CLAVE CONCEPTS; Afro Cuban Rhythms

In order to understand Afro Cuban rhythms one must pursue an extensive study of the clave role and its relationship with the instruments, compositions and arrangements.  For it is the clave rhythm that provides the foundation in this style of music.

There are two major clave styles in Afro Cuban music; the son clave and the rumba clave.  They are both two bar rhythms, consisting of a bar containing three notes and another containing two.  These rhythms can be approached two ways.  In the 3-2 often refer to as the "forward clave" and in the 2-3 refer to as "reverse clave".  The choice of the direction of the clave rhythm is guided by the melody, which in turn directs all other instruments and arrangements.  In many contemporary compositions such as the ones recorded by Fania All Stars, Mongo Santamaria and Ruben Blades, arrangers make use of both directions of the clave in different sections of the tunes.  As far as the type of clave rhythm used, it depends on the style.  Generally son clave is associated with dance styles, while rumba clave is associated with folkloric rhythms.

The following shows both styles in the 3-2 variety.  You will discover that the difference lies on the fourth beat of the first bar.  In the son clave its on beat "four", while in the rumba clave its on the 'and of four'.  You should practice these rhythms clapping, while tapping quarter notes with your foot that is beats "one, two, three and four" then by tapping half notes with your foot that is beats "one and three".    

 

   

In the following example you will find the origins of the clave rhythm.  In Cuba the clave pattern developed from various 6/8 rhythms found in sacred and secular African music.  Again practice by clapping the rhythm while tapping your foot, this time tapping dotted quarter notes that is beats "one and four".    

   

The following example illustrates 3-2 son clave and its relationship with two other percussion instruments; timbales and congas.  First you will find the rhythm played on the cascara or shell of the small timbal for which I have marked clear points of connection, and second the basic conga rhythm known as tumbao, which features open tones on the low drum on the "three side" of the clave.  

 

After practicing all the examples as written you should reverse them and approached all the rhythms in the 2-3 variety.

CLAVE CONCEPTS; Tito Puente's "Para Los Rumberos"

This article focuses on the importance of the clave in writing melodies, arrangements and in the direction of the rhythms employed by all instruments, for it is the clave pattern the one that provides the foundation in styles based on Afro-Cuban music.  This article features a brief analysis of the main theme from Para Los Rumberos written by Tito Puente (please refer to cd Cuban Carnival by Tito Puente and his Orchestra - RCA 2349-2-RL) and its relationship with the clave concept.  Tito Puente believes that the arranger is the most important person in the orchestra, for it is the arranger's role to fit the composition, give it the correct timing and the correct clave direction, "very important those insignificant little sticks" he says.

As explained in my article on Clave Concepts; Afro Cuban Rhythms, there are two major clave styles in Afro Cuban music; the son clave (generally associated with dance styles) and the rumba clave (associated with folkloric rhythms).  They are both two bar rhythms, consisting of a bar containing three notes and another containing two.  These rhythms can be approached two ways.  In the 3-2 often refer to as the "forward clave" and in the 2-3 refer to as "reverse clave".  The choice of the direction of the clave is guided by the melody, which in turn directs all other instruments and arrangements.  The following examples show the son clave in both the 3-2 and 2-3 versions.  For an example of the rhythm section parts please refer to Clave Concepts; Afro Cuban Rhythms.  

   

 

In this brief analysis of the main theme of Para Los Rumberos you will find that the melody line definitely works in 3-2 clave.  I have heard recorded versions of this tune by other artists who for some reason — no knowledge of clave concepts, or understanding of Afro-Cuban rhythms, or simply as Tito Puente put it to me "their own interpretation" — have not taken into account the clave concept.  What results from that is a melody "fighting" the clave rhythm.  The following illustrates the melody in its proper clave setting:

excerpt from:  Para Los Rumberos  by Tito Puente  

 

Next time you listen to music based on Afro-Cuban music (Latin-jazz, salsa, etc) try and analyse the clave direction by the rhythms played, the melody, the arrangement, missing or added bars (change of clave direction), etc, you will be pleasantly surprised at the amount of serious work that these styles command in terms of composition, rhythms, arrangements and interpretation.

BOMBA; Afro Puerto Rican Treasure

The Bomba is the most popular music and dance style found on the island of Puerto Rico.  The style has strong African roots and it flourished among the black slaves working in the sugar cane plantations in the 18th century, and in particular in coastal towns such as Loiza Aldea.  Traditionally the rhythm is performed using bomba drums; barrell shaped hand drums similar to the Cuban conga drums but slightly shorter, cuá; a pair of sticks on the side of a drum or log drum, and a single maraca.

