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Da FUNKIFYING THE CLAVE (ee i AFRO-CUBAN GROOVES FOR BASS AND DRUMS ea thre UM rel it and Robby Ameen TNCLUDES 6 PLAY-ALONG CHARTS. 90-MINUTE CASSETTE WITH GUEST ARTISTS:FUNKIFYING THE CLAVE AFRO-CUBAN GROOVES FOR BASS AND DRUMS by Lincoln Goines and Robby Ameen Published by Manhattan Music, Inc. DISTRIBUTED BY DCI MUSIC VIDEO 541 AVE. OF THE AMERICAS, NEW YORK, NY 10011 © 1990 MANHATTAN MUSIC INC. INTERNATIONAL COPYRIGHT SECURED PRINTED IN THE USA ANY UNAUTHORIZED USE OR COPYING OF THIS MATERIAL IN WHOLE OR IN PART IS PROHIBITED BY LAWACKNOWLEDGEMENTS: INTRODUCTION DRUM/BASS KEYS 1 CLAVE AND TUMBAO CLAVE, BASS EXAMPLES 1-6 SAISA-PERCUSSION CHART BASS EXAMPLES 7-9 DRUM EXAMPLES 1-4 2SONGO DRUM EXAMPLES 1-13 BASS EXAMPLES 1-10 3 GUAGUANCO RUMBA PERCUSSION PARTS DRUM EXAMPLES 1-7 BASS EXAMPLES 1-5 PIAA Www °F 10-1 1213 15.7 18-20 21 au 21.25 26-27 4 AFRO-CUBAN 6/8 DRUM EXAMPLES 1-3 2930 BASS EXAMPLES 3031 5 CHA-CHA AND MOZAMBIQUE 32 CHA-CHA DRUM EXAMPLES 1-3 32 CHA-CHA BASS EXAMPLES 3 MOZAMBIQUE DRUM EXAMPLES 1-2 33-4 MOZAMBIQUE BASS EXAMPLES 3435 NOTES ON THE TUNES 38 CHARTS “MAMBO FOR TAJRID™ 42 *¥O ME SONGO" 46 “HOTEL NATIONAL" 9 ‘AFRO WALTZ 52 BLUE CHA-CHA” st “METAL MOZAMBIQUE" 8 DISCOGRAPHY 61 ss s—wK SSS CASSETTE SIDE A: ‘SONGS—FULL BAND. MAMBO FOR TAJRID 2:45 YO ME SONGO 2:56 HOTEL NATIONAL 2:34 BASS EXAMPLES 22.19 ‘SONGS MINUS BASS 18:25 SIDE B: SONGS—FULL BAND (CONTINL AFRO WALTZ 4.00 BLUE CHA-CHA 3.48 METAL MOZAMBIQUE 2:22 DRUM EXAMPLES 18:29. SONGS MINUS DRUMS 18:25 —_—.}]. SONGS MAMBO FOR TAJRID (2:38) Oscar Hernander ‘Oscar Hernandez Piano/Synth Lincoln Goines Bass, Robby Ameen Drums ‘YO ME SONGO (2:54) Lincoln Goines/Robby Ameen/Bill O'Connell- Bill O'Connell Piano Lincoln Goines Bass Robby Ameen Drums HOTEL NATIONAL (2:30) Lincoln Goines/Robby Ameen/Bill O'Connell- Bill O'Connell Piano. Lincoln Goines Bass Robby Ameen Drums AFRO WALTZ (3:58) Bill O'Connell Bill O'Connell Piano Lincoln Goines Bass, Robby Ameen Drums BLUE CHA-CHA (3:48) Lincoln Goines/Robby Ameen/Mike Stern/Oscar Hemandez— Mike Stern Guitar Oscar Hernandez Piano Lincoln Goines ss Robby Ameen Drums METAL MOZAMBIQUE (2:18) Lincoln Goines/Robby Ameen/Mike Steen Mike Stern. Guitar Lincoln Goines Bass Robby Ameen Drums All bass and drum examples played by Lincoln Goines Robby Ameen, Recorded at M & I Recording, 16, 1990. Engineered by Richard Kaye. id y, Feburary 7 andThis book is largely a result of our professional and informal interaction with the Latin musical communities of New York, Puerto Rico and Havana, Cuba. We would like to thank a few individuals for their contributions: Frank Malabe, whose encourgement and influence provided the inspiration to write this book, and Ralph Irizarry, for being such a great source of information; Alex Acufa, Bobby Allende, Johnny Almendra, ‘Arturo Baseneva, Louis Bauzo, Steve Berrios, Ignacio Berroa, Rubén Blades, Eddie Bobe, Milton Cardona, Luis Conte, Sal ‘Cuevas, Paquito D'Rivera, Ralphie De Jesus, Sammy Figueroa, ‘Andy Gonzalez, Jerry Gonzalez, Robbie Gonzalez, Horacio “el Negro” Hernandez, Giovanni *Manenguito” Hidalgo, Ben “Tito” Marrero, Irio O'Farill, Danilo Perez, Portinho, Mare Quitones, Jose “Changuito™ Quintana, John Riley, Abraham Rodriguez, Bobby Rodriguez, Ruben Rodriguez, Joe Santiago, Roger Squitero, Dave Valentin, Papo Vasquer, and Mike Vinas Special thanks to our wives, Souhad and Merle; to Bill, O'Connell, Oscar Hernindez, Mike Stern and Richard Kaye for helping us with the music; Rob Wallis and Paul Siegel for taking fon this project; Jim Petercsak for his input and advice, Jack Waltrip and Bob Sherwin for the hours spent with us working ‘on the transcriptions, and Dan Thress for his enthusiasm, ideas, and hard work. We would like to dedicate this project to our parents May and Lane Ameen and Warren and Wanda Goines. pridt. Monr Ply Armes Funkifying the Clave: Afro-Cuban Grooves for Bass and Drums attempts to provide drummers and bass players with an under- standing of the application of Afro-Cuban rhythms to contempo- rary jazz, funk and rock. We decided that the project should be a joint bass and drum book because the key to understanding and ‘executing these types of feels comes from each players aware- ness of what the other is doing. In seeing how both parts work together, itis possible to develop a feel for the particular shyth: ‘mic relationship that occurs in this type of music, thus enabling, you to “funkify” your own grooves. ‘The intangible element within this music often lies in its swing," or the ability to play in between triplets and 8th-notes. This swing aspect of the music is apparent in all of its forms and applications, but is certainly most pronounced in the folkloric context. It is the same distinction that occurs in jazz: time with the ride cymbal beat and the part of the pulse the walking bass sits upon. As with jazz, there really is no substitute for listening and the reader should refer to the discography at the end of the book to leam more about traditional and modem Afro-Cuban and salsa feels. To help interpret the rhythms in this book, we have included ‘a cassette tape of the musical examples, Before each example a brief introduction is given, including an example number. These ‘audio cues are found inside the dark grey boxes above each ‘For an in-depth study of traditional Afro-Cuban rhythms, including a glossary, (covering phy, and discography, refer to