several different rhythms --patterns. Here is the transition for you to ~ -tice. First with the chacha bell.

1. I ICha-Cha Bell Hn+-t-r;o+-~}_--rj-----------H}~----£1--""-"--------+IU'V~ Ai ~ Ai

IR R

Now with the mambo bell. (Note 1: Eventhough the mambo bell is not usually used inchachacha, Changuito felt that it was importantto include this information here.) (Note 2: Attimes it is easier to write the different bells

>-I• I -R R

(chacha and mambo) on the same line, w .they are used in separate exercises. Whenthis happens you will be notified by aCCOl1::- -ing text.)

2.I IMambo Bell n r;o } - } -U 'V ~ Ai ~ Ai

>- >-

I I

•••R R R R

The interplay of bell and drums, especiallyhembra, is very important when learning Afro-Cuban timbales. Here's an illustration of thatinterplay with chacha bell and hembra. You

will be playing two sounds on the chacha bell(mouth and body) while the left hand plays thehembra muffled with hand or fingers.

3.

Cha-Cha Bell rtt--t--";-----..t----'----.t--"""---'-----+--..t---------..t------------t1

Now the open hembra is added, playedwith a "flick" of the fingers of the left hand.(Note: Please re-read "How to Practice this

Book" for important tips on getting the mostfrom these basic exercises.)

4.

Cha-Cha Bell rtt--t--";----.t------.t--"'''---rl-------.,j----+------_------t1

•Cam ana/Cha-Cha Bell Exam les

Here is the chacha bell playing all eighths, while accenting the downbeat .

• Now a basic chachacha. Notice the simple and basic closed and open tone in the hembra.

2.

Cha-Cha Bell

Chachacha 39

•

When the music really starts to groove, themontuno (sometimes translated as a two-barpiano vamp) is smoking' and the flute is reallyblowing, the timbalero is affected by what ishappening around him or her (both by theband and by the dancers), the excitement isshown in the hembra. The timbalero (timbaleplayer) may add more notes or playa differentpattern in the hembra.

There is a long history of the relationshipbetween the drum and the flute. As far back as2,000 years ago, an author, writing in theancient writing of the Periplo de Hannon, stat-ed that sailors sailing down the African coastcould, at night, hear a great noise made bydrums, flutes, and cymbals. Also, a Romanwriter named Pomponio Mela wrote of a placeinhabited by satyrs, where it was quiet during

the day but at night one could see bonfires aTI_

the superhuman sound of drums, cymbals,and flutes. Perhaps this gives you an idea of :..-history of the relationship and how special itreally is!

This type of playing the open tone does n -occur on a frequent basis but the timbalero,being affected by the montuno, the flute, thedancers, etc., can show the effect by playing abit more in the hembra, all the while maintain-ing the groove. (Measures 8-10 are good exam-ples of this.) It may happen only one time dur-ing a song, after which the timbalero revertsback to playing a basic groove in the hembra.This musical example demonstrates how emo-tion and excitement can affect Changuito'splaying, as well as your own!

•40 Chachacha

The mixture of congas and timbales, thetumbao of the conga and the sob ado in thehembra, is one of Cuban popular music's mostinfluential and important sounds and feels. Itis this mix, along with maracas, clave, andor/guiro, that really makes the music swing.

This example is of the basic chachacha accom-panied by a simple one drum marcha in theconga. First you will hear the abanico. Payattention to the important sounds and try toemulate them. Please listen to CD track 10.

What is this word, mambo? Manyfamous Cuban musicians have beenasked this question and many music

researchers have been trying to find out whereit comes from, what it means, and moreimportantly, who invented the musical stylecalled mambo. Manuel Cuellar Vizcaino, afamous Afro-Cuban scholar, says that he hadnever encountered the word in any books.Even famous musicians of his day (AntonioArcano, for example) could not explain thebirth of the name. Vizcaino says that FernandoOrtiz talks about the word "mamba," a districtin Equatorial Africa. Also he has found theword "mornbo," given to a slave in a certainAfrican region. Obdulio Morales says that theword originates from a scream or yell whichdancers shout during the hot sections of dancenumbers. It is also an expression used by thosewho dance rumba columbia (one of the threetypes of rumba) and it signifies dancing abilityand a feeling for the dance.

Arsenio Rodriguez, the great Cuban tres(Cuban style guitar) player and composer, stat-ed that the word mambo was African in origin,from the Congolese dialect. He claimed itsroots are in the conversation between vocalistswhere one says to the other, "abre cuto guirimambo" or "open your ears and listen to whatI want to say" (a very macho thing to say).Arsenio is one of the musicians who is creditedwith either inventing or greatly popularizingthe mambo. He also was one of the first bandleaders to add congas to a musical group. Hesaid that he had to do something to unify thefeeling of tension represented in the Africanphrase. The resultant new dance was calledmambo.

Another great Cuban composer, DamasoPerez Prado, said that "mambo" was a Cubanword. When someone wanted to say that theituation was a good one, they would say "el

mambo esta bien." Prado said that musically heto comment on who invented the

-- -:.. - "mambo" was a name, and that

There are many that say that Damaso PerezPrado was the inventor of the mambo. Hedefined the characteristics of mambo as beingvery syncopated. The trumpets carry themelody, the bass accompanies, and this is com-bined with the bongoes and tumbas ("con-gas"). Prado did not mention timbales as theywere not yet commonly used in Afro-Cubandance bands of his era ( late '30s and' 40s).Interestingly, Damaso Perez Prado had tomove to Mexico to invent the mambo. Heclaims in an interview that since he did nothave the opportunity to play mambo in Cubahe went to Mexico.

A big difference between what Perez Pradodid in the two countries was that he had writ-ten all the arrangements in Mexico whereas inCuba only a bit would be written out. (Thereseems to have been a lot of freedom with thearrangements in Cuba!) This may have givenhim more opportunities, in Mexico, to writeout more syncopated figures and more intri-cate arrangements. Damaso Perez Prado wrotehis first mambos in 1949 in a record namedJose y Macame. "Mambo numero 5" and"Mambo, que rico mambo" were two veryfamous songs from this recording.

Whereas the originators of many Cubanmusical styles are known, the creator of themambo seems to still be in question.

In order to play this musical style on tim-bales, you must know basic patterns. Thesepatterns are the cascara pattern and cowbellpatterns. As with most musical styles withCuban roots, these patterns change with time.You will find some very typical patterns in thissection and you will find more modern pat-terns. For example, some of Changuito's cas-cara patterns are definitely not "traditional,"but they swing. Also, and very important foryou to learn, are the two-bell patterns foundlater in this section. Bass drum is also added .Mastering this section will help you be readyfor the next salsa gig that comes your way!


The shell of the drums is a very importantsound. You have already heard how the shellsounds: crisp and dry. Later you will be askedto combined this crisp attack with the soundof the hembra. Here is a beginning lesson inmaking this combination. First we will com-

bine three beats of the shell, or cascara, with anopen sound from the hembra, played with thefingers (or just the middle finger) of the lefthand. You should be playing these cascarasounds on the shell of the high drum (macho).

1.

Now, inserted between two cascara attacks, is the left hand playing the hembra muffled withhand or fingers.

2. ~ J~----7 -7Jt=~3~

There are two other basic movements involving these three sounds. With exercise three youare playing a different combination involving the dry sound of the cascara with the hembra muf-fled with hand or fingers.

3. J fl~ II-Pattern 4 has you playing an open sound from the hembra between two attacks from the shell

of the high drum (macho).

macho, transitioning to the body of themambo bell with the same hand while the lefthand plays the hembra muffled with hand orfingers.

4.

We've already practiced making the transi-tion from the accented macho to the mambobell. Here are some exercises to get you accus-tomed to what the left hand plays on the hem-bra. Exercise five begins with the accented

5. J

42 Mambo

-I

Exercise six adds the open sound of the hembra. (Note: As with all of these patterns, repetitionis the key.)

6.n If. }

I I

-

Here is another combination of mambobell and hembra.

The open sound of the low drum isfeatured.

7. n If. }

Exercise eight adds the muffled hembra.

8.n If. }

I

-..,

Mambo 43

music. There is an unmistakable drive andenergy to the music. And this movementbegins with you.

Changuito Playing Cascara

The cascara, in its many forms and varia-tions, is one of the most basic andimportant patterns for you to learn on

timbales. Cascara, in Spanish, means shell, likethe shell of the timbales. This is where it isplayed, although there are times when this pat-tern is also played on acowbell or cymbal.When played on theshell, the sound is dryand crisp. It shouldsound likea wood stickon a metal shell.Imaginehow that should sound. Itwillhelp you to achievethe correct tone.