This rhythm was incorporated into the "conjunto" or band set up in the early 50's by Rafael Cortijo.  In this format the congas have substituted the traditional bomba drums, the cuá pattern is played on a woodblock or side of a drum, a cowbell pattern played by the timbal player has been added, and the Puerto Rican scraper known as güicharo is often incorporated.  In its traditional form the rhythm is performed with up to three bomba drums. Two play supporting patterns; the burleador and seguidora, while the highest or requinto improvises throughout.  The cuá plays a one bar pattern, while the maraca marks the basic pulse.  The performance also incorporates dancers and singers.

Hand drum key: O= Open Tone   P=Palm   F=Fingers   M=Muffled Tone   S=Slap  

 

 

 

   

 

Performance arrangement: Start with burleador, then seguidora, cuá, maraca and finally the requinto. Some excellent recordings of popular Bombas include:

Caliente=Hot  Puerto Rican & Cuban Musical Expression In New York (New World RecordsNW244-2) 

Modesto Cepeda  Raices De Bomba Y Plena (MCB 9504)

Rafael Cortijo  Cortijo Y Kako Y Sus Tambores (Ansonia 1477)  Cortijo Y Su Combo (Seeco Tropical STR 90529)

Kako Kako Y Su Orquesta  (TR 00900 LP) 

Los Pleneros De La 21 & Conjunto Melodia Puerto Rico, Puerto Rico Mi Tierra Natal (Shanachie 5001) 

Mon Rivera & Willie Colon There Goes The Neighborhood  (Vaya VS-42)

Valdez, Carlos Understanding Latin Rhythms Vol.1  (LPV 337 LP)

MOZAMBIQUE; The Manny Oquendo Touch

Mozambique is a popular style that was developed in Cuba by Pello “El Afrokan” in the early 1960s.  This carnival style rhythm, originally performed with numerous drums, was greatly influenced by another important Afro-Cuban carnival style; the Conga de Comparsa. 

The rhythms presented here are examples of the style adapted by the New York bands who popularised the rhythm in the late 1960s, and in particular the band led by Eddie Palmieri which featured the great Manny Oquendo on timbales.  According to noted bassist Andy Gonzalez (WKCR-FM interview, 1995) “Manny had a great deal to do with popularising the Mozambique.  The actual pattern has become the repertoire for almost every timbal player, a standard rhythm that Manny synthesised from a bunch of parts played in a big ensemble of drummers.  To this day you ask any drummer or timbalero to play Mozambique, and he or she will play the beat that Manny came up with.  It's too bad he didn't patent it!”.  

In Manny Oquendo's Mozambique style for timbales, the right hand plays a cha cha bell (small high pitched bell), while the left hand with a stick plays muffled and open tones on the low drum.  The conga part presented here is one of the most popular parts employed in this style.  The clave pattern is the one that provides the foundation in Afro-Cuban styles.  The patterns — son clave and rumba clave  — can be approached two ways.  In the 3-2 direction often referred to as the “forward clave” and in the 2-3 direction referred to as “reverse clave”.  In the example presented here the claves play the rumba clave style.  The rhythms are written in 2-3 clave.    

Conga Key:    O= Open Tone    S= Open Slap

Timbal Key:    RH= Cowbell    LH= Low Drum (with stick)    O= Open Tone    M= Muffled Tone  

Some excellent recordings featuring Manny Oquendo and the Mozambique rhythm include:

Eddie Palmieri  Mambo con Conga is Mozambique (Tico SLP-CD-1126)  Molasses (Tico SLP-CD-1148) 

Cal Tjader  Bamboleate (Charly CD 194)  El Sonido Nuevo (Verve 314 519 812-2) 

Manny Oquendo  Manny Oquendo on Timbales (Alchemy Pictures - Video)

THE BERIMBAU; Heart of Capoeira

The berimbau consist of a wooden stick which is strung with a steel string to form the bow shape, a gourd with an opening on one side which acts as a resonator, a coin or stone, a thin bamboo stick, and a basket shaker called caxixi. Traditionally in Capoeira (the Brazilian martial arts style) the berimbau rhythms are accompanied by the following percussion instruments; pandeiro (a tambourine with a head and flat jingles), agogo (two iron bells), reco reco (a bamboo scrapper) and atabaque (tall barrell style hand drum).  All these instruments give the Capoeira a very distinctive and unique sound.  During the jôgo de Capoeira (game of Capoeira) various traditional, folkloric and improvised songs are sung accompanied by clapping.