Afro-Cuban Rhythms for Drumset by Frank Malabe and Bob Weiner, also a Manhattan Music/DCI Video. musical example. In the book you may want to write in specific tape cues corresponding to the counter on your cassette player in the major sections of the book (or before each exercise) 19 help you reference the tape quickly. The book begins by breaking down the two elements most crucial to the understanding Latin music: clave and tui Chapter one will provide a historical background of Afro-Cuban ‘music, in particular leading up to the music commonly known a5 salsa. The emphasis will be on the traditional and essential roles Of the instruments, including the percussion section. The remains der of the book will explain five basic Afro-Cuban rhythms: songo, guaguanco, 6/8, cha-cha and mazambique. in addition %0 showing these grooves in their purer forms, we will integrate them into our own style. ‘At the end of the book are six band tunes which incorporate many of the musical possibilities discussed in each chapter. tune has a two stave chart consisting of the bass and drum pats In addition we have provided play-along versions of each song minus either bass or drums, An informal discussion of each song appears at the end of the book. It is not the intention of this book to provide the readlet with the complete or definitive background in traditional Latin music Rather, we are using the music as a departure point towards developing some new feels without losing sight of the past Note: The music examples and text relating to bass are shaded in light grey to help differentiate them from the | drum examples and text. any of the terms used here) bibliogre lable fromDRUM AND CYMBAL SET-UP 1, 22" x 16" bass drum 2 612" x 14" oF 3 3.8'x 10" tom 4.10" x 12" tom 14" brass snare 5.11" 13" om \ 6.16" x 16 tom D = 14" AA regular hi-hats ny LIS" AA thin crash / C12" HH thin splash pe-aleeey 20" AA Sound Control Ride ey Ey Aah ae yuk | F 2 AA Chinese eee G16" HF thin crash eee, H.Mambo bell Say 1. Cha-cha bell \ J. woodblock u wy | Mambo bell 1 Goa L Crasher / S 4 DRUM KEY cumpats DRUMS . COWBELLS, ETC. 5 ea fae oll abe de High 1 d Ae Snare Mid Mid 2 poor i ag eee = ~ " Cross-stick 4. Ride or hi-hat f. Mambo bell bs. Hichat w/foot .Cha-cha bell 6 Right hand hihat (xchat) h.Woodblock 4. Cymbal bell i High pitch (tacato tone) © Crash eymbal j: Lowe pitch (open tone) TIMBALES CONGAS BONGOS PF SO Rater ro a b. © PePalm F*Fingers a, Finger on head, muffled tone P+Fingers T=Thumb b. Open tone w/fingers S*slap OnOpen. «, Side of other timbale O=Open ‘BASS KEY ‘T=Thumb H=Hammered with left hand ‘PePuck ‘XeMuted ghost noes [Numbers under notes are suggested left hand! fingerings.CHAPTER ONE: CLAVE AND TUMBAO Just as the most crucial element of rock and funk playing is in the backbeat, Afro-Cuban music is all centered around the clave, which incidentally, is Spanish for “key.” The clave is an interchangeable two-bar rhythm to which all other rhythms must relate, whether as "3:2" of 23." Rumba clave 3:2 ed. Gree sec amere ‘This clave is often referred to as rumba clave. The som clave (also 3: Coameeye hpi ah 2 If in jazz or pop music you snap your fingers or clap on “2° and “4,” in Latin music you clap clave. Lyrics and melody usually determine how the music fits within the clave. In the course of a song, the relationship of the music to the clave can occasion: ally change from 3:2 to 2:3 (or 2:3 to 3:2). This will generally ‘occur by either adding or dropping a bar, so that the two-bar clave itself is never simply reversed. By listening to the music of the idiom, you will come to understand how to hear what side of the clave a tune feels better on, and this will affect everything the band plays, including the percussion section, bass and piano, lead vocals and chorus, horn lines and accents, and final ly solo phrasing. Poorly phrased rhythms are referred to as cru cao, oF crossed. During the 1930's, 40's and 50's, great Latin band leaders such as Israel “Cachao” Lopez, Arsenio Rodriguez, Machito, Tito Puente and Tito Rodriguez, along with many others, developed. an integration between African and European musical forms which had previously been for the most part segregated. bd Rumba clave 2:3 le ‘The following traditional examples are written as they would be seen in an actual Latin bass chart; however, note how in some of the audio examples the notes on the fourth beat are played Jong and extended over the bar. This is done to match up with Die de eee 3} 2 of 2:3), doesn't displace the last 8th-note. lee (s. 2) adil Generally speaking, these musicians combined African rhythmic structures with European harmonies, although African melodic and harmonic forms also played a role in the black music of the New World, as, for example, in blues music. In Cuba and Puerto Rico, this marriage led to a variety of musical styles and dances, such as son, mambo, guajira, bomba, plena, cha-cha, rumba and many others which today make up what is commonly known as salsa In salsa, the shythm section consists of congas, timbales, bongos, bass and piano. The heart of the ensemble is to be found in the bass sumbao, A tumbao is a repeated figure (either fon conga or bass) which creates the groove. For the Cubans, the bass was a European instrument which could be used 10 imitate the sound of a drum, playing a role which had previous- ly been served by the marimbula, a large African thumb piano, for a botija Chass notes blown