Samba to Salsar A Guided Tour Through the

Fertile (if confusing) World ol Latin/iazz

Sgrles.
Presentedat the Missouri Music EducatorsConference
1:15p.m., Friday, January25,2008

By JamesDreier
Sponsoredby: University of Iowa School of Music, SabianCymbals and LP Musical
Instruments.

Thank you for attendingthis clinic. If you would like more information, pleasevisit my
web sit: wwwjamesdreier.com, where all the documentspresentedhere will be available
(go to "resources"link, then to "pdf' files).

I would like to thank the sponsorsof this clinic (seeabove) and Mr. Tim AuBuchon,
Assistant Professorof Music and Director of lazz Studiesat Truman Statefor the
invitation.

Pleasefeel free to contact me through the web site or by phone or email to discussany of
the issuesbrought up in this clinic.

Email: i [email protected]
Phone: 319 621-6002

JamesDreier is a Lecturer in Jazz Studiesat the Universitv of Iowa. where he

teachesJazzlmprovisation for Drum Set, JazzEnsemblesandthe Jazz
Cultures class. Dreier is also an adjunct instructor at AugustanaCollese
(Rock Island, IL) where he teachesapplied lessons,jaz.z.combosand runs the
World Hand Drumming class. Dreier is an educationalartist for Sabian
Cymbals and LP Musical Instruments.

Pleaselook for my article: "Timba-go" in an upcoming edition of Modern Drummer

Magaizne.
 t23

The famiiy of Cubanclave Patterns

CubanTriplet

FowardSonClave

Forward Rumba Clave

Reverse Rumba Clove

Afro-Cuban6/8
 CUBANICLAVE-BASED
JamesDreier
SPHERE Copyright 2008

The most common rhvthms/stvles

Mambo/salsa
Cha cha cha
Rumba
Afro-6/8 (bembe,Afro/Cuban 6/8)
Songo
Bolero
Danzon

The most common instruments

Congas(tumbadoras)
Timbales
Bongos
Hand-held: claves,maracas,cow
bells, shekere,guiro
Drum set

Musical Characteristics
. All melodies,rhythms and horn lines informed by clave pattern (seeclave
families).
. The "tumbao" bassline (seebelow).
. The "montuno" piano line (seebelow).
. Strong syncopationand counter-point, again, directed by clave pattems.
. Often written in2/2 or 4/4 time.
. Scoreoften featureshorn sectionsthat build/layer on rhythmic, syncopated
riffs.

Rhythm SectionExamplesfor Mambo (also see"easy" peroussionscores)

Piano (gtr.)

J -\-/- -J

)
 BRAZUAN.BASED SPHERE
JamesDreier
Copyright2008

The most common instruments

Surdo (bassdrum)
Caixa (snare drum)
Drum set
Hand-held: Ago-go bells, triangle,
shakers,pandeiro, tamborim, samba
whistle

The most common rhythms/styles

Samba(hundredsof varieties)
BossaNova
Bai6o
Partido Alto (sambavariation)
Samba-reggae
Frevo

Musical Characteristics
. Rhythms structuredover common "Brazilian" rhythmic vocabulary (similar to
clave, but not basedon clave. Seepiano part below.)
. Strong accenton beat 2 (feeling 2 beatsper measure)
. Often written in2l4 or 414using sixteenthnotes.
. Guitar and piano comping over samerhythmic vocabulary (NOT like a
montuno. Think Jobim type guitar vamp from "Girl from Ipanema" or "Quiet
Nights...")
. More harmonically focused and complex, richer chords.

Rhythm SectionExamplesof Samba(also see"easy" percussionscores)

Bass

Piano(gtr.)
 CARIBBEAN.BASED
JamesDreier
SPHERE Copyright2008

The most commonrhythms/styles

Calypso(Tinidad,Tobago)
Soka(Trinidad,all over)
Merengue(DominicanRepublic)
Reggae/Ska(Jamaica)

The most commoninstruments

Pan/Steeldrums
Breakdrums(cowbells)
Drum set
Congas
Triangle (large)
Shakers(not maracas)
Tambora(Merenque)
Giiira (Merenque)
Timbalesandcongas(for Reggaeonly)

Musical Characteristics
. Strongdriving quarternote or dotted-quarternote ("big three") pulsein bass
and drums.
. Up-beatfiguresin drums(hi - hat). Think of asa hipper o'disco"beat.
' Usuallywritten in2l2time.
' Strongeight-notesubdivision.

"easy"percussionscores)
RhythmSectionExamplesfor Calypso(alsosee
Bass

Piano(gtr.)

C* ^ 1 7 fS^oi ?
 Recommended Latin/i azz books
JamesDreier

SalsaGuidbook. RebecaMauleon. SherMusicCo., 1995.

Comprehensiveguidbook to Cuban basedmusic with rhythm, piano, bassand
some ensembleexamples. Lots of history and background. No drum set.

Salsa and Afro Cuban Montunosfor Piano. Carlos Campos. A.D.G. Productions, 1996.
A very thorough study of Montunos, how to build them and apply variations.
Good resourcefor when a montuno is required but not in the piano part. Comes
with CD.

Afro Cuban Rhythmsfor Drum Sel. Frank Malabe and Bob Weiner. Manhattan
Music/Warner Brothers Pub. 1994.
My favorite "Afro/Cuban" drum set book. Great information and nice
applicationsto jazzand other styles as well. Not a beginner's book, but not too
"play along."
much information either. CD included great for examples,but not a
Good background info on each rhythm presented. Some traditional folkloric
parts included as well.

Latin-American Percussion. Birger Suslbruck. Den Rytmiske Aftenskoles Florag, 1982.

Highly recommended(though now slightly dated),this resourcebook is still the
benchmark for basic information about instruments and rhythms of Latin America
(including Brazil). Includes scoresand breaks and lots of illustrations for learning
parts. The video is excellent. No drum set. (cassettesand video tape)

The Essenceof Afro-Cuban Percussion and Drum Set, The Essenceof Brazilian
Percussionand Drum Sel. Ed Uribe. Warner Bros.
Extremely comprehensive books with great source material and exercises for
rhythm section,percussionand drum set. Very complete,with a lot of
background information. The CDs are good but have flaws in the tracking
information. Highly recommended. (CDs)

Inside the Brazilian RhythmsSection. Nelson Faria and CliffKorman. Sher Music Co.,
2001.
A very authenticbook that gives piano, guitar, bassand drums all play-along
tracking on the CD. The tunes are very good and the musicians are outstanding,
but the material is pretty advanced. Not for young players. Good resource for
understandingbasic RS conceptsin Brazilian music.

The Latin Real Book. SherPublications, 1997.

A very thorough "Real Book" of Latrn/jazz standards,with versions for C, B flat
and E flat instruments,as well as many vocals. Very well done, but a lot of
information crammed into each page which can be confusing. Good additional
material and referencesincluded. Includes both Cuban,Brazilian, Salsaand
contemporary L atinlj azz,tunes.