The technique of playing the berimbau is unique and quite hard to master, as you not only have to hold the bow and balance it with the left hand, but are also required to hold a coin or stone with the thumb and first finger.  The right hand holds the stick which strikes the string.  It also holds a small basket shaker called caxixi, which plays along with the stick and also plays independent strokes.  The basic sounds played with the stick are: high tone (with the coin or stone pressed against the string), buzz tone (with the coin or stone pressed lightly on the string) and low tone (open string note).  The left hand with the coin produces a very soft passing tone.

The berimbau can produce distinctive rhythms called toques that are easily recognised by the Capoeristas (game participants).  Some of this toques de berimbau are common to all schools, while others are developed by different mestres (masters) and played by their students.  Some of these rhythms are related to African nations such as Angola and Ijexa, some refer to Catholic saints, while some were used to alert the participants.  As an example the rhythms known as Aviso and Cavalaria were used traditionally to advice the participants of the arrival of a stranger, the police, or the cavalry squadron to the circle.

Toque de Angola (traditional)  

In terms of my own experiences with the berimbau I have a Brazilian made instrument, and also one I made myself, which I must say possesses a better tone.  The first time I heard the berimbau was on an Airto Moreira record.  I found the sound and the rhythms fascinating, soon after I made my first berimbau.  My interest in the instrument is for the musical qualities which I tend to incorporate to original compositions and performances.  I have a composition on my first cd (Alex Pertout) entitled Manaus in which I played two berimbaus, the fundamental notes tuned a fourth apart.  On the recently released cd by Brian Brown which I also produced (Flight Newmarket 3014.2), I have a composition entitled Friendship which is based entirely on a berimbau rhythm.

The practice of using the berimbau outside of its traditional role is not always appreciated by many associated with Capoeira.  According to Almeida (1986) "many berimbau players are not Capoeristas, because the instrument can be played out of the context of Capoeira, as in Samba De Roda, or even as a rhythmical instrument in contemporary music".  He goes on to mention Nana Vasconcelos and Paulinho Da Costa as "two excellent percussionists who produce extraordinary effects with the berimbau", but he concludes "the exclusive use of the berimbau to make music with no relation to Capoeira is for me not correct".

Highly recommended recordings include:

Capoeira Senzala de Santos  Capoeira, Samba de Roda, Maculelê  (Buda 92575-2) 

Paulinho Da Costa  Agora  (Pablo OJCCD 630-2)

Airto Moreira  The Essential (Buddah BDS 5668-2 LP)

Nana Vasconcelos  Saudades  (ECM1-1147 LP) 

Papete  Berimbau E Percussao  (Universal Sound USCD7)

Black music of South America In Praise Of Oxalá And Other Gods  (Nonesuch H-72036) 

Sergio Mendes  Primal Roots (A&M L34603 LP) 

Mickey Hart Planet drum  (Rykodisc RCD 10206)

Highly recommended books include:

Almeida, Bira  Capoeira A Brazilian Art Form; History, Philosophy and Practice 1986

Rugendas, Joao M  Viagem Pitoresca Atraves do Brasil  1954

Shaffer, Kay  O Berimbau De Barriga e Seus Toques 1986.

THE CONGA DRUM; An Introduction

The conga drum is a single headed barrel shaped Afro-Cuban drum which is popular around the world.  Originally from Africa and descendant of the makuta drums of Congolese origin, the conga finds its place in the music world today in countless settings, from the concert hall, club and recording studio to the park and streets where the traditional Cuban comparsas (carnival groups) and rumba (drum, vocal and dance) groups perform.  The names of the set or the individual drums vary throughout Cuba, with tumbadora for the individual drum, and tumbadoras for the set of three drums, being the most popular.  Around the world the most popular name adopted is that of conga for the individual drum, and congas for the set of three drums.  The set includes a high pitched drum known as quinto, the middle size drum known as conga or segundo, and the low drum known as tumbadora.

The conga drum is played with both hands and is capable of a variety of sounds which have to be developed fully before moving to the rhythmic repertoire available.  The main sounds employed are: open tone, muffled tone, slap, open slap, muffled slap, bass tone, fingers and palm.  I usually give my students many exercises which are first of all aimed at developing sound, hand co-ordination, and then rhythm.  These exercises include simple quarter note and eighth note patterns where the student plays the written part: a) right hand only, b) left hand only, c) alternating right and left, and d) incorporating double strokes right, right, left, left.  This is a very important part of the developmental process, much like a flute student works on developing a good tone on the instrument by slowly playing long even notes.  The following are examples of these exercises, the first one combines open tones with muffled tones, while the second open tones and slaps.  These exercises are to be played very slowly, concentrating on developing a good, even and round tone, with both hands throughout.  