through a bottle), The music has since been played on upright bass, electric, or typically in many salsa bands, an eleciric upright called a “baby bass.” the conga tumbso, The attitude given wil ee the eving of the entre ba and percussive, I usually use the wherever possible, ATA AANA Ti ols st in cus |BHT Bi ‘One way 10 intemalize the clave is 10 practice tapping it with your foot while playing a tumbuo. This is a method used by ‘many Latin musicians (most notably Bobby Rodriguez the great bassist with Tio Puente) and is an excellent independence exercise which really helps lock in the groove, The emphasis here is on accuracy, not speed. Begin with a medium tempo on Bass tumbao independence exercise dass Play the metronome (quarter-note = 76), then add the clave with ‘your foot and gradually blend in the tumbao. The trick is to get the tumbao syncopated with the 2-side of the clave, in sequen- tial order: Foot-right hand, foot-right hand (note: on the 3eside ‘of the clave, the foot and hand fall in unison). Now it is time to consider the basic rhythms the percussion section lays: down in a typical salsa tune. First, there is the basie conga tumbao (or masacote) played on one, two or more drums: (note the low drum on the 3-side of the clave) Conga tumbao 23 pRSFP FOO PFSOOFOO R LL RRRLRR‘The bongo player's-or bongocero'-groove is the martiflo, with alternating riffs conversing with the singer, which is known as the repique. Here is the basic martllo: Bongo martillo pattern FEETEFOT 23/32 RLRLRLR When the song reaches the montuno, or chorus (coro), the bongocero plays the large bongo bell and usually plays this pattern: Bongo montuno bell part aU Lone sma 2 After the coro, the tune generally goes into the mambo section, which is like a brass shout chorus, often followed by a hozn or pe cussion solo. The bongocero will now play on his bell the rhythm the timbale player-or timbalero-was playing on the side of drum during the verse, ‘The timbalero stars the tune (the verse) playing on the sides of the timbale—which is called playing pail, or cascara: PREETFFOT Yi bk wt Re ‘Timbale cascara pattern 23 > > > RH i) = (w/o stick) For the coro, the timbalero moves to his mambo bell and plays this bell-ride: ‘Timbale montuno bell ride 23 ‘When the tune reaches the mambo section, the timbalero often moves to the eymbal, once again playing the cascara pattem with left hand accents on the drums. Another important function ‘of the timbales is to announce the beginning of the montuno or other sections with an abanico, which is a rimshot followed by a double-stroke roll of varying length (depending on the tempo) 23 All of these percussion examples have so far been written in 2: clave; for 3:2 clave, the measures are simply reversed. It should also be understood that these are very basic versions of the parts these instruments play. There are also many variations and nuances always being added by each player, for example, with 8 ~ and ending with another rimshot on “I” of the next bar. The abanico is traditionally used to signal the introduction of a cow= bell pattern on the timbales. Interestingly enough, abani ‘means “fan,” and the roll actually sounds a lot like fan ‘whisked open with a flick of the wrist. the timbalero's left hand. Iti important, however, to be familiar with the basic parts and to sce how they can be applied to the Grumset. On the following page is a skeleton transcription of the fundamental percussion section parts played during the’ course of typical salsa tuneOnzrez OzcqdHZzoz mom < mami < 23 > > > > = Timbales RH nN Congas 1H ‘with (stick) PrESFPFOO|PFSOOFOOSome notes on the parts: ‘Timbales Verse—A common alternative to the left hand on the drum is to fill in the 8th-notes on the side of the other drum with the left hand, > > > > > > RH LH Montuno—A common ‘Mambo—This is the se ft hand alternative is to play clave on a mounted woodblock (this can also be done on the verse). mn during which the left hand is most free, riffing between low and high notes on the low drum. Congas ‘Verse—The single open tone on the 3-side of the clave is often a matter of taste; it can also be staggered every 4 or even 6 bars, though remember it will always appear only on the 3-side, Mambo—The congas are more likely to play a bit freer in the mambo, using a few fills. Bongos Verse—The martillo pattern is the frame of reference for the riffing that the bongocero plays during the verse, always returning to and playing off of it. ‘Montuno—Often the bongocero will wait for one or more coros to go by before picking up the bell, coinciding with the first oF even second inspinacion—the lead vocal improvisation, ‘Mambo—There are sometimes other cowbell patterns that can be played in this section, All of these rhythms can be condensed onto the drumset in a variety of ways, despite the fact that the drumset isn’t a part of the typical salsa setting. It is most important to consider the role of the bass drum within the context of the bass tumbaos when playing, Latin grooves, The drummer should rarely play on “1,” because the essence of Latin swing comes from "4" being tied over to “1” of the next measure. Quarter-notes played on the beat are reserved for the cowbell, paila or cymbal patterns; the bottom instruments (bass, bass drum, congas, ete.) generally don’t play on “1.” The most common bass drum pattern is: Bass drum pattern 2:3/3:2 ‘Some common variations could be: Bass drum variations 