Also, cascara has tobe played with an atti-tude. It's not a patternto play laid back orlazy. It must have acertain drive to it. Thisis an unwritten rulethat applies to manystyles of Afro-Cuban

Where does the cascara pattern come from?There are many versions of its inception. Thecascara is a pattern whose roots may be associ-ated with the influence of American jazz bandsin the early part of the 20th century. AmaditoValdes states this particular belief. The hi-hatand ride cymbal pattern could have influencedtimbaleros of those days to develop their ownsyncopated timekeeping patterns.

Another influence on the development ofthe cascara pattern could be that of the rumba.One of the palitos pattern for rumba is verynear to the sound of the cascara. If played withone hand, this pattern sounds identical to thecascara. In a 1991 interview from Percussionimagazine, Tito Puente alludes to the fact thatthe cascara comes from the rumba. AndyGonzalez, the great bassist, also feels that theroots of cascara are from rumba.

Close-up of Stick on Shell

The Palitos Pattern-one exam Ie of man

R L R R L L R LR L

The Cata Pattern

The Catci

And yet another pattern,proffered by two great Cubantimbaleros, lose ManuelSanchez and Yonder DelesusPefia Llovet, might give us

another clue to the origins of cascara. Therhythm played by the cat a in tumba francesa, arhythm of the eastern part of Cuba, could beconsidered a close cousin to the cascara. Therhythm is transcribed for you.

>- >- >- >- >- >- >- >- >- >-

OO~J n J n JI

J n J n J~

R L R L R R L R L R

The Cin uillo Cubano

There is an important rhythm, developedin Cuba and heard in the danz6n, calledCinquillo Cubano. This is a very important fivenote phrase. ("Cinco" in Spanish is "five.")

This rhythm is similar in notation to thecata pattern from tumba francesa and someCuban percussionists feels that this might alsohave been an influence on the development ofthe cascara. (Note: The musical notation which

follows is an approximation of a tympani partfor danz6n. The notation is quoted from "LosTimbales," a work by Maria Elena VinuezaGonzalez. The original was written in the 2/4time signature. This notation does not follow themusical key for the book.)

Mambo- The Cascara 45

The next cascara patterns conform to 2-3(reverse) direction of the clave. It is the waythat Changuito feels more comfortable playing.You can and should learn the patterns in the3-2 (forward) direction of the clave.

Listen to the accent in the cascara. Thisaccent pattern goes back many years as was tes-tified to by Cheverongo (Elpidio SerraFundora). Cheverongo is a retired percussion-ist, well into his 70s and living in Havana. Myinterview with Cheverongo was exciting; theman has lived through many of the changes inCuban popularmusic. Meeting himwas an honor.Imagine meetingthis frail-lookingolder man in apork-pie hat andone of the firstthings he asks youto do is "play R R L Rdanz6n for me." He

wanted to know if I knew about Cuban music.He listened to me then sat right down on thefloor, with these two funky drumsticks, andplayed a beautiful danz6n on the concrete. Ithen proceeded to ask questions about tim-bales and we inevitably got around to the cas-cara. Transcribed for you is the pattern whichCheverongo played as cascara. Notice that theright hand plays only the accented notes.Cheverongo said that he was playing this pat-tern in the' 40s. This method of playing thecascara is distinctively Afro-Cuban and is mostimportant when regarding feel and swing.

Cheverongo then ...

46 Mambo-The Cascara

L L R L R L R L L

. .. and now

•

•

•

Accentin the Cascara Pattern

On the accompanying CD you will hearChanguito playing the cascara pattern withand without conga accompaniment. In thisway you can hear how the conga and timbaleswork together and also you can hear the tim-bales alone.

1.

Here is the cascara with no accompanimentin the hembra. Notice the accent pattern. Thisis a very important part of the cascara pattern.This particular cascara pattern is in 2-3(reverse) clave direction.

Changuito has a particular, favorite way ofplaying the closed and open tones in the hem-bra. Example two shows that pattern. Noticewhere the open tone plays, on the 4th eighthnote of each measure and closes on the 7theighth note. This gives a certain swing to themixture of conga tumbao and hembra sobado.Very importantly, Changuito holds the timbalestick in his left hand while playing the open

and closed tones. This occurs in many of thesepatterns. Changuito sometimes plays a "dead-ened note with finger" on the hembra on the2nd note of each measure. This is a naturalmovement for the hands, and gives a continu-ity to the movement. This has not been tran-scribed but you may want to try it once thetranscribed exercise has been mastered.

2.

Here is a more typical approach to theclosed and open sounds in the hembra. Theopen sound now compliments the conga andbass tumba. (There is no bass on the record-

ing, but very typically speaking, there wouldmore often than not be a bass note either onthe fourth quarter note of the measure or thebass pattern would emphasize this note.)

3.

•

•

•


The cascara in 3-2 (forward) direction. First just the pattern played on the shell.

4.

Adding one of Changuito's favorite hembra patterns

5.

Once again, doubling the tumbao of theconga provides a very different sound and feel.This accompaniment seems to strengthen the

tumbao whereas the otherpattern, by offset-ting the tumbao, gives the groove a very differ-ent feel.

6. n .to } J .. ])} J } J J }

U 'r' ~ ~ ~ ~

>- ~rJ~ J J >- >-

I J J '>< J J J•••

•Here is a 16-measure phrase with cascara, ence in texture created by each pattern, with-

using both open/close patterns in the hembra. out the congas.It's a good chance for you to hear the differ-

7.n.to J ., h } J } J J }

U 'V ~ ~ ~::;0.. ::;0.. ::;0.. ::;0.. ::;0.. ::;0..

J J 'X ~ J J J J J J J

::;0.. ::;0.. ::;0.. ::;0.. ::;0.. ::;0..

mJ J j j J

I

J J~

J J D::;0.. ::;0.. ::;0.. ::;0.. ::;0.. ::;0..

mJ J j j J

I

J J~

J J ~D::;0.. ::;0.. ::;0.. ::;0.. ::;0.. ::;0..

mJ J j j J

I

J J~

J J ~D::;0.. ::;0.. ::;0.. ::;0.. ::;0..

J H j JI

J~

J~

Jm

::;0.. ::;0.. ::;0.. ::;0.. ::;0..

J fg j J J J J~

Jm I

::;0.. ::;0.. ::;0.. ::;0.. ::;0.. ::;0..

J fg j J J J,~

J J~

Jm I

::;0.. ::;0.. ::;0.. ::;0.. ::;0..

J Q j

I

J J J J j :m


Cascara and Clave

The cascara is rooted in the clave. The claveis the backbone of much, if not all, of Afro-Cuban popular music. The direction of theclave, whether 2-3 (reverse clave direction) or3-2 (forward clave direction) has everything todo with the feel of the particular song or partof the music. (Due to composer/arranger dis-cretion, the way in which a piece of music isarranged may reflect a "change" in the direc-tion of the clave. This change will then affectthe feel of different sections of the arrange-ment.)

These examples show the playing of thecascara and clave together. This is not a simpleexercise. First you must be able to feel the cas-cara pattern. Here are two suggestion for prac-ticing this pattern:

1) First play the cascara, in one hand, with-out accents while the other hand rests. Add the

1.

J

clave in the other hand one note at a time,after repeating each small phrase many times.When you can play the whole pattern, add theaccents, one at a time, until you are playing thewhole two-handed pattern.

2) Try performing the exercise with bothhands, starting with very short phrases of a feweighth notes each. Here is a step-by-stepapproach to playing the cascara pattern andclave. This particular approach is written withthe 2-3 direction of the son and rumba clavesin mind. Of course, it can be used for the 3-2direction of both son and rumba clave.

This is a basic building block exercise withfive parts. The key is to proceed to the nextlevel once you have developed a feel for thelevel on which you are working. Start with veryshort phrases of a few eighth notes each.Exercise 1 is the "2" part of the clave phrase.

Exercise 2 adds a few more notes and rests, resulting in a bit more of the phrase.

2. JD j

Exercise 4 is the whole cascara/clave combination, 2-3 direction.

j

Exercise 5 is the "3" part of the rumba clave. Substitute this in the previous exercise for therumba clave in 2-3 direction.

••••

5.

Listen to the CD for this pattern with congas.


Rumba clave is another distinct clave withits own feel and applications. Whereas, in olderAfro-Cuban popular songs, the rumba clavewas not a very common phrase to be heard, inthe '80s and '90s with Cuban groups like LosVan Van, Irakere, NG La Banda, CharangaHabanera, and other great groups, the rumbaclave is being heard in popular dance musicmore and more. It gives the music a different

This technique also can be used when practicing with the accents in the cascara pattern.

Exam les of Cascara and Clave

Cascara and Rumba Clave

••

1.

swing with its more syncopated rhythm. Thechange between rumba clave and son clave isonly one note, but, oh, what that one notedo!

Here is the cascara pattern with rumbaclave in the 2-3 direction. Listen to the CD forthis pattern with congas.