Exercise 1)

   

Exercise 2)

   

Once you feel comfortable in playing the sounds with both hands it is time to move on to the basic Afro-Cuban conga drum pattern known as tumbao.  This pattern is traditionally incorporated in a variety of styles.  The tempi vary from fairly slow Cha Cha Chas, and Guarachas, to very fast Mambos.

One of the important features to be mastered is the steady flow played by the left hand (in right handed players) of “palm & fingers”.  This is unfortunately often neglected by the beginner player, making the rhythm sound rather weak, as too much emphasis is placed on achieving the muffled slap on beat “two” and the open tones on beats “four” and “four-and” by the right hand.  In order to develop the “palm & fingers” flow I tell my students to work one hand at a time on a simple two quarter note exercise.  The routine is to a) play the full palm on the head (beat one), then b) lift the fingers but leave the heel on the skin, c) play the finger tips (beat two), and finally d) lift the hand off the skin.

Once you are comfortable with the “palm & fingers” flow, start adding the other sounds played by the right hand eventually arriving at the full one drum tumbao pattern as written below.

Tumbao

A CONGA SOLO; The Raul Rekow Style

This conga solo which comes from Wham! a track on Santana’s 1978 release 'Inner Secrets' (Columbia 35600) is one of the firsts I ever transcribed.  In my opinion it also represents well the style Raul has developed over the years.  It incorporates clear, precise and distinguished musical phrases, played with impeccable time over the rhythm section, finishing with one of his trademarks, the execution of a clearly articulated fast triplet-note roll emphasising in this instance open tones and open slaps.  The actual solo is between bars 3-18, bars 1-2 and 19-20 are part of unison phrases (as marked) played with the other percussionists.  Do try and listen to the recording which also features a wonderful solo by Armando Peraza on bongos and the timbal artistry of Pete Escovedo. 

Legend:  O= Open Tone    (S)= Muffled Slap    S=Open Slap

The tempo is approximately half note = 132

A BONGO SOLO; The Roberto Roena Style

Here is a bongo solo as played by the great Roberto Roena.  Roberto makes use of a very effective “musical” approach to his improvisations, incorporating wonderful phrases, which make use of sophisticated syncopation.  Roberto Roena has been a mainstay of the development of “Salsa” in New York, through his work with many groups, his own ensembles, as well as with his remarkable contribution to the “Fania All Stars”, an orchestra which tours and records and which core players are the major bandleaders (originally associated with the Fania record label from New York) of the “Salsa” movement in North America.  This solo by Roberto was transcribed from the Fania All Stars “Spanish Fever” release of 1978 (Columbia JC 35336).  The track is the up tempo “Sin Tu Cariño” and it features among others Ruben Blades on vocals.  Enjoy!  

Bongo Leyend:

       

SIGHT READING RHYTHM;  Introducing Quarter Notes, Quarter Rests & Eighth Notes

The most important element in becoming a proficient reader is to develop an ability to count precisely while maintaining a steady tempo.  In order to develop this counting method, you should set the metronome at a slow tempo and proceed to count aloud quarter notes (or crotchets) then eighth notes (or quavers).  It is important to develop each one separately, making sure that each division is accurate before incorporating the practice of going from one to the other.  The counting method should be practiced three ways: a) counting, b) counting and clapping, and c) counting and tapping — alternating hands "drumming style"; right, left, right, left.

1. Quarter Notes: One, Two, Three, Four

 

2. Eighth Notes: One-An,  Two-An,  Three-An,  Four-an

 

The next important step is to learn the equivalent rest for every note.  Example 3 features quarter rests.

3. Quarter Rests: One, Two, Three, Four

 

After practising the individual exercises spend some time on the following two eight bar studies.  These studies will help you not only develop reading, but also develop rhythm.  Make sure to count aloud and to spend some time practising the studies at different tempi.  Study One incorporates quarter notes and quarter rests, while Study Two incorporates eighth notes and quarter notes.

Study One

 

 

Study Two

 

SIGHT READING RHYTHM;  Introducing Quarter Notes, Quarter Rests & Eighth Notes

The most important element in becoming a proficient reader is to develop an ability to count precisely while maintaining a steady tempo.  In order to develop this counting method, you should set the metronome at a slow tempo and proceed to count aloud quarter notes (or crotchets) then eighth notes (or quavers).  It is important to develop each one separately, making sure that each division is accurate before incorporating the practice of going from one to the other.  The counting method should be practiced three ways: a) counting, b) counting and clapping, and c) counting and tapping — alternating hands "drumming style"; right, left, right, left.

1. Quarter Notes: One, Two, Three, Four

 

2. Eighth Notes: One-An,  Two-An,  Three-An,  Four-an

 

The next important step is to learn the equivalent rest for every note.  Example 3 features quarter rests.