2:3 [As for the bass, in keeping with the rhythmic foundation, chord changes are usually anticipated on the fourth beat of the preceding bar: 10pI AT Esa? BH GaT BA? BH F? BAT GH ba? BY Ga7 ch Gar AT E}A7 WHere are some combinations of percussion section grooves played on drumset, beginning with the cascara pattern (right hand) being played against the rumba clave (left hand) along with bass drum patterns 1 and 2. Practice with the hi-hat playing half-notes and quarter-notes, 2:3 Rumba clave SS a ee ee 4x HH ‘The cascara pattern should be practiced on both sides of the clave using both rumba and son clave. Here for example is the son ‘lave against the 3:2 cascara pattern: 3:2 Son clave ie SSS ‘The left hand can also pick up the conga pattern, though this sounds a bit dated to me: Left hand conga pattern 23 Here is the cowbell ride pattern against the rumba clave played with cross-stick: ‘The snare can also be used in a clave-like manner, which funks things up considerably: 8x te *) 4 * i i tt ul Practice all of the above thythms with the hi-hat playing quarters and half-notes.Just as the bass drum is rarely going to groove well playing downbeats, backbeats on “2° and “4 often go against the grain of this music. I have found that a single backbeat on the 2-side of the clave can work pretty well: 23 32 \ \ SS a ea aL Keep in mind that when we are talking about backbeats, since we are generally in cut-time, the backbeat is really es sion section without getting in the way:CHAPTER TWO: SONGO Songo is a rhythmic form developed in the 1970's by the great Cuban percussionist Jose “Changuito” Quintana and bassist Juan Formell of the group Los Van Van. Songo represented @ major break: through in Latin music by introducing the drumset into the standard percussion triumvirate of congas, timbales and bongos. While some timbale players had been known to add a bass drum or even a snare into their setups, the songo rhythm finally put the drumset on equal footing with the other instruments, For the bass, songo represents a much more free and open siyle of playing. Ulkimately, songo reflects the influence of rock and funk from the U'S., and that of other Caribbean-based styles, on Cuban musicians. Example 1 shows the basic songo rhythm on the drumset 23 All of these songo rhythms should be practiced with the hichat playing half-notes and quarter-notes. The left hand can also be orchestrated between the snare, toms, open hishat chokes, left hand cowbell, et., providing an endless number of variations OTA» 15eae = Similarly, the right hand need not stay locked into the quarter-notes on a single bell, but can add some notes or move higher bell: ‘Example 4 Here's a right hand variation, played on 2 different cowbell, 23 @ = cha-cha bell Another right hand pattern, which I heard Joe! Rosenblatt use with Michel Camilio, is played between the right hand hi-hat and the bell. I then added *sweeps” with the left Foot on the hi-hat, (o create the sound of the songo guiro pattern: (same as 2nd part of Example 6) (sas ly, the bass drum variations given in chapter one are completely compatible with all ofthese ehythms.) When 1 first started playing songo behind different groups, I sion breakdowns, or soloing). I then decided to move most of the ind that unless T stuck t0 the left hand cross-stick type left hand to the hichat while hitting the snare on a kind of songo 16 above often sounded 100 busy or cluttered — backbeat. This ereated a much funkier and more versatile groove: (they worked better when limited 10 select parts of a tune, percus- TT oes moroR ® Reto Leb Rp ikeD LRG. L. ‘Exsiple11/Here's the slower version ofthe songo conga patterns) (same as Example 10) Meanwhile, doing away with the cowbell altogether, it is possible to simply ride on the hi-hat and creating this funk groove. This example is shown with two snare drum variations, rporating the songo backbeat ‘Example 12 This is a funk groove which incorporates the songo backbest Note that different toms may be substituted on the fourth beat of the 2nd bar. R tr LORE RRLER EL RL RE RE es = >> While all of these examples have been given in 2:3 clave, they can also be played in 3:2 clave, as always, by begining with the sec ‘ond measure. 7In songo, while the tumbao for the bass remains intact or implied, other inflections can be added. Here are a few examples of some possibilities for songo bass: 2nd x “This pattern invites the bassist to occasionally fill in the space provided by the last two bars. 3:2 Rumba clave ca pT G7 FA ca D a F4 vineSince all rhythmic and melodic figures in Latin music are drum ori ented, as a bassist I found it very beneficial to sit down and learn ‘some pattems on the drumset and congas—not only songo, but ‘most of the other rhythms covered in this book as well, so Lat Jeast had a basic idea of how they are played. This helped me to hhear how the pattems were pitched and to build permutated lines accordingly. Here are some examples of how the slap technique can be ‘used to further embellish a bass tumbao and build intensity in the shythm section. This isa style developed by Latin session great Sal 23 ‘Quevas. These lines are essentially “double lines.” tumbao on the ‘bottom and fragmented piano (montuno) or conga patterns (or the bassis's own personal funk phrasing) on the top. ‘While the initial attack should be sharp and percussive, the tumbao notes should ring over into each other ina legato fash- ion—keep the