Here is the cascara pattern with rumba clave in 3-2 direction .

•2. >- >- >- >- >- >-

~n J J J

~" J D Jj)

~

• Listen to the CD for this pattern with congas.

When you can play these cascara and clavepatterns well, you will be able to better experi-

ence the difference in feel afforded by eachphrase.

Two-Handed Cascara Patterns

•The cascara pattern can also be played with

each hand playing on the corresponding shellof the timbales. (Amadito Valdes tells us thatthis pattern is used when the tempo is slow.)New styles are constantly in development and

so it is with this method of playing cascara.Rather than the left hand just filling in whenthe right hand does not play, certain embellish-ments have been added to spice up the groove.Here are three examples of this style.

1.

R L R L R R L R RLRR LRLRL RLRLRLRLR RLRR LRLR

2 Mambo-The Cascara

• Adding the congas (on the CD) you can hear how the two parts interact.

2.

RLRLRRLR RLRR LRLRL RLRLRLRLR RLRR LRLR

RLRLRRLR RLRR LRLRL RLRLRLRLRL RLRR LRLR

:::>:::> :::> :::> :::>:::> :::>:::> :::> :::> :::>:::>un un rm rrr:u nm un un IJTIm I I I I

RLRLRRLR RLRRLRLRL RLRLRLRLR RLRRLRLR

R L R L R R L R RLRRLRLRL RLRLRLRLR R L R R L R L R

This cascara groove has some tricky sticking but you'll notice that the important accent pat-tern is maintained throughout.

3.

R L R L R R L RL R L R R L R L R L R L R L R L R L R L R L R R L R L R

RLRRLRLRL RLRR LRLRL RLRLRLRLRL RLRR LRLR

Addin the BassDrum

whether during verses or bridges, he uses it asmentioned, to accentuate certain musical pas-sages, and he uses it, very sparingly, during hi-solos. This first example with the bass drum ia relatively simple one; adding the bass drumto the down beat of every other measure in thecascara groove .

The bass drum can be used in many differ-ent ways with timbales. Using a bass drum isnot at all a prerequisite to playing timbales. Itjust adds to the tonal possibilities and may addsome extra punch. One common use is to helpto punctuate cymbal crashes. Changuito usesthe bass drum as part of the overall groove,

•1.

With this next musical example, the bassdrum takes the place of an open hembra in the"3" part of the clave. (The "open hembra" isfrom Changuito's favorite hembra pattern.)You'll notice that the groove, in those mea-

sures, is maintained by a closed sound, withthe finger, on the hembra. In this way there is acontinuity of musical motion, enhancing theswing and feel.

•2.

•Here is a simple pattern for bass drum

while playing the cascara pattern. Take note ofthe accents in the cascara. The bass drum is

not overstated in this pattern. It plays a sup-portive, not an overpowering, role.

3.

54 Mambo

Amadito Valdes, a great timbalero residingin Havana, has some wonderful ideas aboutplaying the cascara. Presented is just one. (You

will not find this on the CD.) Amadito uses theclosed tone, played with the fingers of thehand, in an interesting way.

The Abanico within the Mambo

We have already discussed the roots and roleof the abanico in the section on chachacha. Therole of the abanico in the mambo is similar inthat it is used to introduce a new section of thesong being played. Very typically, the abanicohas been used to introduce the section of asong featuring the coro (chorus). This is by nomeans a hard and fast rule as is demonstrated

2.

•• Adding the 7 stroke roll in the abanico.

1.

6

by Changuito and other musicians.

The abanico, when begun on the "3" part ofthe clave, has its first strong accent on the sec-ond clave beat in that measure. Changuito callthis abanico "abanico a contratiempo" becauseit begins on a syncopated part of the measure,the "and" of "2."

6

R L L R R L L R

55

Addin the Mambo Bell

•After playing the cascara and then abanico

it has been customary for the timbalero toswitch from the cascara pattern to bell. Sincethere is an accent in the macho (smaller drum)on the downbeat of the abanico, following the7 stroke roll, the bell pattern as written muststart on the quarter note following the down-beat or beginning of the measure. Here is an

exercise to get you used to this transition. Onething to notice are the subtle accents in thecampana. These, as with the accents in the cas-cara, are important for overall feel. These sub-tly accented notes really lock in the groove. Acrescendo marking shows you how the bellpattern is to be played. You can really hear hox -this feels by listening to the CD.

l.n "" ~ I I ~ I .h ~ J J J ~ J ., h ~ J J J., ~ ~ ~U 't' ~ ~ ~ ~ ~ ~ ~ ~

J JTI .-In J JJ J J IMambo Bell nLt. }

U'r' ~ -====== I --=====>- 6 I I~

•••'-I" <,

•Adding one of the patterns for the hembra . nevertheless very important. They help to tie

It's not overemphasizing to say that these pat- all the instruments together in a unifyingterns in the hembra, even though not very groove.loud in comparison to other instruments, are

2. J J J h ~ J J J J ., -~ ~ J J Jn "" } } ~ ~ ~ } }

U 't' ~ ~ ~ ~ ~ ~ ~ ~

.J JJJJ .,.m .J 4n J J .1Mambo Bell nLt. ~ -U'r' - - ~ ~ = "7 -===== ·1>- 6 I~ I I I I I••• ,

I

I

I

56 Mambo---'iiiii

Mambo 57

•Here is another pattern for the hembra. (Notice that in measure 15 Changuito throws in one

of his special "surprises'T)

3.

6amboBeIIHK~~-------.------+----------- __----------~~----L---~~~~--~~~--~~~~--~--~

6

6

•Adding the wood block playing clave is an important pattern to learn. Here is the bell pattern,

preceded by the abanico, with the 2-3 son clave.

6

•Now listen to the CD for this pattern with congas.

58 Mambo

Changuito is a veritable treasure trove ofgreat percussion ideas and he certainly is not ata loss for ideas when it comes to bell patterns.Presented are 2 ideas pertaining to these pat-terns. They are advanced patterns. Relativelyeasy to read, they really say a lot about tensionand release and feel. The open and closed tonesin the hembra are maintained while the bellpattern is pushed and pulled, time-wise,throughout the measures. Listen to the way thebell pattern is phrased, using the accentednotes to push the beat while phrasing withinthe framework of the measure to create thetension and release necessary for the pattern'smovement.

•A note: please make sure that you can play,

and play well, the patterns already outlined.

5.

The bell pattern from the previous exercises isone of the most common for this style of Afro-Cuban popular music. You must be able to feelthis pattern before proceeding on.

The pattern in the hembra is also not to beoverlooked. There is a fair amount of indepen-dence work occurring within this pattern. Usemethods already outlined to achieve the opti-mum performance of these patterns.

And lastly, listen to the subtle crescendo inthe bell during certain sections of the pattern.This is yet another way to make the patterngroove more, swing more, and make the musicreally sing. You need to approximate all ofthese variables as closely as possible.

6:-1boBell f-H-fl"!-----_---+------ ------+-+-----------'""'----+-''f------'"''--------L--L----

•Now with the other open and closed pattern in the hembra.

6.

Bell.--t-t---w;---- ------+-------. __----~f_---"------------'------'-----_t_T_-------"---------------___1

60 Mambo

•

•

Combinin the Mambo and Bon 0 Bells

called, by some, the "bongo bell." This bongobell part is most important because, in manycases, it states the downbeat while otherrhythms playoff of it. The sound of the bongobell is strong and constant. It provides thedownbeats off of which the other syncopatedrhythms can really work. The bongo bell partis one of the cornerstones upon which much ofthe groove depends. The other, and mostimportant, is of course clave.

The role of the timbalero has constantlybeen changing and adapting. As early as the1970s Changuito was defying barriers andstretching the role of the timbalero. He wasmaking inroads for more creativity, creating agreater role as musician and not just as time-keeper, and constantly developing new meth-ods of playing. One of the important playingtechniques developed by Changuito was theability to play two bell parts simultaneously.These two bell parts were the "normal" part ofthe timbalero, played on what many musicianscall the "mambo bell;' along with the bell partplayed by the bongocero (bongo player),

Here is the bongo bell part in the 2-3 clavedirection.

1.

Bongo Bell I-+t---tt"!'-------,.t-----_n------''""'-----------~f__~------"""--_n------"'""---'-----~

The mambo bell part is traditionally playedby the timbalero during choruses and othersections of mambo style songs. Here is one of

the most typical of mambo bell patterns. It isplayed, in this case, in the 2-3 clave direction.

2.