3. Quarter Rests: One, Two, Three, Four

 

After practising the individual exercises spend some time on the following two eight bar studies.  These studies will help you not only develop reading, but also develop rhythm.  Make sure to count aloud and to spend some time practising the studies at different tempi.  Study One incorporates quarter notes and quarter rests, while Study Two incorporates eighth notes and quarter notes.

Study One

 

 

Study Two

 

AFRO PERUVIAN PERCUSSION; The Cajon

African slaves were brought over to the Spanish colony of Peru in the 16th century to work mainly in the gold and silver mines of the high Andes. However their physique was not suited to the high altitude and they died by the hundreds. Their Spanish or Creole (descendants of European settlers in Latin America) masters sent them to work in the milder climate of the desert coast, where they laboured in the large haciendas; private farms. It was in their small huts, on the packed dirt floors of the courtyards overrun with animals and in the fields of cane and sugar cane that Afro-Peruvian music, song and dance were born.

The beginnings of slavery in Peru were different from the rest of the Americas. Although in Brazil or Central and North American countries it was common to import large groups of slaves from the same African tribe, only small and geographically dispersed ethnic groups were brought to Peru. This was meant to discourage rebel movements around the tribal chiefs, and as such, made almost impossible the preservation of communal traditions. Without a common language or tribal authority to remind them of their roots, Peruvian slaves were progressively integrated into the culture and language of their new country. As a result Afro-Peruvian music is a unique blend of Spanish, Andean and African traditions.

Centuries old, this music started to gain recognition in Peru about 40 years ago and it has became popular in the last 25 years. It was born in the coastal barrios (suburbs) and towns and was reconstructed and resurrected thanks to the work of a few artists and historians. Because the Africans were forbidden from playing their own instruments, percussion instruments developed out of the simplest household appliances; spoons, kitchen chairs, table tops, boxes, handclaps, until it reached this century with the creation of the cajon as a specific instrument to play music.

The cajon which is a wooden-box in which the player sits on to play, is thought to have originated in Peru.  The cajon is made out of hardwood with the front cover being of a very fine layer of plywood. The cajon has an open circle cut at the back of the instrument. The player sits and plays two main strokes as well as a few other variations. The main two consist of: the tone of the box which is played with the full palm in the middle of the "head" (this stroke is usually a bass or palm sound on a variety of African derived hand drums found around the world) and the slap which is played on the edge of the "head" of the instrument (this sound also part of the technique used in many hand drums around the world).

Other percussion instruments found in the traditional styles include the cajita and the quijada. The cajita is a small wooden box played with a stick in the right hand while the left hand opens and shuts the top in rhythmic time. The quijada is a donkey's jaw that is played by striking the wide part of the jaw with the fist to obtain a rattle sound (an instrument called a vibraslap is a copy of this instrument), and is also scrapped with a thin stick.

Some of the popular Peruvian rhythms include the Marinera, Lando and the Festejo.  The Marinera in 6/8 time is an intricate and elegant dance of courtship accompanied by guitar, cajon, accordion and handclapping by onlookers.  Other important Afro-Peruvian rhythmic styles include the Lando, which comes from an African fertility dance called the Landu, and the Festejo which is a celebration song and dance in a fast 6/8.  

Cajon Legend:

   

Marinera

   

Lando

 

The Peruvian cajon is popular worldwide.  In the early 80's the Spanish master guitarist and composer Paco De Lucia incorporated a percussionist who played among other instruments the cajon in his group.  Since then, the cajon has became "the" percussion instrument of Spanish popular music.  Every "Flamenco" group incorporates a cajon player.  In 1994 I visited Madrid and to my amazement every music shop sold cajones, they even had fibreglass ones!  In conversations I had with musicians and shop owners I was informed that the cajon had became an essential part of "Flamenco" music.

The Afro Peruvian style and instrumentation is unique among the African derived styles found in Latin America.  According to Fietta Jarque (liner notes - Afro-Peruvian Classics cd 1995) "this is secret music, it has been hidden for years in the coastal towns and barrios of Peru, it's not the guys with flutes and woolly hats, it's music of the black Peruvian communities.  This music survived barely within the black communities, and was not accepted outside of those communities until the spark of black pride, ignited in the 1960's caught fire in the

70's and 80's.  Now in the 90's, this music is the pride of Peru, cassettes are sold on the streets alongside techno, Megadeath and Andean folk groups.  And while it maintains its roots, it has attracted the creative talents of the best contemporary musicians, writers and poets who have furthered the evolution, growth and spread of this music.  It's not a secret anymore and it's yours to dance to".