left hand relaxed and spread over the notes to be played. Keep the emphasis on the tumbao, and don’ let the syn- ‘copations throw off the groove. Make the lines smooth but agares- sive, Examples 6 and 7 begin with eight bars of basic tumbao: PIP pari :|p. simileSS In the following examples the tumbao notes are circled. (Example 8 Slap songo’ pete Pattern FT 7 7 ae i g lex © FBTR) TS eh YP eC) Pte r T 7xP PTP aterating “Example 10 Slap songo (3:2) A inte different tumbao pate Fr Gi SM Fr Gi 32constantly riffing (he repique), also taking his cues from the : I. dancer. A typical song begins with the clave and palito, fol- ‘The traditional rumba group includes three congas, clave, lowed by the drums, verse, chorus, quinto solo, chorus and out. Here are the basic patterns of the percussion ensemble, The clave will be numba clave: el ba dd 32 Palito Salidor orlow cong 32/23 pr oF FO implied | 32 7 y Finally, the quinto solos over the whole ensemble, often weaving in and out of the implied quarter-note triplet and Sth-note (or triplet and 16th-note) feels of the other drums. _— EEE 32 > > Wehbe Me Se eal RL Ret et‘The floor tom can be addled to reinforce the 3-side of the clave, which we will see greatly enhanced by the bass player's guagua tumbaoss (not included on the tape) = = n the tap Ee Reist Aue oR Lee Rolo ts ot ‘The snare drum is basically playing the slaps of the tres golpes part, but the left hand can also riff around and play some qui licks, while the basic guaguanco voices are already being covered: 3:2 LicBe ‘simileThis next example works preity well behind quieter sections of a cune, or during percussion, piano and bass solos 32 Once again, by re-orchestrating the sound sources by moving the left hand over to the hi-hat, with the right hand on the snare drum, a much funkier sound can be realized:Atthis point, the rhythm starts to resemble a Bo Diddlley/New Orleans second line style, where the pulse is more clave than backbeat. RL RLRR° RL >o _omom oon Pu ET =The role of the bass functioning as q.drum partis most evident in Rodriguez. In the first example, note the melodic similarity to the the guaguanco. This is a style of playing developed by Cachao, _ tres golpes of the guaguanco. This line is commonly used both in ‘who in addition to playing with a full band, also recorded with unison with, and as a call-and-response to, the tres golpes. just congas and vocals, along with the guitarist Arsenio 233/32 4x Cachao is a master at riffing around on the bass within the context of the clave, in much the same way as the quinto follows the lead vocalist or the movements of the dancers in traditional rumba: Like the drums, the bass can also get into the “Bo Diddley/New Orleans” groove by outlining the 3:2 clave in the following manner, 3 ae A on Here are some lines that combine elements of guaguanco, New Orleans second line style, and funk. (Example 5 Punk-guaguanco, 2 variations — 23 4x T P T P TP rs Pp 7 P TH THLE 26T simile P TH Torre 1a 11 THTHTH Tito Puente Andy Gonzalez (Photo courtesy of Boys Performing Ans CenteIfthe dotted quarter becomes the quarter-note in 4/4 time, it creates a half-time jazz or a shuffle fel J.-J Similarly, with the dotted quarter becoming quarter-notes, you can play 8th-notes over the pulse, creating a double-time swing fee J.J d-J : Meanwhile, the 8th-notes of the 6/8 can become 3/4 quarter-notes, creating a jazz-waltz feel d-JKeep in mind that there are many variations of this groove, second bar, One interesting pattem comes from a bass drum/hi- which can involve all sons of changes, such as using different hat combination suggested by David Garibaldi’s playing, which bass drum patterns, adding toms, bringing out ghost notes, or can be used underneath all of these patterns: leven freeing yourself up from a backbeat pulse on *1° of each Keeping this pattem going with the feet, here is a tom idea which echoes a more folkloric conga pattern. Note its melodic similarity tothe anco: Bass: ‘As with all the other Afro-Cuban rhythmic forms shown in this very polyrhythmic in nature and can be heard and felt in many book, the 6/8 bass tumbao takes those elements from the different ways. When playing them I usually feel the time mov- ‘drums that best connect rhythm and harmony. These lines are ing in dotted quarters and make the notes long and even. 30TepTP TP -T-P TP a 0 bette 31CHAPTER FIVE: CHA-CHA AND MOZAMBIQUE CHA-CHA, ‘This chapter will focus on two other common grooves within on, as it is one of the only basic chythms that lends itself readily the Afro-Cuban tradition, to a backbeat on 2" and “4,” with the incorporation of the bass The cha-cha groove is most easily recognized by tempo, and sometimes bass drum on the downbeat. Anyone who has which is generally medium-slow to medium (M.M. 88-132). ever listened to Santana's version of the Tito Puente standard More than any other Latin style, it may be the easiest to rock out “Oye Como Va" knows what we mean. Here is a basic cha-cha groove on the drums: Within the Latin context, the cha-cha is best characterized by the constant quarter-notes the timbale player plays on the small c cha bell 213/312 Small cha-cha bell LH on drum Remember, the cha-cha can also be played in 3:2 clave.