Mambo Bell I-+t---tt"!'------"""-----------~"-----------'~-----"""'------'--------"-------------"'""---'--~

Playing the two parts together is an increas-ingly typical way of playing timbales. Whenwould you want to use this technique? Theobvious time to use this is when there is nobongocero in the musical group with whichyou are playing. What this pattern does is pro-vide a typical, full sounding pattern completewith a pattern rooted in downbeats (bongobell), a most typical syncopated rhythm, allwith the clave as the backbone. Of course,there are some inherent problems with thispattern. You will need to work on the indepen-dence. This can be done in several differentways, as noted before.

Play both patterns, slowly, a small phrase ata time, adding a note or two only after the pre-vious phrase has been mastered.

Play one pattern, slowly, and add the otherpattern one note at a time until both phrasesare unified in the groove.

Changuito has another important andexciting method for developing independence.Play one pattern and sing the other pattern.This will assist you greatly in learning to per-form both together. Most probably, thismethod develops a different part of your inde-pendence vocabulary, and it assists your actualperformance. Try it. It definitely helps to"internalize" the rhythms. As a matter of fact,try singing all the parts we have been practic-ing: clave, cascara, campana, bongo bell.Perhaps you will become more intimate withthe rhythms, helping you to better feel and uti-lize them in your playing.

62 Mambo

•3.

the placement of the bass drum. Its syncopa-tion serves to propel the beat, not bog it down.If the bass drum was copying exactly what thebassist might play (i.e. "and of 2 and 4") theremay be a tendency to weigh the groove down.This syncopated pattern spices the groove justright.

Bongo Bell ~~~rt---~--~----~~--~~----~~--~~~----~~

Addin the BassDrum

•The bass drum can add some extra rhyth-

mic excitement to this groove. It can also addanother level of independence work. Theimportant thing to know is that this mode ofperforming is typical regarding Changuito. It isan integral part of his playing and definitelygives his grooves their distinctive feel. Notice

•Ahh, Changuito and his mambo bell pat-

terns! Although we have studied this patternbefore, the addition of the bass drum andbongo bell really make this pattern feel great.Remember: practice slowly and methodically.When you feel comfortable with any of these

2.

Mambo Bell

Bongo Bell

Bass Drum

patterns, either try them with a rhythm sectionor break out your favorite Los Van Van CDsand play along! Either way you'll find out soonenough if you've got timba! (Timba is a Cubanslang for groove or swing.)

ferent feels, so once you have these rhythms"under your belt," play them at different tem-pos to achieve the different rhythmic "move-ments." (One of the many ways whichChanguito describes these grooves is with theSpanish word "movimiento" or "movement.")

Arnadito Valdes has a pattern using two bells that should be learned.

Mambo Bell f---H---tt"~f---------+-----------++--------~'------7H

The Intra Fill

enough to get the open tone. The most impor-tant part is the combination of the accentedmacho and the open tone in the hembra.

R L

R RL R L>- >-

~~~-~~~_~~n~~ ~~-~~~_~n~RRL R L

Please do keep in mind that most of thetempos on the accompanying CD are relativelyslow, for listening and learning ease. It isimportant that you learn these rhythms andcombinations at these slow (and slower) tem-pos. It is the best and most advantageous wayto learn. But different tempos will provide dif-

•This fill idea is a very common "lick" com-

monly used as the introduction to many Afro-Cuban style popular songs. The open tone onthe hembra is not struck excessively. Just

R L

R L

R RL R L

Enjoy them! Each "preparacion" is two mea-sures long, corresponding to the clave. Aftereach, Changuito plays what he would normallyplay for a chorus section corresponding to thestyle in which he is playing: two bells and bassdrum. You will then hear the transition fill("Intro Fill") again and then we go back downto the cascara pattern for the verse. This isrepeated several times.

Makin the Transition-The Transition Exercise

Making transitions, starting from silenceand moving into a groove, then making a tran-sition to another groove, is what all musiciansare constantly doing. Beginning a song, goingfrom intro to verse, verse to chorus, chorusback to verse, this is something that you, a tim-balero, must be accustomed to doing. On theaccompanying CD tracks for this section youwill hear Changuito playing patterns wealready have transcribed in this book. This isthe reason why certain parts of this exercise arenot transcribed. Throughout the book you willfind information that "fits" in this exercise.

•The "Intro Fill" is followed by a verse sec-

tion where you will hear the cascara withbombo (bass drum). Then you will hear whatChanguito calls "una preparacion," a prepara-tion. There are four of these "preparaciones."

This exercise is very important. There aremany patterns you can use to "fill in" the verseand chorus sections of the Transition Exercise.The most important concept behind develop-ing this brief but significant exercise is that itall must "flow." It must swing. You must besure of what you are playing. The dancers aredepending on you!

~

>- Verse Section

~L=:. ~R_ 5,~,~, ~'~ , , , z::==::1I, , ,~",::2=== ~ r r 7 ~7~=~7~=~7~=~'11r r 7

R R L R L

Preparacion,

7,

7,

z,

7

D.C. (To The Top

, , , ,:~

, , , ,7 7 7 7 7 7 7 7

>-

~~~/~/~n~

Chorus Section

8jll-", ,BHlo r r r 7

64 Mambo

R R L R L

I

Ritmo pil6n refers to a way of dancing tothe son style. It's done by placing the hands infront of you, in a closed fist, one atop the otherand making a stirring motion.

Changuito has developed the pil6n into anart form. Presented are some of his ideas.


Exercise 1 features going from the chacha bell to the accented macho with the right hand.

1. JCha-Cha Bell Hn+--t-Liet7----~}f__---------_+----_____. ----____;_HU'r' ~

I

There are a few movements you will be mak-ing with both hands, so take it slow.

2.

n LieJ JCha-Cha Bell -U'r'>-

iI I

Il~ I I -•••

L R L

Once again, there are several movements youare making with both hands.

3.Cha-Cha Bell I-++~_L- ~'--_...AI..- __ -+ ----..-- --;-H

R R

Pil6n is a rhythm invented by EnriqueBonne in the Oriente province of Cuba.Pacho Alonso made the pil6n famous

with his group, Los Bocucos. The dance of thepil6n imitates the motion one makes whengrinding coffee. "Pilon" is Spanish for "pestle:'the vessel that you grind things in.

Adding the open hembra, played with theleft stick. Also, you will be playing a cross-stickwith the left hand.

Exercise 3 features open tones on the hem-bra, played with the left stick, accompanied bychacha bell played with the right hand.

L R L

;) 65

•

•

•

66 Pil6n

Buildin the Pikm-Exem les

We will build the pilon in sections, firststarting with bell and cross-stick. This is a

1.

very basic beginning, but you are stilladvised to take it slow.

Cha-Cha Bell H+-tt";~'--------"''''---------'''''-----L---t-''"----------------.H

Adding the macho (high drum) and hem-bra (low drum), we start to see and feel theindependence required to play this pattern.The hand playing the bell (right handed play-ers should play the bell with right hand) willnow also play the macho. The hand playing thecross stick on the hembra will now also playthe hembra open tone with stick. Take it slow!It's not easy to go from bell to a very positive

2.

rim shot on the macho. Just practicing goingfrom bell to rim shot is a very good idea. Dothat a few hundred times. Make sure the heightof the timbales allows this very basic move-ment. The same thing goes with the hembra {cross-stick to the hembra open tone. Thesehave to be very natural movements in order forthe full groove to do just that, groove andmake sense musically.

Cha-Cha Bell H+-tt";~'------''''''-----------------1------------L--------.H

L

A bit more of the pattern is revealed withtwo more notes in the hembra and bell. Thistwo-bar pattern is performed 4 separate timeson the CD. One of the reasons this was donewas to give you a chance to rest before havingto "think" about playing the pattern again. Playit one time through then take a break. Jump

3.

L L R L

into it again. Notice where it feels good. Noticewhere there are little "hitches" in the patternwhere you do not feel comfortable. Take sometime to work on these sections of this two-bargroove before attempting to play it for longerperiods of time.

Cha-Cha Bell H+-tt";~'-----''''''------------------''''''------+-'---------~-----'''''------+I

L L L R L L L

•

•

This is a "complete" pilon groove.

4.

Cha-C ha Be II 1-++~----'--------"'~-----'----------"'''---+----''---------'------~----------'''----7+I

R L L L

A bit more advanced, this groove will onceagain call on your relaxed, controlled indepen-dence and groove. Changuito plays the three-bar phrase three times. Practicethis short phraseslowlyand carefully.Takeyour time and take a breakin between each phrase to examine what may havebeen uncomfortable areaswithin the groove.

Here are some areas to think about:• How did the mix of hem bra and bell feel?• The transition from bell to macho?• Overall time feel throughout the phrase?• Transition from cross stick to open tone in thehembra?

Cha-Cha Bell H+--ff"-----''''------------''''''--------~----_t_------''----_+----------'''"______t------------'''''-------~----_tI

5.

~- 67

•_~o . - e pilon, advanced pattern.

---6.

a Bell rH~~~--~--~--~---+~--~--~r---~--~~--~--~--~---+~--~--~~~L-~~

•7~£W,affi£;L~~~,~One more pattern for pilon, using the cascara" sound and closed/open tones in the hembra.

*This refers to the sound of the cascara or shell, not the cascarapattern.

An important essence of the Mozambiqueis that of a brass band with many drummer .Typically, you can find 10 congeros and a fullsection of trombones making up the mozam-bique. The rhythm is a mixture of comparsa,rumba, and this "brass band." According to Dr.Olavo Alen Rodriguez, mozambique was quitepopular after its invention in the early '60s.

The famous Cuban musician Pello elAfrokan (Pedro Izquierdo) inventedmozambique. There are many stories as

to how or why this rhythm was invented. Manypeople believe the "how" is that the mozam-bique rhythm is a derivation of the congacombined with elements of rumba. (Rumba isan Afro-Cuban rhythmic tradition.)


Let's concentrate on the mouth and body of the mambo bell. This first exercise is the firstmeasure of the Mozambique rhythm.

LWMambo Bellj J ~f------_______ ---;-:~

Here is the second measure:

3. • ~ ~Cha-Cha Bell \--1nl+-lm.~ ~eA_A.&IJL-)~}~~eA'1-- ~"----)+----- -----;tI

U~ I ~ I -

2.

Pay close attention to the next exercises onthe CD. They will introduce you to the combi-nations of bell (mouth and body), open hem-bra with stick, and muffled hembra with stick.

Add the hembra muffled with the stick.Muffling the sound of the hembra after playingthe drum "open" (with the stick) requires

We will look at playing the bombo and clavefor mozambique later in this chapter. Here aresome ideas for getting started with this section.First,the chachabell and open hembra with stick.

I I -touch and taste. Take your time. As with all ofthe exercises to get you accustomed to specificrhythms, take it slow and relaxed.

A combination of chacha bell and open and muffled hembra with stick.

5.Cha-Cha Bell

n,t.. ~ . ~ J J ~U'l-' ~ .~ ~

I I I.. I 1"'"""""'1 I

lie -....

Primar Bell Patterns

One of the many great features of themozambique are the bell patterns. Here is aprimary pattern which Changuito plays on themambo bell, utilizing the mouth and body ofthe bell for two distinct sounds. At first itmight be a good idea for you to pick up thebell and play it. This gives you a more intimatefeel with the bell. You can feel how it resonatesin your hand; how the open tone resonatesmore than the tone from the body of the belLThis pattern does not necessarily have to beplayed on a mambo bell. A smaller bell (cha bell)or different bell (bongo bell) can work also.

•

The most important parts of this pattern are:• the actual rhythm you are playing• the feel of the rhythm (once you understand

the pattern)• the sounds of the bell.

Once you have spent some time with this,mount the bell on your timbales and get thesame feeling that you had while holding thebelL

The rumba clave accompanies thispattern.Here is the primary bell pattern for mozambique.

1.

Mambo Bell HH~~rr---~---,rr---~--~-+~-----AL-~--~----~~~

2a. Mambo Bell n a, I J I }HU+~'l-'~~~--~~----~~r----~~~~

And now, adding the hembra with themozambique bell pattern. The next three exer-cises build the pattern of bell and hembra. Thethree gradually add the hembra, both closedand open tones, along with the mozambiquebell pattern. The most important thing toremember is that this pattern really swingswhen all the parts are synchronized. Keep that

•

in mind as you slowly proceed through theselevels. (Slowly repeat after me: I know it willgroove, I know it will groove ...)

A refresher note about practicing. Listen towhat you are playing. Watch what you areplaying. Feel for the spots and sources of tension.

70 Mozambique

2b.

2c.

This is the full mozambique pattern fortimbales. When you have successfully per-formed Levels 2a-2c, you're ready for the wholepattern. What has been added to finish the pat-tern is the fourth quarter note of the secondmeasure which now has two eighth notes on

•3.

the bell (body) and a closed note in the hem-bra (played with the stick). Slowly, carefully,with respect for the tradition-that's the way topractice this. Then break out some records andplay along!

Mambo Bell f-++---tl"':-----..+----------n---'----__n__-+~---'""'----------'""'--__n__---------'""'--_;tI

Mozambi ue Bell and Rumba Clave

•

Here is another pattern which works welland grooves hard. Playing rumba clave in onehand and the mozambique bell patterninvolves some independence. But learning thispattern is well worth the effort. You canapproach this pattern the same way as we didthe bell-hembra combination. Take the pattern

one small step at a time until you have the fullphrase grooving. Although this pattern beginson the "2" part of the mozambique bell pat-tern, Changuito insists that one should beginplaying the clave on the "3" part. He isadamant that you would never start the claveon the "2" part .

Clave and Bombo (bass drum)

In mozambique, this bombo, or bass drumpart, is a typical pattern. (The bass drum is notyour typical bass drum, played with the foot. Itis a drum played with a stick and is strapped tothe player much like a military style bassdrum.) Now we are really getting into someserious independence work. One hand is play-ing rumba clave on the body of the chachabell. The other is playing the bombo part. Youknow the drill by now. Take your time andrefer to the section of the book, How toPractice, for assistance. Also, please pay partic-ular attention to how Changuito phrases this,

• 1.

Cha-Cha Bell f-+I-~---'--'------------+-----"I------'--J+;---+---------"----~'------__+__'a.L-'----------+-~-------:,--t

Another bombo pattern opposite the rumba clave. Difficult? Yes.Worth it? Definitely!

•2.Cha-Cha Bell-tt-tF,-----'-------!--7---+-+----------____'\''---------+-----=--------+---4-------f+~---------~-__+__'a.L-'------____'\''-----------''f___A'~

72 ozambique

and many other musical phrases throughoutthis book. Quoting ethnomusicologist WeihZhang from China, "Part of the beauty andrhythmic tension of African, African-American, and other world music is the con-scious blurring of durational values betweenduple and triple ..." Changuito, as well as man -other Afro-Cuban percussionists, is a master .:this idiom. It's not a technique. It's a way of : :=and of musical expression. Try your best tounderstand and then emulate this phrasing. l-is part and parcel of the Afro-Cuban feel.

I~

This rhythm was invented by Changuitoand is a mixture of merengue from theDominican Republic and songo.

Changuito has used merensongo with Los VanVan and is constantly finding new applicationsfor it.


Here is an exercise for mouth and body ofthe mambo bell with muffled hembra played

with the stick. The rhythm in the mambo bellis different from mozambique.

l.

Mambo Bell nk.. I --j)

I J .LJ'r' .AI I .AI -

I Illoi I I -....

Four sounds necessary for proper execution of merensongo make up this exercise.

2. I h I JMambo Bell HD+-I¢~-.Alr+-----"~'I--_..J_------'.Alrr------------+-------'----------:+I

-I I

I

The open hembra is featured in these excerpts.

3.Mambo Bell n k.. I --

j)1 JLJ 'r' .AI I .AI -

10. Illoi .., I I -

"

4. I J IMambo Bell Hn+-lk..~--_----rl----------t--rl--------'}f-----'----------;-HLJ'r' .AI .AI ~

I .,

Merensongo 73

•

fraction of the groove where you may haveproblems with the independence. Start fromthere. Do not leave there until you can per-form, with feeling, this individual part of theoverall groove.

Basic Merenson 0

Mambo Bell

As you can see, you will be playing the mambo bell, mouth (open sound) and body for thispattern. Here is the basic bell pattern .

• Mambo BellHH~~rr---~--~--~--~L---~rr---~--~--~--~L---~

More Advanced Merenson 0

The next, more advanced, level of meren-songo adds a bit more in the hembra. Eventhough this rhythm is not a recent invention ofChanguito, the percussionists and drum setartists in Cuba use it in very modern populardance music. You can hear the influence of thisnext "level" of the rhythm, where the five opentones are added in the hembra.

•This level requires a lot of study. You

should know by now how to take apart themeasures of the groove, dividing them intotheir least common independence denomina-tors. What this means is finding the smallest

Please note, when listening to the CD, thatthe five consecutive open tones have a crescen-do feel, culminating in a slight accent on thefifth note. By "crescendo feel" I mean that it isnot an actual crescendo, per se, but the resul-tant feel provides a very big part of the overallgroove.

3.Mambo Bell ~~-.~~~~~--~--~rr-~r-AL~~----~~~--~~---rt--~--~rr-~r-AL~~--~

74 Merensongo

Addin the Bass Drum-Preliminer Exercises .

Here are three building block exercises to help you develop the independence and feel neces-sary to play the next example.

2.

-3.

•And now we will add the bass drum to the

"basic" and "next" levels of rnerengsongo. Eventhough there is only one bass drum note added

to each measure, it really helps to add to therhythmic excitement and movement.

Merenson 0 With Bass Drum Added

76 Merensongo

Another Merenson 0 Variation-Preliminar Exercises

This next example is probably the mostintense rhythmic activity we've examined sofar. Each two-bar pattern changes either slight-ly or dramatically in its note content. But thefeel never varies. You could, and possiblyshould, practice each two-bar pattern separate-ly, concentrating on the technical aspects ofindependence and correct placement of stickon playing surface (i.e. playing from the mouthto the body of the bell(s) where notated), whilethe other limb is playing its part on anothersurface. Note the ghosted notes, especially inthe second measure of each phrase. Though

there are not many, they never interfere withthe flow of the groove, but instead subtly addthe necessary spice and shading to propel thegroove along.

Yes,our suggestion is to take each two-barpattern and practice it until it becomes part ofyour repertoire. Then and only then progressto the next two measures. When four measurescan be played proceed to the next two, and soon. Here are five building block exercises, notincluded on the CD, which will help you devel-op the bell, hembra, and bass drum pattern.

l.Cha-Cha Bell I-H~'-:.i:l--~--'-----n--------+--------'T-------'-----.H

Mambo Bell HH~~----------~-----------+~--~~rl-~----------~

2.Cha-Cha Bell H-l---f+!'-------;.-f--------"--------rr--'------+-----------4-----'--------'---___;t_~

Mambo Bell H-l---f+"'---------..--------+----rr--------crr------------;t-I

3.Cha-Cha Bell I-++--t-P;----.:t---------rl-~----'---t-"~--------=;I--~-----'--___;t_I

Mambo Bell HH~~---------- __----------~~--~~:I__~----------~

4.Cha-Cha Bell I-++--t-P;-----.t------""'------------crr----'-----t---'-------=r---------"-----___;t_I

Mambo Bell H-l---f+"'-------__..--------t--rl------'-------rr-----------___;t_I

77

5.Cha-Cha Bell Ht1t7~--'------.l_----"IIoI~iIrroL.-+----- ~-----A!----..AL--AL---.:U

Mambo BellHt~----- -------+---J----AL---J------"----------iI

•erenson a-Another Variation

And here is the full pattern.

Mambo Bell

Cha-Cha Bell 1tt1lT~-----'~-+----T----AI~------+ALAL.ALh.Jf-LL--J-----AU4--------.!4--Al-Al~

>- >-

>-

Advanced Merenson o-Preliminer Exercises

Here are six building block exercises, not included on the CD, which will help you develop thebell, hembra, and bass drum pattern for the next example.

l.

Cha-C ha Bell 1-++.......,.----~-----------"1__-----~'____t---------"'I____'""--..oI""----"1_+__-------'""--..oI~f_""L-""'~_+_A'"----'----"'""---~-------'-----'''I___7H

2.Cha-Cha Bell r+t--tt"'------"------------'T----------":/--l----------~---...--.."t_+_----~---..."'----"1____"'-----~_+__"""-------'-------'""----~---------"--'1___:_H

3.Cha-Cha Bell f-++~-------~-------A...~-'------'""------"'1__I--------~----~f_+---------'---"1__'---+_+_"'''-------__''1'-----'"'''---'-~~

4.Cha-Cha Bell f-++~-------~--"""--'-'"f_------~+--'"'-------~------~_+--------~--~f___+---------"'''-----''"''------'''I__---+_~

5.Cha-Cha Bell f-++~-------'----------~-~"------"'1__I--------~------'-----"1__+-----'----A"------"1__'---+_+_"'''-------__''1'-----A'''---'-~~

6.Cha-Cha Bell f-++~-'------"""-----"-'"f_------~+--'"'-------~------~_+--------~----~f___+-------"""'-----"'""------'''I__---+_~

79

•Another pattern for merensongo, this time

with a new bell pattern, the open tones in thehembra, and bass drum. Definitely advancedand most definitely worth the effort.

Merenson o-Advanced Pattern

80 Merensongo

Conga is a rhythm typically used duringcarnaval in Cuba. The group whichplays conga is called comparsa. (This

group is relatively like the samba schools inBrasil. ) The drums used for conga are similarthroughout the island, except in Santiago de .Cuba where the comparsas use bocu, a cone-shaped drum.

Conga Habanera is related to rhumba. Ituses tumbadoras, three in total. The tumbado-ras are slung around the neck of the drummersduring the carnaval parade. The drums used bythe comparsa are requinto, quinto, tumbas orcongas. These drums harken back to theAfrican heritage of drums from Dahomey andfrom the bantu. The bass drums used forconga are: bombo (approximate size: 10"x26"),pilandera (smaller bass drum, 1O"x24"or10"x20") and galleta (smallest bass drum, 4" to6" inches by 20".) Sartenes (Spanish for "fryingpans") are fastened in pairs to holders whichcan be then worn by participants in the com-parsa. Hand bells and snare drums are alsoused.

EI batutero, the leader of the ensemble, islike a "drum major" complete with the "baton;'gives the calls with the whistle. These "calls" arefor breaks in the rhythm, turns and steps bythe dancers, among many other things.

Conga Oriental comes from the easternprovinces of Cuba, the Oriente provinces. InSantiago de Cuba, the comparsa uses, insteadof frying pans, brake drums. The guataca, orhoe blade, is also used. Atcheres or maracas arealso used within the comparsa. In Havana,trumpet or cornet is used in the comparsa butin the Oriente region of Cuba the cornetachina or tromp eta china, a double-reededinstrument of the oboe family, is used. Thisinstrument has a very characteristic piercingsound which is utilized to penetrate the mas-sive sound of the percussion. Everyone in thecomparsa, playing the rhythm of conga, playssome type of percussion instrument. Congahabanera is more like urban music, whileconga oriental is more rural in nature.


Changuito's method of performing theconga also utilizes the mambo bell and muf-fled/open sounds in the hembra. The bell pat-

tern is different than mozambique or pil6n.Here is a look at one measure of conga. Youwill be playing 4 sounds.

n~ I I .J j •.. jU'r' .AI .AI I

10.. I••• ,

'\I • 1.,

2. ~ I J JMambo Bell HDf+-f¢t"'--'~"I---,AJrl-'----rl-,AJ-----""'----------t----------------oH

l.

Mambo Bell

Another measure of a basic conga.

I. I

•••

Conga 81

82 Conga

•

Utilizing the chacha and mambo bells forconga provides interesting challenges and greatgrooves. We must accustom ourselves to play-

ing on two surfaces (the two bells), while p,-sounds from bell and body are played on themambo bell.

3.Cha-Cha Bell f-++-fl"''--'"''-'-------+--~'------''"'--_+_---- .___----_;_t_Ii

Mambo Bell f-++-fl"''---''1-----.t-+----rl-----------'---_+_---- .___----_;_t_Ii

4.

Adding the bass drum and open tone in thehembra, play with the hand which is playing

clave. (Changuito plays clave with his lefthand.)

5.Cha-Cha Bell f-++-fj1-rl-----'f---~f__--''1__--rl-I--t-----__,_----~

Mambo Bell f-H-fl"c-"1------.:j-.l--rl-------------+--------..-------;ti

Basic Bell Pattern

As with many of the rhythms we have beenstudying, the bell pattern plays an important

role in conga. The clave has been added so yocan feel this most important relationship .

1.

Mambo Bell f-++-fl"''--:.rl----rl-----~-~'---_rr___+~___c._b'__rr_------------~

Mambo Bell

•Adding the hembra provides some of the

real feel for conga habanera. Once again theclave is played and written for you to feel and

understand the meaningful connectionbetween rhythm and "key."

2.

Conga 83

Addin the BassDrum

•The addition of the bass drum adds both a

bottom end and an "anchor" to the congagroove. It also adds one more level of indepen-

dence work. If you have worked through theprevious exercises you should not have a prob-lem with this pattern.

Another Bell Pattern for the Con a Habanera

•L

Mambo Be111-H---tt'7-----crl--T--'-----T-----'---""I--..+--+---'1'------rl-.I..-----;rr--~-------_o+II

•Add the clave to the preceding bell pattern.

The clave is played, in this example, on thechacha bell. (You will notice, as in other exam-ples in the book, the bells have been written in

a different manner in the staff. This is done forease of reading.) This pattern and its groove arewell worth the time you will spend learning it.

2.

Addin the BassDrum

•Adding the bass drum for that "anchored"

groove and feeling, plus the open tone in thehembra. This is a great groove, with a very tra-

ditional feeling. We feel it's most important tolearn this feeling.

Changuito's mastery of 6/8 rhythms islegendary. This knowledge is nowpassed on to you. The roots of these

rhythms come from Africa and Changuito hasadded new and exciting variations to these

.-..... •••••••••••• 11III •••

•

basic rhythms and patterns. Most importantly,they all feel and sound great. After some prac-tice you will be able to approximate the soundof the CD and you'll be ready to apply this newknowledge to your own music.

Prelimina Exercises

Chacha bell and hembra, both open andmuffled with fingers or hand, are featured in

these 6/8 rhythm timbale applications.

l.

Cha-Cha Bell n ~...1 ~US I -1"'1 ,.

2.

Bell Pattern

First, let's look at a very basic 6/8 bell rhythm, played for us on the chacha bell.

•Next, we add the closed and open tones in

the hembra. The first two measures are differ-ent from the remaining 14 and are basicallytimekeepers until the actual hembra pattern

develops. The hembra pattern beginning withmeasures 7 and 8 and continuing until the endis an important pattern and should be consid-ered the main "lesson" in this example.

n ...1.LJ

..,

Bembe Bell Pattern

Changuito calls this the "bembe" clave orpattern. Notice that the bell pattern is differentthan the previous 6/8 examples. You will alsofind some difficult patterns in the 4th, 8th,12th, and 16th measures. As mentioned before,this pattern is an approximation of the playingin between triple and duple meter which is socommon in many African-based types of

music. It has been transcribed so as to be legi-ble. There are several important patterns with-in this musical example. Measures 1 and 2 arevery important. So are the aforementionedsyncopated patterns. Listen to the CD andabsorb the feel of the patterns. They are essen-tial to Changuito as a player and to Cubantimbales, rhythm, and music.

~ Rhythms 87

• Bembe Bell Pattern (continued)

r1 ...I ., ...I u .~~ .n .. j ~j J }.D I I I I I ~

.. I..

1 I· -

•1. I ~ ~ ICha-Cha Bell itj--8 7

Another Bell Pattern

This is another cowbell pattern Changuito uses for playing in ~.

~ 7 ~~

.b7

j7 ~~

.D7 ~~

.b7

j*' ...

~ ~~

.b7

j LI~.D~~

.b77 7 7 ... *" ...

.D~~

.b7

j ltOJ~~

.b7~7 7 7 7 ... *' ...

.D rrl~.b7

j ltOJ rrl~.b7~7 7 7 7 ••• ... .•.

.D~~

.b7

j ltOJ~~

.b ~~7 7 7 7 .•.. II

•Adding the open and closed tones in the

hembra yields this result. All the practice tech-niques we have discussed in the book can be

used here. Practice slowly, methodically, andwith great care. You want to get as close as youcan to the sound of the CD.

2.

aBel1 HH~~L-~~~~~~~~~~~~r-~~r-~-4~~~~~~~--~~~~~~~~~~~

ythms

d

Changuito is a very inventive musicianand this groove is one of his finest.Following are some preliminary exercis-

es to help get you going with this groove.These exercises, as with all exercises found inthe opening sections of each chapter, need to

be practiced very slowly and carefully. Repeateach short phrase as many times as necessaryto develop the technique for playing the pat-tern. This will insure the usefulness of theexercise.


Combine chacha bell, the sounds from both mouth and body of the bell, and cross stick inthe hembra.

1.

Cha-Cha Bell I-++~------.+-----"''----rl---''''-----''----n----t---------..---------:-H

2. j >-1 >-1 nCha-Cha Bell Hn+-f-~~-----rt----.1--""'-------~-------.------;.HU 'r' AI AI

I I

Add the open hembra, played with stick.

3.

Cha-Cha Bell f-+t-W,----..t----"''----rl--'-------''''----rl--+------..--------;tt

Another pattern using the open sound of the hembra.

4.

••

•

ba Songo l.aye

The Bell Pattern

Here is the bell pattern for this extremelyfunky rhythm. Note how the bell very clearlystates the rumba clave. And, when you listen to

the CD, please pay attention to how this pat-tern is phrased; pushing and pulling, all thetension/release creating a great groove.

1.

Cha-Cha BeII H+--tt';-..t------..t--------""'--------.r---t-"'''-----n---~-----'----___;tI

The hand not playing bell plays cross stick .on the hembra. Here is the pattern. The accent

mllst remain in the bell while this pattern isbeing played in the hembra.

2.

Cha -Cha Bell f-H--w;~r_---JO"'--_rl_----'----.----.+-+--"'''----rr---_rr__------JO'''---___=+I

Adding an open sound in the hembra,played with the stick. The accent has become a

bit less here, so we are using a staccato mark-ing instead of an accent marking.

3.

Cha-Cha Bell Ht-~------'--------#'-_1~---*''-t--+---------.'--+_--___;fI

•Another open tone pattern in the hembra

gives this special groove another reason toswing! Measure 9 is special way of phrasing

very typical to "afrocubanismo," Listen to theCD. Try and feel it for yourself. Imitate itbecause it is being played by a master.

4.Cha-Cha Bell H+~_'-'----- ~f-'---*-'-~'---- - --+--+-'-'-------4~f-'---*-,-~- L----4j--~f----I

•Adding the bass drum provides yet another

layer to this groove. The clave is not over-emphasized, so the staccato markings are usedagain. Measure 9, once again, is treated a bitdifferently. This time, though, it's a bit"straighter" then the previous example. It'swritten to reflect the subtle difference.

(By the way, both measure 9s in these twoexamples are not written correctly. This is justan approximation of the notation. Diagrams,symbols, and direction markings have beenused by others to denote the "laid back" or"fast forward" movement in these phrases. Inother words, listen to the CD!)

5.- a-ChaBell H+~-'~-----'~~--~~~--~---'--~---r~----~~~----~~~-'L---~~--~

-

I

HoW and why should we practice inde-pendence on timbales? We have allbeen taught, or wanted to learn at

some point, the fine art of independence. It is adrumming trademark. This is a method, devel-oped by Changuito, which is based on feel notnotes, roots not exercise; playing cascara, clave,6/8 patterns, while soloing with the other limb.The solos are based on phrases that makebeautiful musical sense. How to do it? Youknow the drill. Break the pattern down to theirlowest common denominator, sticking pat-terns. Start slowly, one small increment at atime, until the whole phrase flows from yourhands and heart. This section provides somevery musical independence ideas which willassist you in developing your skills as a tim-balero and percussionist.

Independence is a key ingredient in adrummer's ability to ably perform on his orher instrument. Changuito has developed thisstyle into an amazing tour de force of percus-sion skill and musical mastery. Independence isone thing. This artistry combines the musicalphrasing of disparate rhythms and rhythmic

structures, molding them into a mind-bog-gling creative exploration. Anyone who hasexperienced this style of performance cannothelp but be moved and challenged as a per-former as well as a listener.

It is as performers that we must examinethese phrases, first to develop a sense of theindependence, then to delve deeper and workon the physical act. But when these arethrough, our goal is to play music, using theindependence as a springboard from which tojump into waters charted by a few daring vir-tuosos. In Afro-Cuban music, Changuito is thecaptain of the crew.

Changuito uses these ideas as true soloideas. In his many workshops around theworld, Changuito at times performs as a solopercussionist. This is where these ideas cometo life. They can work in a group setting butthey shine when used in solos.

An idea from Changuito is to sing the sololine while playing the main rhythm, in thesecases either cascara or ~ clave.

Cascara in One Hand/ Solo Pattern in the Other Hand

(You may choose to do these musical exer-cises with either hand playing either part, fur-ther enhancing your independence.)

Changuito employs many different solophrases in the left hand while the right handplays cascara on bell. Presented are several pat-terns, each of which will present unique chal-

lenges. (Please review "How to Practice thisBook" for practice ideas.) Most important tothe process is the phrasing. This can only beachieved after thorough practice of the techni-cal aspects of the exercise. Take your time, goslowly, methodically, and you will eventuallymaster these phrases and develop your own.

This first musical independence exercise isbased on the relationship between the cascarapattern in one hand and another syncopated,

musical pattern in the other hand. We havebroken down the pattern into small incre-ments, making it easier to study and perform.

Inde endence Exercise 1

• Pattern 1 features a short two-note phrase counterpoint to the cascara pattern .

• Pattern 2 extends the previous pattern by one note .

• Pattern 3

•Pattern 4 is played on the drums and is slowly making itself known. Play musically .

•Pattern 5. Adding more to the pattern completes musical idea .

• Pattern 6. Here is the the completed musical idea in its performance form.

Independence Exercises 97


•This is another melodic independence

"movement" featuring the cascara pattern anda very syncopated, though logical, rhythmicaccompaniment. This pattern is presented in a

different, more flowing, manner than the pre-vious group of musical examples. Perhaps thismethod will give you more of an insight as tothe creative process involved in this idea.

ependence Exercises


•Changuito has developed some amazing

musical ideas using his singularly extraordi-nary independence and musicality. Here is onephrase which demonstrates this amazing abili-ty. Basically these are six-note phrases (begin-ning and ending with a rest), but the beauty

should not be lost in the theory. There is awonderful feeling imparted by this, and manyother of Changuito's musical and inspiringphrases. Listen to the CD before you begin toread the example.

99

*continues on next page

Inde endence Solo 1

•All three of these musical ideas are now

presented in a short independence solo show-case. Please notice, when listening to the CD,

the seamlessness of the flow of ideas and thegroove so inherent in the piece.Truly a work of art.

Inde endence Solo 1 (continued)

.tarnbo Bell


t ~..b t· .bl

J ~ * J ~


•Inde endence Ideas with the 8 Clave or Bell Pattern

This first exercise demonstrates a relatively basic independence idea.

l.

- -: -Cha Be II 1-++---x------=r-------=r-------------+--"'!------'---T----=J-----+-------=O/----'----=J--------------+--''1-----~----~--''__________I

•This second exercise is a bit more intense and melodic than the previous pattern.

2.Cha-Cha Bell 1-+I---H--------'~------''1_-------''''''----~1__---~1-----~'--------_t_-~-'-~----''''''-------_+~--''--~------'--~--'______l


•The third musical exercise. As with all exer-

cises in this book, when listening to the CDpay particular attention to the phrasing. Thereare times when a literal transcription onlycomes close to what is actually being played.

Attempting to transcribe certain phrases exact-ly would only serve to confuse rather thanenlighten and educate. Listen to the CD for thebest possible idea of how the notated rhythmsare interpreted (felt).

Example 2 continued.

•And now, all three patterns played in a

beautifully constructed solo. Please listen to theintensity and sure-handedness with which thissolo is executed. The proper execution of this

solo would be a lofty goal for even the mostseasoned of percussionists. Listen, listen, thenlisten some more. This is really a work of art.

Inde endence Solo 2

Cha-Cha Bell 1-+t--H------'T----~"------------t--+---'--~-----"1___---__+_-~----""'-----~-'------'-+__"'1___----~--------L-~-----__l


05



ndependence Exercises


•Chan uito Solo 1m rovisation

El MamboSelecci6n de Radarnes GiroEditorial Letras CubanasLa Habana, Cuba 1993

Los Instrumentos del la Musica CubanaFernando OrtizDireccion de Cultura, Ministerio deEducaci6n. La Habana, 1952, Volumes I, III, IV,VII

Enciclopedia de Cuba1955

Musica en el FolkloreArgeliers Leon

Los TimbalesMaria Elena Vinueza Gonzalez (1980)

Las Pailas CubanasMarta Rodriguez Cuervo

Las Pailas CubanasMelba Lucia Pascual Lopez (1988-9)

Approximaci6n alas Pailitas CubanasMireya Marti Reyes y Maxmiliana Iaquinet

La Musica y el PuebloMaria Teresa LinaresEditorial Pueblo y Educaci6n

De Lo Afro Cubano a la SalsaDr. Olave Alen RodriguezEdiciones ARTEX S.A.La Habana, Cuba 1994

Percussioni (November 1991)Interview with Tito Puente

Miguel Failde, creador musical del danz6nOsvaldo CastilloCNC, La Habana 1964

Musica del CaribeJose ArteagaBogota, Colombia

Enciclopedia y Clasicos CubanosNatalio Galan SariolMadrid 1974

EI Son Cubano - AntecedentesCrist6bal Sosa L6pez

La Clave CubanaCrist6bal Sosa L6pez

EI Toque LatinoJohn Storm RobertsADAMEZ. Mexico 1982

Nationalizing Blackness: "afrocubanismo"and artistic revolution in Havana, 1920-1940Robin Moore

The following list of recordings andgroups is compiled from the author'spersonal collection. Where no particular

albums are listed, acquiring most of the workby the named artist would be very worthwhile.

Adalberto y su Son NG La Banda

Aragon, Orquesta Palmieri, Eddie

Aliamen, Orquesta Papines, Los

Barretto, RayIndestructible

Paulito y Su Elite

Delgado, Isaac

Puente, TitoLa LeyendaTop Percussionany other selections

Charanga Habanera, La

Fajardo, JoseCuban Jam Session

Reve, Orquesta

Ritmo Oriental, OrquestaFania All Stars

Rojitas y su OrquestaIrakere

Son 14Kako, Totico y El Trabuco

La Maquina y El Motor Tipica 73

Kimbos, Los Valdes, Carlos "Patato"Patato y Totico

Klimax

Libre, ConjuntoVan Van, Los

Any albums, especially the workrecorded in 1974, withLlegue, Llegue and GuarareRitmo y Candela (Round World Records)"Afrocubanismo!" (Bembe 2012-2)

Lopez, Israel "Cachao"Jam Session #2Jam Session with Feeling

Bu in these and other recordin s:

Descarga Mail Order Catalogue1 (800) 377-2647

Tower Records

Many other locationsQbadiscPO Box 1256Old Chelsea tation

abanico -literally, "fan"; a stylized roll playedby the timbalero usually to signify a change inthe music (i.e. from verse to chorus).

baqueteo - a style developed by Cuban tym-panists, of playing beats on the shell or headwhile the fingers of the other hand "filled in."

bongo bell - also called cencerro, the bellplayed by the bongo player (bongocero) duringcertain sections of Afro-Cuban popular musicstyles.

campana - cowbell

cascara - the shell of the timbales; the patternplayed on the shell of the timbales.

chachacha - a Cuban music style, developedfrom the danz6n, and created by Enrique[orrin.

chacha bell - the bell, usually the smallest ofthe bells, played for chachacha and other styles.

charanga francesa and charanga - a Cubanmusical group, developed in the early 20thcentury, which played danz6n and danzonete,and later chachacha,

cinquillo cubano - a five note pattern derivedfrom the Cuban contradanza.

clave - a five note pattern which serves as thefoundation of many, if not all, styles of popu-lar Afro-Cuban music.

comparsa (or conga de comparsa) - the spe-cific musical group which plays the conga dur-ing carnival.

conga habanera - the Havana style of thecuban carnival rhythm, called conga.

conga oriental- the Santiago style of thecuban carnival rhythm, called conga.

contradanza -literally, the "country dance;'

this 18th century style of Cuban music wasinfluenced by the European court and countrydance.

danza - a 19th century musical and danceform which served as the precursor to thedanz6n.

danzon - a Cuban musical and dance formderived from the contradanza and danza.

ghosted notes - are notes which are playedmuch more softly than a regular note.

guataca - hoe blade used in the conga decomparsa.

guayo - a larger version of the guiro.

guiro - a serrated gourd, scraped with a stick,very popular in Afro-Cuban, as well as otherLatin American countries', music.

hembra - the female, in the case of this book,the larger of the two drums.

macho - the male, in the case of this book,the smaller of the two drums.

mambo - an up tempo Afro-Cuban popularmusic style, developed in the 40's and 50's.

mambo bell- the bell played by the tim-balero in mambo style songs.

manoseo del cuero - a style of using handsand fingers developed by early Cuban tympa-nists.

marcha - literally "march," the name some-times given to the conga part.

merensongo - an Afro-Cuban feel inventedby Changuito.

montuno - the repeated syncopated vampplayed by the piano.

mozambique - an Afro-Cuban rhythminvented by Pedro Izquierdo (Pello el Afrokan),at first used in the Cuban carnival, later popu-larized by Eddie Palmieri in New York.

orquesta tipica - a Cuban musical group usedto perform the contradanza.

pailas - a vessel of iron or copper used in thesugar cane factories of Cuba; another namegiven to timbales.

pailitas or pailitas cubanas - smaller in. sizethen the paila, these instruments allowed theperformed to sit while he played.

palitos -literally "sticks"; the sticks and pat-tern played during rumba.

pilon - a rhythm invented by Enrique Bonnein the eastern province of Cuba.

rumba - an Afro-Cuban folkloric musicalform, consisting of drums, dance, and call andresponse. The three types of rumba are yambu,guaguanc6, and columbia.

sobado - the name given to the sound playedby the hand on the hembra, or low drum fromthe Spanish word "sobar"- to rub.

songo - a form of Cuban popular musicwhich blends rumba, son, and other Afro-Cuban rhythms with jazz and funk.

timbalero - the timbale player.timbales - a set of two, tuneable drumsinvented in Cuba. Timbales are the directdescendant of the European tympani.

timbalitos - smaller version of today's tim-bales.

timbalones -larger version of timbales, typi-cally found in charangas.

timba songo laye - an Afro-Cuban feelinvented by Changuito.

tumbadora - cubanized version of Africandrums, also referred to as the conga drum.

tumba francesa - a folkoric style developed inthe Oriente (eastern) province of Cuba, devel-oped by Africans who departed Haiti after theHaitian Revolution in 1791.

tumbao - the repeated pattern played by thetumbadoras or conga drums.

a master's approach to timbales-changuito

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