Highly recommended recordings include:

Afro-Peruvian Classics The Soul Of Black Peru  (Luaka Bop WB 9 45878 2) 

Chocolate  Peru's Master Percussionist  (Lyrichord 7417)

Peru Musica Negra  (ASPIC X 55515) 

Inti-Illimani De Canto Y Baile  (Messidor 115936)  Andadas  (Green Linnet GLCD 4009)

ARGENTINIAN RHYTHMS; Zamba & Chacarera

This article highlights two very popular 6/8 rhythms found in Argentina; the Zamba and the Chacarera.  As explained in Six Eight Rhythms; An Introduction (Drumscene issue 4 Dec/Jan 1995/96 p34) what all these rhythms have in common is that the pulse is felt in exactly the same way.  If you count in 6/8 the "pulse" (or your foot) will be on beats 1 and 4.  Practice the following exercise by:  a) Clapping all the notes while tapping your foot on beats 1 and 4, and b) Tapping "hand to hand style" (R L R L R L) while tapping your foot on beats 1 and 4.  It is important to count throughout.  

 

The Zamba and Chacarera are two popular rhythms that incorporate guitars, voices and an Argentinian drum known as bombo which is a double headed drum popular throughout the Andean region.  The drum is an adaptation of European field drums and like its predecessors it makes use of leather hoops, thongs and ear loops to tension the skins.  The drum is made out of a hollowed out tree trunk, carefully chiselled inside.  The skins are usually cowhide or lamb and they retain some of the animal's fur giving it a very mellow, deep sound.  The drum is traditionally played with a stick in the right hand and a mallet in the left hand (in some areas this is reversed) which strike both the skin and the rim of the drum.

You could try this rhythms on a floor tom by playing the rim or the side of the tom with a stick in the right hand and the skin of the tom with a mallet in left hand.

Zamba (slow)  

 

Chacarera (fast)  

 

One of the outstanding exponents of this styles is without doubt the master percussionist Domingo Cura.  Any recordings featuring him are highly recommended.  The following is a starting list for anyone interested in Andean styles:

Calchakis  Flutes, Guitares Et Chants D'Argentine - ARN 64074 

Inti-Illimani  Canto De Pueblos Andinos - Monitor MCD 61787 La Nueva Cancion Chilena - Monitor MCD 71794

Misa Criolla  Ariel Ramirez (w/Domingo Cura) - Phillips 6527 136 LP  Facundo Ramirez (w/Domingo Cura) - Milan Sur CDCH 805 

Mercedes Sosa Gracias A La Vida (w/Domingo Cura) - Phillips 832 314-2  Live In Europe - Tropical Music 68.936

SIX EIGHT RHYTHMS; An Introduction

In my teaching practice I find that 6/8 rhythms are some of the hardest ones to grasp mainly due to a poor understanding of the breakdown and pulse.  6/8 rhythms are prevalent in many cultures.  One of the first things that I do in my lectures at the Victorian College of the Arts is to play a wide range of musical examples in 6/8.  The following is the list I play the class.  These recordings are currently available on cd and they would complement any musicians library nicely, so make an effort to find them and study them.

Recordings -  [track]  [artist]  [title]  [label]  [style]

1. Baba Jinde - Olatunji Drums Of Passion (Columbia CK 8210)  West African 2. Ye Ye - Mongo Santamaria Afro-Roots (Prestige PCD-24018-2)  Afro-Cuban 3. Terra - Paulinho Da Costa Agora (Pablo OJCCD-630-2)  Afro-Brazilian 4. Tio Goyo - Wilfredo Franco Peru Musica Negra (ASPIC X55515)  Afro-Peruvian 5. El Aparecido - Inti Illimani La Nueva Cancion Chilena (Monitor MCD 71794)  Chilean 6. La Flor Azul - Mercedes Sosa Live in Argentina (Tropical Music 680.916)  Argentinian 7. La Cigarra - Linda Ronstadt Canciones De Mi Padre (Asylum 960 765-2)  Mexican 8. Ghozali  - Charef Zerouki My Gazelle (GlobeStyle CDORB 047)  Algerian