‘The bass tumbaos in the cha-cha often resemble the tumbdos of Chapter 1 played at a slower tempo. A good example of this is found in the guajira groove (Chapter 1, Example 6). Slap songo lines can also work well atthe cha-cha tempo. Here are some examples: MOZAMBIQUE Mozambique is another rhythm which has offen been used in a rock and funk context. It forms the heartbeat of quite a few of Steve Gadd's Latin grooves, such as the drum part on Paul Simon's “Late In The Evening.” Here is the basic mozambique played on timbales 0 0 «eo coy ° + LH stick on drum Once again, we see the heavy accent on the “and” of *2” in the 3-part of the clave. Here is a funky version of the mozambique that grooves nicely over a broad spectrum of tempos. Part of the funk comes from the bass drum playing both “1” and *2" of the first bar of the clave RLRL “Also see Steve's nsructional videos “Up Close” and “in Session," availabe from DI Music Video.Like the drums, the bass line for the mozambique often starts on the downbeat of the 2:3 clave. Also characteristic is the rhythmic ‘pattern of the first bar and the 7th of the chord on the Bth-note preceeding the second bar. 23 gg |xample This is modern varlation onthe mozAMBHIBE °F 23 gy|xample 5 This is another modern vartatton Ome Mozambique 100 1s ‘This next line matches up with the mozambique timbale pattern: Funk-Mozambique 23 4x Bane Pee oF PT ath Tae ene it In certain cha-cha and mozambique grooves the downbeat will Orleans-guaguanco grooves, where the downbeat of the 3-side be incorporated, whether on the 2-side or the 3-side of the ofthe clave is played, clave. By and large, we have only seen this to occur in the New 35Bill O'Connell RobbyNOTES ON THE TUNES “Mambo For Tajrid” Oscar Hernandez wrote this for us as an example of a typical salsa structure of verse (melody), montuno (coro), mambo, verse and. ‘out, Besides being a well-established sal writing, most notably in his arrangements for Rubén Blades. Drums: ‘The drum grooves demonstrate some possibilities on the kit within the idiom, while not playing songo. The verse is straight 4 with the rumba clave, which seems to swing a lot better at this tempo and without percussion, The [B] section of the verse goes to the son clave with the backbeat on the 2-side of the clave. The montuno (synth solo) uses the basic timbale bell Bass: ‘This tune begins with a 4-bar tumbao, The added 9th in this fig- ure gives it a jazz favor. Section [B] is a breakdown feature for the bass-iry to feel the clave when phrasing your own fills. ‘Oscar's synth solo at [D] is the traditional montuno section-here Example Breakdown (from Chapter 1) Drums he intro is example 1 played on the cymbal bell Ais also example 1 Bis example 4 [D] (Montuno solo) is example 2 4a pianist and arranger, Oscar is also known for bringing a more progressive style (0 s ride, while in the mambo things get a litle looser with the lft hand playing against a cascars-like pattern on the cymbal. The fills during the band breaks almost become part of the breaks, a litle like filing while playing a groove. The key here is not to fill around the figures, but rather within them. I just lay on a straight tumbao. A typical device for the mambo. includes a strong unison line with the other instruments, as demonstrated here at section [E Bass D] is based on Example 1 “Yo Me Songo” ‘This tune came oped over the years asa rhythm section for Dave Valentin, Drums: The drums begin at with the basic songo cross-stick pattern, the bass drum catching some of the movements within the bass tumbao. The second time around, the right hand hi-hat is added to the bell, spicing it up without getting in the way. at [B] a funkier sound starts to be implied and the extra snare hits are played in unison with some of the bass slaps. The breakdown at (C] stats with the songo backbeat, riding on the hi-hat, and ‘dropping the quarters-notes on the bell, which finally leads into Bass: In the [A] section, the bass plays a simple melody. up with Robby’s bass drum. I wanted to show here bass can cary a melody while still playing a tumbao. [B. slap songo, Note that in the 17th bar of this section, I alter the line to make a hit with the snare. In the breakdown I introduce st matches v the Example Breakdown (from Chapter 2) Drums A] First time is from Example 1 ‘A] Second time uses the right hand of Example 6 3B] Derived from Example 8 (C] Example 12 Piano solo is derived from Example 13 bout as a group effort with Bill O'Connell, We wanted to show a songo style which the three of us have devel- a straight backbeat as the bass line gets played in its entirety. This line is really funk, but it’s sill in clave, and still feels lke songo. By catching parts of the line with the kick and a hi-hat froove, you can stil add the backbeat with the right kind of bass line without sounding like you just stared playing *2° and “4° to make a Latin groove sound funky. The groove then moves back to the songo backbeat over the piano montuno, Which goes into the ride-out songo for Bill's solo 4 line which is developed into a funkier line at [D] as the mine builds. 1 wanted to demonstrate here how the bass can play a line that stays with the clave and keeps the spirit of songo while the band goes from Latin to funk and back again. Bass: [Ais an elaboration of example 1 Sections [B] and [E] are similar to Example 8; in the tne, the last &th-note from the 2-side is tied over to the Ist note on the 3side.