9. Mac's Fancy - De Danann Mist Covered Mountain (Gael-Linn CEFCD 087)  Irish 10. Water Girl - Zakir Hussain Making Music (ECM 1349 831 544-2)  Indian 11. Pancho's Seis Por Ocho - Eddie Palmieri/Cal Tjader Bamboleate (Charly194)  Latin Jazz 12. Incident At Neshabur - Santana Abraxas (MFSL UDCD 552)  Latin Rock 13. That's Alright - John Lee Hooker The Healer (Chameleon D2-74808)  Rhythm & Blues 14. Waraya - Salif Keita Amen (Mango CIDM 1073 848 793-2)  Contemporary North African 15. Lusambo - Alex Pertout Alex Pertout (Larrikin LRJ-273)  Contemporary Latin-Jazz 16. The Juggler - Weather Report Heavy Weather (CBS CD81775)  Contemporary Jazz 17. Proof - Paul Simon The Rhythm Of The Saints (Warner Bros 7599-26098-2)  Pop World

What they all have in common is that the pulse is felt in exactly the same way.  If you count in 6/8 the "pulse" (or your foot) will be on beats 1 and 4.  Practice the following exercise by:  a) Clapping all the notes while tapping your foot on beats 1 and 4  -  b) Tapping "hand to hand style" (R L R L R L) while tapping your foot on beats 1 and 4.  It is important to count throughout.  

 

If you think in 4/4 you can transfer the above example to eighth note triplets, counting 1+a  2+a  3+a  4+a.  This will give you "two bars of 6/8" in one bar of 4/4.  This time the "pulse" (or your foot) will be on beats 1, 2, 3 and 4.  

 

Now try this popular Afro Cuban 6/8 cowbell pattern by clapping the rhythm while tapping your foot on beats 1 and 4.  

 

In order to fully understand 6/8 rhythms, practice counting, clapping and tapping until mastered.

SAMBA; The Brazilian Heartbeat - Essential Parts

The samba is Brazil's most popular music and dance form.  The style is found throughout the country with many variations in existence.  One of the most popular of these variations is a style known as samba de enredo, performed during the carnival, and featuring the escolas de samba.  The escolas de samba or "samba schools", are a type of club dedicated to the development of musical numbers, accompanied by a large bateria (percussion section), with the sole purpose of performing during the carnival's official parade.  The percussion

section contains up to 300 players, dividing them in groups of 10 - 30 per instrument.  Among the percussion instruments used you'll find the surdo (a large double headed drum played with a felt covered mallet and the open hand), the pandeiro (a tambourine with a skin and flat jingles), the tamborim (a small frame drum played with a stick), the agogo (twin bells), the caixa (snare drum), the ganza (metal shaker), the cuica (a friction drum), and the repenique (a high pitch double headed drum played with a stick, which often acts as the conductor of the bateria).

As far as the basic samba rhythm is concerned, I tend to think in terms of three essential parts.  The first being the "pulse" as played by the surdo with a strong open tone on beat two:

Legend:  M=Muffled Tone  F=Fingers  O=Open Tone  P=Palm

The second essential part is the "steady flow" of sixteenth notes as played by among others the ganza:

And the third essential part being the "syncopation" as played by instruments such as the tamborim:

As is the case with many Afro-American forms, Brazilian styles make use of two bar rhythms, which can be approached two ways, the direction being dictated by the melody of the tune.  In Afro-Cuban music the two bars are clearly defined as 3/2 or forward clave, which features more syncopated figures, or 2/3 or reverse clave, with figures tending to fall more on downbeats (for further information please refer to the articles:  Clave Concepts; Afro Cuban Rhythms and Clave Concepts; Tito Puente's "Para Los Rumberos".  As Brazilian music does not employ a clear system to explain this characteristic, I have incorporated the letter (A) to identify the "first side" (or 3/2 forward clave as used in Afro-Cuban styles), and (B) for the "second side" (or 2/3 reverse clave) as written in the tamborim pattern above.  By reversing the order of the bars, you will arrive at the tamborim pattern played the following way:

The next step is to listen to as much Brazilian music as you can, and spend some serious time analyzing the "rhythmic direction" employed on the tunes.  One good source which is readily available, is a compact disc compilation of Brazilian artists entitled Brazil Classics 2 "O Samba" - Luaka Bop/Sire 926 019-2.

SAMBA; The Brazilian Heartbeat - Rhythmic Directions

The following are exercises that will help you immensely, in your quest to develop an understanding of the rhythmic directions as employed in samba styles.  As discussed in my last article: Samba: The Brazilian Heartbeat - Essential Parts, Brazilian styles make use of two bar rhythms, which can be approached two ways, the direction being dictated by the melody of the tune.  In Afro-Cuban music these two bars are clearly defined as 3/2 or forward clave, and 2/3 or reverse clave, for further information on this, please refer to: Clave Concepts; Afro Cuban Rhythms  and Clave Concepts; Tito Puente's "Para Los Rumberos".  As Brazilian music does not employ a clear system to explain this characteristic, this writer incorporates the letter (A) to identify the "first side" (or 3/2 forward clave), and (B) for the "second side" (or 2/3 reverse clave).