“Hotel National” (guaguanco) In this tune we wanted to link up the more traditional guaguanco the two feels, Drums: ‘The right hand hichat sets up the clave the fist time through [A then adds the conga parts on the toms the second time through. Meanwhile, the clave is still implied with the right hand ghost fon the snare during the funk sections. For the second half of the Bass Tn this tune the bass plays fotklorie-style lines stretched out to Fit the melody while still keeping in clave. These are alternated with Example Breakdown (from Chapter 3) Drums ower verslon of Example 4 [Elare based on Heamples 1 and 2 re base on Examples 57 with the funk guaguanco, so we moved back and forth between piano solo there's more of a block chord montuno-like feel going on. 1 felt this needed a slight change, so T went to the cymbal to open it up. Finally, we go back to the original ‘guaguanco, with sweeps on the hi-hat the last time around, suaguanco funk lines. I play fills inthe bars before secon [] that anticipate the funk fel and smocth the wanshions, is derived from example 2 begining on the 3-side is like the 2nd part of Example 5 is similar to Example 3 is the Ist part of Example 5 [Eis like Example 1 —)]).7-$ hh] SSS “Afro Waltz” This tune, written by Bill O'Connell, is a good vehicle for explo ring the various time feels which can be superimposed over the Afro-Cuban 6/8 groove, particularly in the jazz and blues vein. Bill is an exciting improviser and we hope you enjoy playing with him as much as we do, Drums: ‘Once you get past the 6/8 groove, you can begin to think about whatever time feel is coming next so that the transitions will feel comforable and the sections will flow into each other. Naturally, Bass: ‘The pulse in both the "jazz four" and shuffle moves in quarter- notes. I distinguish between the two feels by using more a denials and chord movement in the jazz section, while in the shuffle I stick mostly to a pentatonic approach. Similatly, there is Example Breakdown (from Chapter 4) Drums First time through the chart is a version of Example 2 Bass ‘Uses Example 1 (Ist variation for 6/8 heads) Example 2 for shuffle section these feel changes are not always planned in advance; concentrate con making yourself comfonable moving back and forth between them, depending on what the soloist is doing, a slightly different anitude between the 6/8 heads and the jazz waltz tag—in the waltz I put a litle bit of forward motion and. bounce on the pulse, while in the 6/8 I focus more on the mid dle of the beat. —S SK SSS “Blue Cha-Cha” ‘This quartet tune shows how a cha-cha feel can be applied to a Mike and Oscar worked up a melody to fit the mood, Drums: ‘The left hand is basically playing clave throughout the tune; ‘whether as cross-stick (for the head and piano solo), or snare {drum (for the guitar solo). The bell pattern is used to give a lift the second time through the head and piano solo. The guitar solo starts out as half-time rock, mixing single backbeats with two hits on the 2-side of the clave. The double-time licks are medium rock groove. We came up with a chord progression and, played in unison with the bass. Finally, when I go up to the cymbal, the clave goes into a straight rock backbeat for a while The halftime and the straight backbeats are two common ways of rocking out on a cha-cha groove, but playing the whole or part of the clave on the snare can also sound pretty strong for a different approach.Bass: ‘These are typical lines that develop into a funk-rock style at Mike's solo. On these slower kinds of grooves, I concentrate on especially when going from a pizz to a slap line, Note the double time hits with Robby in bars 9 and 13 of the guitar solo, strong, even notes to help keep the tempo from picking up, Example Breakdown (from Chapter 4) Drums Intro and 1st is Example 1 2nd A and 2nd [B]is Example 2 2nd fl of guar sl in [6s Example 3 Bass derived from Example 2 Mike's solo is similar rhythmically to Example 1 (funk variations) “Metal Mozambique” ‘We came up with a strong funk feel derived from the mozambique rhythm and decided to just rock out on it. We wanted to show how a Latin-oriented groove could be brought into a rock power trio format. The tune illustrates that not everyone has to be play- ing or even thinking Latin all the time to still make it work. Mike Stern was the perfect choice for rounding, out the tio with his powerful soloing style and instinct for bringing out the essence of the groove. Drums: Throughout this tune, the drums and bass are almost always in unison, The litle changes within the groove at [A] are played together, andthe line at [3B] calle for straight rock quarters on Bass ‘These lines are tightly locked in with the drum patterns. I use the slapping technique all the way through to get a hard defini- tion to match Mike's and Robby's intensity. Example Breakdown (from Chapter 5) Dru The [A] groove is an elaboration on Example 1 Bass ‘The [A] section uses Example 6 the snare. The solo sec of the original groove, ‘mozambique par. on [G] is sort of a pared-down version ith the toms playing a more typical CLOSING ‘The reader should realize that there are a multitude of Latin rhythms in the Afro-Cuban tradition, not to mention those of Brazil, Haiti, The Dominican Republic, and many other South American and Caribbean countries. Also, we have not touched upon the bata drums, whose Afro-Cuban rhythmic forms could make up a lifetime of study. In closing, we hope that we have provided a means of eap- turing the attitude of some common Afro-Cuban grooves, and shown how they can complement some of today's contemporary music styles. What have been presented here are just some ideas and possibilities as to where these rhythms can go. Ukimately, you should feel free to take them somewhere new, discovering, new grooves that work well in your own musical situation. This is the best way to keep the music growing: by understanding and maintaining the integrity of its roots, while at the same time with preconceptions, allowing the music to reach more and more peopleMAMBO FOR TAJRID 23 © Oscar Hernandez Fsus}3 Cymbal A] Melody usm] af Simile 2 2 Tacet 2nd time ¥ Fill 2nd timeB] AB AB | Light fill Tacet 2nd timeFil > tt Mambo | | : : | Fill 2nd timeTacet 2nd time +| Tard. DJ.) ill 2nd x : cMontuno FT G7 BHT E 2nd x only Fv G7 BH G7 2nd x only 2 Ist x only FI G7 BY G7 Break Down L RL RRLLRL LR RLYD] Songo | #6 bars) R RRR L™LR RL L E] Montuno 2nd x only “Crasher” R RLRLR L RL G? Bret PRT po9 pis Slap Tumbao Gi BH AyD [ee EeHOTEL NATIONAL © Lincoln Goines Robby Ameen Bill O'Connell Bz Descarga on zr zr x ET x 2nd x x x Ly SBi, x 2. G7 Al THTHFilllatx / / / 7 Funk i ET E7 Tat rp -—% P THTFill 2nd x E | Rumba Guaguanco By ET 2 _ Fill last x 3rd&4thxonly —S__> $__? E7 tr wr 1,3, B7 Zr 2.7 ay THTHTHAFRO WALTZ © Bill O'Connell E7 Bl alt 2 E7 BT alt E sus E at FAT Bro Ev FATALSolos: AAB Bs alcads | tia ext zed weiocliexhies Gel cae 1 @ Coda be Fineae Al tr r Lr |. Istx. “A | Melody ar z z 2nd x on cowbell HH w le : G FYar FA?) BT9 ETH ATPiano solo 2nd x Al HH w’ foot FT Simile ‘AT Guitar solo AT @ FP at cr P7A3 pT By9 Ew AlG7 ar Db?x“ elax 7 2nd x Ist x only > 2nd x on cowbell HH w/ footMETAL MOZAMBIQUE © Lincoln Goines Robby Ameen % Mike Stern tr teTeTPTe. topo +5 == SEEe te = eee = ee + SS RRL SSS eS Se See Fill last x. GC GC F7B Pies Poe Pete To PTP ym. Ist x only F-6/Bb TPTPGuitar Solo Cc BY cr G BI FIB) GTC G-8C FT F-5B> HH JA cym Ist x only D.C. al Coda S [a Coda Si = at = FineDISCOGRAPHY Albums are referenced according to their general chapter relevance as follows 1-Clave and Tumba; 2-Songo; 3-Guagua Afro Cuba Barretto, Ray Batacumbele Blades, Rubén and Seis del Solar Blades, Rubén and Willie Colon Cachao Ey su Ritmo Caliente Camilo, Michel Coltrane, John D'Rivera, Paquito Gonzalez, Jerry & Fort Apache Band Machito Meters, The Palmieri, Eddie Patato and Totico Puente, Tito Rodriguez, Tito Rubalcaba, Gonzalo Santamaria, Mongo ‘Tjader, Cal Totico y sus Rumberos Valentin, Dave 4-Afro-Cuban 6/8; 5-Cha-Cha and Mozambique. “Afro Cuba” (chapters 2,4) “Que Viva La Musica” (1,5) “Reconstruction® (1,5 with Sal Cuevas) “Con Un Poco de Songo” (2.3.5) “En Aquellos Tiempos’ (2) “Live atthe University of Puerto Rico” (2) “Live” (all chapters) *Siembra” (1 with Sal Cuevas) “Cuan Jam Sessions in Minjature—Deseargas” (1) “Miche! Camilo” (1.2) “Live at Birdland! “Why Not" (1.2.3) *Obatala” (all chapters with Andy Gonzalez) “Ya Yo Me Cure” (3,4 with Andy Gonzalez) rakere” (1.2.4) Que Pista (1,2 with Changuito) Anda Ven y Muevete (1,2) “Afro-Cuban Jazz” (1) “The Sun of Latin Music” (1,3,5) *Sentido” (1,5 with Andy Gonzalez) “Patato y Totico” G3, with Cachao and Arsenio Rodreguer) “Dance Mania” (1,5 with Bobby Rodriguez) “Goza Mi Timbal” (1,2) “Tito Tito, Tito” C1 with Cachao) “Giraldilla” (all chapters) “Live in Havana” (2) “Grupo Proyecto de Gonzalo Rubaleaba” (2) “Greatest Hits” (1,4,5) onia Libre” (1) “Totico y sus Rumberos* (3 with Andy Gonzalez) “Kalahari” (2,5) “Live at the Blue Note” (all chapters) Egrem Fania Fania Tierazo Tierzo Tierrizo Hlectra/Asylum Fania Pana Columbia Impulse Columbia Enja Pangaea Columbia Egrem Egrem Verve Charley Coco Coco RVC RCA Intemational Concord West Side Latino Messidor Messidor Areito Fantasy Verve Montuno GRPLINCOLN GOINES Gato Barbieri Bob Berg Michel Camilo Scott Cossu Paquito D’Rivera Dizzy Gillespie Dave Grusin Vie Juris Ryo Kawasaki Tania Maria Vince Mendoza Bob Mintzer Bob Moses Bill O'Connell Mark Soskin Leni Stern Dave Valentin Lincoln Goines endorses ESP basses SELECTED DISCOGRAPHY “Para Los Amigos In The Shadows’ “Michel Camilo’ “switchbs ‘Why Not ‘Celebration’ New Faces ‘Out OF the Shadows’ Night Line’ Horizon Drive Little Tree Live ‘Come With Me ‘Made In New York’ Start Here Urban Contours Incredible Journey Spectrum’ Visit With the Great White 5} “Love For Sale ‘Overjoyed Secrets” ‘Closer to the Light Dave Valentin/Herbie Mann Fl “Live at the Blue Note Mind Time ‘Light Struck Jungle Garden Kalahari ‘A GRP Christmas’ Doctor Jazz Denon ces Windham Hill ces cBs Ger Arista GRP Muse CBS/Sony CBS/Sony Concord Jazz Manhatian Fun House DMP DMP. DMP Gramavision Jazz City Pony Cai Jazz City (Pony Canyon) Enja Enja GRP GRP GRP GRP GRP GRP GRP ooROBBY AMEEN Rubén Blades David Byrne Conjure Scott Cossu Dizzy Gillespie Paul Haines Kip Hanrahan Bill O'Connell Eddie Palmieri Daniel Ponce Hilton Ruiz Dave Valentin , SELECTED DISCOGRAPHY Live Elektra ‘Nothing But the Truth’ Hlekara Agua de Luna’ Elektra Escenas Hlekara ‘Crossover Dreams’ Hlekatra Rei Momo’ ‘Cab Calloway Stands in for the Moon ‘Switchback New F Endl Warner Brothers American Clave Windham Hill Darn it American Clave Then She Turned So That Pangaea Days and Nights of Blue Luck Inverted Pangaea Love For Sale Jazz City (Pony Canyon! Sueno’ Intuition, Change te Llama’ Island Strut RCA/Novus | Two Amigos GRP | Live at the Blue Note GRP Mind Time GRP. Light Struck’ GRP Jungle Garden GRP ‘Kalahari GRP A GRP Chris GRP Robby Ameen endorses Pearl drums sticks, Peter Engelhart Metal Percussion, a
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