The way I teach my students to develop an understanding of the two bar patterns, is to first work on each bar separately.  Once you analize this further, you find that the accents in one bar clearly fall on the "up-beats" (the A side), while on the other they are clearly on the "down-beats" (the B side).  To practise this, tap your foot on one and two (the strong pulse the surdo drum underlines) while clapping example one.  Once mastered do the same with example two.  

Example 1)

 

Example 2)

 

Once you feel comfortable put both bars together and practise them in both directions.  Example 3 is the "A to B" direction, while example 4 is the reverse or "B to A" direction.  

Example 3)

 

Example 4)

 

Once both directions are mastered, get some good Brazilian samba records, find the rhythmic direction of a particular tune, and play-a-long, concentrating only on clapping and tapping the patterns written above.

SAMBA; The Brazilian Heartbeat - Tamborim & Agogo rhythms

This time we are concentrating on the rhythms played by a small frame drum known as the tamborim (a small frame drum played with a stick), and the the agogo bells (twin bells).  The instruments are both held in the left hand and played with a stick in the right hand.  As explained on my previous articles: Samba: The Brazilian Heartbeat - Essential Parts and Samba: The Brazilian Heartbeat - Rhythmic Directions, these styles make use of two bar rhythms, which can be approached two ways, with the incorporation of the rhythmic directions A-B or B-A depending on the melody and arrangement of a particular piece.  The A side has underlying accents on the "e-a" of beat one, while on the B side these accents occur on "one-and".  Examples one and two illustrate this underlying rhythmic base in both directions:  

Example 1)

 

Example 2)

 

The following are some popular samba patterns.  First a pattern played by the tamborim both ways: A-B direction:

 

B-A direction:

 

And an agogo pattern both ways: A-B direction:

 

B-A direction:

 

Keep playing the patterns until you "hear" the rhythmic connections with examples one and two.  After that get some good Brazilian samba records, or any other well written material based on this style, find the correct rhythmic direction, and play-a-long.

SMALL PERCUSSION; A Methodical Approach

In my travels I am often asked to demonstrate some of the fundamentals involved in playing small percussion instruments such as tambourine, shaker, cabasa, triangle, güiro, reco reco, maracas, caxixi, etc.  Before showcasing the various rhythms from the vast traditional repertoire available I often discuss a methodical approach to the various instruments which involves among other things developing a good sound and technique and a strong rhythmic approach.  Playing along to records further enhances this gradual development.  You have to be patient in terms of its development as you are aiming for accuracy, finesse and overall musicality when playing the patterns.  As the patterns are actually quite easy to sight read the important part is to go beyond the written part and get to a place where you experience the rhythmic qualities of the various patterns.  As you develop them make sure you also spend some time recording yourself as you play along to records and critically analyse the outcomes.  As someone who has spent considerable time in the recording studio I cannot stress this area enough. 

Here is the first step which involves the development of a strong and steady eighth note rhythm as shown in example 1.  For a play along track try a slow ballad and/or a bossa nova.

Example 1

Once you feel comfortable and are playing eighth notes with a steady and relaxed rhythm, you should incorporate accents which as shown in examples 2, 3 and 4 shift the patterns in various directions.  The next steps should involve further development by playing the patterns in sixteenths (rather than eighths) and finding suitable tracks to play along to. 

Example 2

 

Example 3

 

Example 4

 

PERCUSSION TOUCH; The Lenny Castro Style

The following excerpt showcases Lenny Castro’s exquisite use of percussion instruments in a song.  This transcription is from a rendition of John Lennon’s “Imagine” by Randy Crawford which was recorded live at the Montreux Jazz Festival in Switzerland.  This is available as part of “Casino Lights” (WB 23718-2) a release which also features performances by Al Jarreau, David Sanborn, Mike Mainieri and the YellowJackets at the festival.

This performance is a testament of the skillful way he incorporates percussion, in this case three woodblocks, a high pitched cowbell and a caxixi, in rhythmically accurate patterns and colourful punctuations which do wonders for the song.  Apart from those instruments the rest of the song also incorporates triangles and tambourine.  In discussing this with Lenny he commented that “the hard thing with this type of playing style is that you need the help of a percussion friendly engineer who is going to mic you up well and who is also going to really understands the placement of the percussion instruments in the song.  This is because it can be a very thin line between being too much up front, or too far back where you cannot hear it enough of it.  It really needs that special place in the mix”.  Find the recording and have a good listen to his performance, a wonderful display of his first rate musical style.  

Percussion key:

   

Excerpt from “Verse 2”: