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Congas
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![Page 1: [Percussion] Miguel Anga - Congas Method](https://reader034.pdfslide.us/reader034/viewer/2022042421/545bdf89b1af9f8e0d8b45f8/html5/thumbnails/1.jpg)
Published by Music in Motion Films Ltd PO Box 1775, Columbus, OH 43216 USA
tel. 212 358 3877 fax. 212 591 6301www.musicinmotionfilms.com [email protected]
© 1999 Music in Motion Films Ltd International copyright secured.
Any copying of this material in whole or in part without the express written permission of Music in Motion Films Ltd is a violation of copyright law.
MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN
EDITED BY DAN THRESS
PHOTOS © ROBERT MANN
MIGUEL ‘ANGA’ DIAZANGA MANIA!
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2
o +
Tone of conga drums from the highest to the lowest
Timbongoro
bell: mouth area
12345
raise tone with elbow
bell: neck area
0 = play an open toneP = play a bass like sound with the palm of the handB = play a bass sound in the center of the drum with the palm of the handS = play a slapT = tips, play with the tips or fingers of handM = play a muffle sound by pressing against the skin of the drum with the handST = play with stick in hand(T) = ghost note or light tap with fingersF = raise tone using the fingers, refer to video
Drums 1, 2, and 3 are the same sizeDrums 4 and 5 are the same size
FIVE-DRUM SETUP
ANGA’S TUNING
FOUR-DRUM SETUP
KEY
C#
A#
F#D#
G#
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3
As stated by Anga, Niño Alfonso with Irakere was the firstto incorporate five congas. When Anga started playing
with Irakere, Niño’s style became a part of Anga. Therea re five sounds that convert into a harmonic tumbao.
L
P O
R
P
L
S
R
T
L L
P
L
T
R
O
R
O
L
P
L
T
R
S
L
O
L
O
L
S
R
O
R
O
L
O
L
T
R
S
L
T
L
P
L
T
R
O
R
O P
L L
T
R
S
L
O
L
O
L
S
R
O
R
O
MARCHA WITH FIVE CONGAS
Play the basic ride between each example. 2-3 clave
MARCHA WITH FIVE CONGAS—VARIATIONS
L
O
L
T
R
S
L
T
R
S
L
S
R
O
L
T
R
S
L
S
R
O
L
T
R
S
L
S O
R L
T
R
S
L
O
L
O
L
S
R
O
R
O
O
L
T
L
S
R
T
L
O
R
O
L
O
R
O
R
O
L
O
R
O
R
O
L
O
R
S
L
S
R
(T)O
L
O
L
S
L
O
R
O
R
L
O
L
T
R
S
L
T
L
P
L
T
R
O
r
oO
L R
(T)
L
T(S)
R
S
L
O
L
O
L
S
R
O
R
O
L
O
L
T
R
S
L
T
L
P
L
T
R
S
L
(T)
r
s
L
S
r
s
L
S
R
(T)
R
(P)
L
O
L
O
L
S
R
O
R
O
L
O
L
T
R
S
L
S
R
O
L
T
R
S
L
S
R
O
L
T
L
S
R
S
L
O
R
T
L
P
L
T
R
S
L
O
L
O
L
S
R
O
R
O
1
2
3
4
5
01:50
02:18
02:40
02:49
03:18
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4
MARCHA—MELODIC VARIATIONS
L
O
L
T
R
S
L
T
L
P
L
T
R
O
R
O
L
P
L
T
R
S
R
S
L
O
R
O
L
O
R
O
R
O
L
O
R
O
L
T
R
S
L
T
R
T
L
O
R
T
L
T
R
S
R
S(T)
L
O
R
O
L
O
R
O
O
L
T
L
S
R
T
L
P
L
T
L
O
R
O
R
P
L
T
L
S
R
T
R
O
L
O
R
O
L
O
R
O
R
O
L
O
R
(T)
L
O
R
T
L
S
R
O
R
P
L
T
L
S
R
T
R
O
L
O
R
O
L
O
R
3
L
O
L
T
R
S
L
(T)
R
S
L
S
R
S
L
S
R
S
L
S
L
T
R
S
L
S3
R
S
L
S
R
S
L
S
L
O
L
O
L
S
R
O
R
O
O
L
T
L
S
R
T
L
P
L
T
L
S
R
O
L
T
R
T
L
S
R
O
L
O
L
S
L
O
R
O
R
1
2
3
4
03:51
04:30
05:07
05:28
ghost note
open slaps
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5
L
O
L
T
R
S
L
T
L
P
L
T
R
O
R
O
L
P
L
T
R
S
L
O O
L
S
L
O
R
O
R
O
L
O
R
O
R
O
R
O
R
O
L
O
R
L
O
L
T
R
S
L
T
L
P
L
T
R
S
R
O
L
P
L
T
R
S
R
(T)
L
O
R
O
L
O
R
O
R
O
L
O
R
O
R
O
L
O
L
O
R
O
L
O
L
T
R
S
L
T
L
P
L
T
R
S
R
O3 3
L
P
L
T
R
S
R
(T)
L
O
R
O
L
O
R
O
R
O
L
O
3 3 3
R
O
R
O O
R
O
L R
O
R
O
R
O
R
F F
R
F
R
F
R R
O
R
O
L
O
R
O
R
O
R
(T)
L
O
R
T
L
T
R
S
L
T
R
O
L
T
R
O
L
T
O
R
P
L
S
R
T
L
P
L
T
L R
S s
r
S
L
T
R
T
L
S
R
O
L
O
L
S
L
O
R
O
R
L
O
L
T
R
O
L
P
L
T
R
S T
R
T
L
O
R L
P
L
T
R
S
R
T
L
T
R
S(P)
L
O
L
O
L
S
R
O
R
O
5
6
05:30
raise pitch with fingers; refer to video
06:10
16-bar melodic pattern
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6
O
L
T
L
O
R
S
L
S
R
S
L
O
R
S
L
S
R
S
L
O
R
T
L
S
R
O
L
T
R L
P S
R
O
L
O
L
S
L
O
R
O
R
L
O
L
T
R
O
L
S
R
S
L
S
R
O
L
S
R
S
L
S
R
O
R
T
R
T
L
O
R
T
L
P
R
S
L
O
L
O
L
S
R
O
R
O
O
L
T
L
O
R
S
L
S
R
S
L
O
R
S
L
S
R
S
L
O
R
S
R
O
L
O
L
T
R L
P S
R
O
L
O
L
S
L
O
R
O
R
3 3O
L
O
R
(O)
R
O
L
O
R
O
R
S
L
S
R
O
R
P
L
T
L
S
R
O
L
O
L
S
L
O
R
O
R
3 3 3 3
R
O
R
O
L
O
L
O
R
O
L
S
R
O
R
O
L
T
R
T
L
T
R
S
L
P
L
T
R
S
L
O
L
O
L
S
R
O
R
O3 3 3
O
R
O
R
O
L
O
L
O
R
S
L
O
R
O
R
P
L
O
R
P
L
T
L
S
R
O
L
O
L
S
L
O
R
S
R
3 3 3O
R
O
R
O
L
O
L
O
R
S
L
O
R
O
R
P
L
O
R
P
L
T
L
S
R
O
L
O
L
S
L
O
R
S
R
3 3 3
L
O
L
O
R
O
R
O
R
O
L
O
R
O
R
O
L
P
R
O P
L
T
L
S
R
O
L
O
L
S
L
O
R R
S
7
06:35
8
07:08
( )
MARCHA—MELODIC VARIATIONS
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7
This is a demonstration of the basic tumbao or marc h aon five congas in conjunction with the piano. The first12 measures are transcribed which demonstrate the
basic ride with some of the variations played in thep revious section.
APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT
L/R
O/O
R
O
L
P
R
S
L
T
L
P
L
T
R
S
R
O
L
P
L
T
R
S
L
O
L
O
L
S
R
O
R
O P
L
T
L
S
R
T
L
P
L
T
L
B
R
o
r
O
L
T
R
T
L
S
R
(T)
R
O
L
T
L
O
R R
S
L
O
R
S
L
S
R
O
R
O
L
S
R
S
r
o
L
O
R
T
L
T
R
S
L
O
L
O
L
S
R
O
R
O
L
O
R
S
L
S
R
O
R
O
L
S
R
S
r
o
L
O T
R
T
L
S
R
T
L R
O
L
O
R
S
L
S
R
O S
R
S
L
R
O
L
P
R
S
L
(T)
L
P
L
T
R
B
r
o
L
O
R
T
L
T
R
S
L
T
R
O
L
T
R
O
L
T O
R
O
L
O
R
S
L
O
R
S
L
S
R
o
r
O
L
T
R
T
L
S
R
O
L
O
L
S
L
O
R
O
R
Piano Intro 2-3 clave
etc.
congas
0:07:34
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8
Practice Suggestion: Learn the basic ride first with allalternate sounds. This will make it easier when youstart looking at the variations.
GUAGUANCO VARIATIONS
O
R
O
L
S
R
O
L
(T)
R
S
L
O
R
(T)
L
(T)
R
S
L
S
R
B
L
T
R
S
L
O
R
S
R
P
R
T
L
T
R
P
L
P
R
T
L
T
R
P
L
P
R
T
L
T
R
P
L
P
R
T
L
T
R
P
L
P
R
T
L
T
R
P
L
P
R
T
L
T
R
P
L R
P
L
T
R
T
L
P
R
P
L
T
R
O
3 3
R R R R R
3
3
R R R
O
R
O
R
O3
L
P
L
T
R
B
R
O
L
T
R
O
L
S
R
S
L
B
L
T
R
O
L
T
T
R
M
L
M
R
B
L
(T)
R
T
L
O
R
T
L
O
R
S
L
S
R
M
L
T
R L
M O
R
T
L R
T
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
M
R
M
L
M
R
M
L
M
R
M
L
O
R
T
L
O
R
S
L
S
R
M
L
M
L
O
R
T
L R
T
L
S
R
S
L
B
R
T
L
T
R
O
L
T
R
O
L
S
R
S
L
O
R
T
L
T
R
O
L
T
R
T
L
S
R
S
L
B
R
T
L
T
R
O
L
T O
R
S
L
S
R
O
L
T
R
T
L
O
R
T
L R
T
L
S
R
S
L
B
R
T
L
T
R
O
L
T
R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
T
R L
M
R
M
L
O (T)
R
T
L
O
R
T
L R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
T
L
M(S(O
R
MS)O)
L
B
R
(T)
L
T
R
O
L
T
R
O M
L
(O(S
R
M
O)S)
L
B
R
T
L
T
R
O
L
T
Basic Ride
0:10:10 3-2 rumba clave
* raise tone with elbow; refer to video
*
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9
Practice Suggestion: Learn the basic ride first with allalternate sounds. This will make it easier when youpractice the variations.
GUAGUANCO—COUNTER MELODIES
R
T
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
O
L
S
R
S
L
M
R
(T)
L
M
R
(T)
L
M
R
(T)
L
M
R
(T)
L
B
R
T
L
T
R
O
L
T
R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
T
R
S
L
S
R
B
L
(T)
R
T
L
O
R
T
L
O
R
T
L
T
R
B
L
T
R
T
L
M
R
M
R
M
R
M
R L
B T
R
T
L
O
R
T
L R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
T
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
O
L
S
R
S
L
O
R
T
L
T
R
O
L
T
R
T
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T O
R
S
L
S
R
B
L
T
R
M
L
M
R
M
L
M
R L
O
L
(B) T
L
O
R
T
L
O
R
S
L
S
R
B
L
(T)
R
T
L
O
R
T
L
R
T
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
R
O
L
S
R
S
L
B
R
T
L
S
R
S
L
(T)
3 3
R
O
L
O
R
O
L
O
R
O
L
O
R
O
L
T
R
O
L
S
R
O
L
S
R
S
L
B
R
(T)
L
T
R
O
L
T
T
R
P
L
S
R
T
L
T
R
P
L
O
R
T
L
O
R
P
L
S
R
T
L
T
R
P
L
S
R
T
L
1
2
3
4
5
6
10:50
11:03
11:17
11:28
12:01
12:40
Ride variation
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10
T
R
S
L
S
R
B
L
(T)
R
T
L
O
R
T
L
3
R
O
L
P S
R
S
R L
O
R
O
R
O
R
O
R
O
R
O
L
R
O O
R
O
R
O
R
T
L
T
R
T
R
T
L
O
R
O
L
O
R
O
R R
O
R
O
R
O
L
O
R
O
R
S
L
S
R
B
L
(T)
R
T
L
O
R
T
L
T
R
S
L
S
R
B
L
(T)
R
T
L
O
R
T
L
O
R
M
L
S
R
M
L
T
R
M
L
O
R
M
L
T
R
M
L
S
R
M
L
T
R
M
L
O
R
M
L
(O)O
R
M
L
S
R
M
L
T
R
M
L
O
R
M
L
(O)9
7
13:10
13:48
8
14:15
* raise tone with elbow
alternate sound
A solo has three parts:
1 beginning2 middle3 end
In between those parts you can have variations, differ-ent rhythms, experimentation of different formulas, etc.Nonetheless, it should always be within these threeareas. This is the formula for producing a good solo.
The beginning of the solo on the video starts out with atabla pattern from India. This is the main theme. It thengoes into other areas more related to the congas.
To achieve a solo, one must have peace and tranquillitywithin and concentration. One must not think of it as anopportunity to show off technique and do a lot of hits.It’s like composing a piece of music.
SOLO ANALYSIS
GUAGUANCO—COUNTER MELODIES
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The first exercise comes from Changuito’s creation:“la mano secreta.”
TECHNIQUE EXERCISES
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23:57
This exercise comes from the school of Tata Guines.
3 3 3 3
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3 3 3 3
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27:20
The 2nd exercise can then be combined with differentsounds such as an open and bass sound on Example 3.
Note: Do not use the heel or the outer edge of thepalm. It is always the whole palm followed by fingers.Work up these exercises to a fast speed.
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3-2 rumba clave
TECHNIQUE EXERCISES GUAGUANCO VARIATIONS
TECHNIQUE EXERCISES—DOUBLE STROKES
Anga speeds up this pattern to a very fast speed.
T h e re are two types of doubles to practice. Start out slowand gradually build to a faster speed. Note: Practice Exer-
cise 2 with open tones or open slaps with the fingers only. Thesecond note of each double is accented as indicated.
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32:40
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DJ GILB-R & ANGA IMPROVISATION
Setup: Four congas (eliminate the lowest drum), timbongoros, bells, two bells with foot pedal. Maintain the cowbell pattern with your feet throughouteach example (1st line played with right foot; 2nd lineplayed with left foot).
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34:09
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35:05
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35:25
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high bell med. bell low bell
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37:47
DJ GILB-R & ANGA IMPROVISATION
In Example 9, play with a stick in right hand. Opentones with the right hand are also played with the stick.
This is the basic ride. Many variations can be cre a t e dby playing on diff e rent surfaces.
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Notice that Example 8 goes into a double-time intriplets, maintaining the cowbell pattern with both feet.3-2 rumba-clave
DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS
This groove goes into a double-time feel. Maintain thebell pattern with the feet. 3-2 rumba-clave.
DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME
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cowbells
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bell bell bell
*Can be played on timbongoros, conga, cowbell, etc. The x can also be played on timbongoros, conga, etc. ST = strike drum with the stick.
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MIXING STYLES—PILÓN + FUNK
o + + o + + o + + o + +
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Timbales
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Hi Hat2-3 clave
MIXING STYLES—BATATUMBA + FUNK
Note: Anga plays the congas with a stick in his righthand which also plays a cowbell mounted on a stand onthe right side. The iyá is playing a batá rhythm thatcomes from Iyesá.
OS/O OS/O OS/O O O S S O O S S
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Three Congas w/ cowbell
41:10
2-3 clave
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In addition to the four drum setup, Anga continues thebell pattern between his feet. The bells are mounted ontwo separate bass drum pedals. 2-3 clave.
HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP
The first section of the piece is played with the handson four congas until we get to Example 4 which isplayed with a stick in the right hand. You will notice
that these examples are variations on the basic tumbaoor marcha played at a fast speed. Reminder: maintainbell patterns with the feet. 2-3 clave
1st bell with right foot
2nd bell with left foot
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42:42
(Played with a stick in the right hand)
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This takes us into the second section of the tune whichis a guaguanco derived pattern played with a stick in theright hand. Many variations can be played by playing
d i ff e rent surfaces where the cowbell is indicated (refer tothe video for ideas). Be sure to maintain the bell patternwith the feet when practicing these examples. 2-3 clave
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43:22
HOMENAJE A EMILIANO SALVADOR—SECOND SECTION
LATIN PERCUSSIONIST MAGAZINEPublished by Victor Rendón (Tortilla Flat Music)
InterviewsWith Milton Cardona, John Santos, Candido, Bill Fitch, JoséMadera, Miguel "Angá" Diaz, and Johnny Almendra.
Solo TranscriptionsGuillermo Bar retto, Mongo Santamaria, Johnny Almendra, LosMuñequitos De Matanza, Manny Oquendo.
Folkloric PercussionThe Secret Abakuá Society, Tambores iyesá, and The Art of Salidor Playing.
Instructional ColumnsJohn Almendra, Victor Rendón, Ken Ross, Louie Bauzo, GregAskew, John Santos, and David Peñalosa.
Drumset and Timbale ApplicationsHoracio Hernandez, 6/8 patterns, Mozambique, bolero, cha cha chá, and solo applications.
Book, CD, and Video Reviews
Order information:Latin Percussionist is published twice a yearyearly subscription $10.00 ($14.00 international)
Tortilla Flat Music 83-15 116th StreetSuite 4AKew Gardens, NY 11418(latinpercussion.com)
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THE ART OF PLAYING TIMBALES VOL. 1by VICTOR RENDÓN BOOK & CD
A Complete Guide for Developing Rhythms, Solos and Tradi-tional Timbale Techniques. Includes Drumset Adaptations,Conga and Bongo Transcriptions, Play-Along Charts, and Photographs in a beautifully designed, 96 Page Book with Full Length CD with play-along tracks.
Bilingual English/EspanolThe Art of Playing Timbales Vol 1 ISBN: 0967309824MIM003 $24.95
This excellent book and CD package is designed for the begin-ning timbalero, or drumset player, who wants to understandhow to play Afro-Cuban music in a professional setting. If youhave just purchased a pair of timbales, this book will teachyou everything from proper setup, stick sizes, rhythms, inde-pendence, transitions, song forms, and soloing. Each musicexample has a corresponding track number which can befound on the CD. Simply read the music exercises, and listento the corresponding track number on your CD player.
This book is a complete Afro-Cuban percussion work-out. Eachexercise on timbales is also arranged for drumset. Conga andbongo students will find their parts in each section of thebook and CD. Please note: to take full advantage of this book,students are encouraged to learn each part for timbales,drumset, congas, and bongos.
Each section features play-along CHARTS and CD TRACKSwith some of NY's top Latino musicians: Sergio Rivera(piano), Victor Venegas (bass), Heriberto Rivera (bongo),Aníbal "Tito" Rivera (congas), and Victor Rendón (timbalesand drumset). By using these play-along charts you will gainvaluable realistic playing experience that will directly trans-late to your school ensemble or professional group.
CHAPTERS: Introduction, Position of the Timbales, DifferentSounds, Clave, Abanico, Cha Cha Chá, Son, Transitions, BellPatterns, 6/8, Independence, Mozambique, Solo Phrases, andReferences.
ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKECOLLAZO (Tito Rodriguez, Celia Cruz, Eddie Palmieri, TitoPuente), JOSE MADERA (Machito, Fania All-Stars, Pacheco,Tito Puente), and JOHNNY ALMENDRA (Jóvenes del Barrio,Willie Colón, Mongo Santamaria, John Scofield).
And SOLO TRANSCRIPTIONS from GUILLERMO BARRETO("Descarga Cubana" from Cuban Jam Sessions in MiniatureDescargas) and MANNY OQUENDO ("Llora Timbero" from Con-junto Libre Ritmo Sonido Estilo).
Victor Rendón is a sought after New York City percussionistwho has performed with The Latin Jazz Orchestra, Chico O'Far-rill, Carlos "Patato" Valdéz, Ray Santos, Grupo Caribe, TheLatin Jazz Coalition, Los Más Valientes and many others.Rendón's work has appeared in Modern Drummer, DRUM!,Percussive Notes, and Warner Bros. Publications.
Victor Rendon has done the improbable: He has made it possible for a
wide range of drummer/percussionists to approach the art of tim -
bales without fear of failure. Rendon breaks down the daunting clave
structure so that we all can relate, and demonstrates how the instru -
ments of the Afro-Cuban percussion section (timbales, congas, bon -
gos, and sometimes drumset) function as a unit. Learning to play
timbales (or to emulate their rhythms on drumset) makes any drum -
mer more valuable on the bandstand, and Rendon's instructional
method is as clear as it's going to get. The author's clarity in presen -
tation is further enriched by his discussion of the evolution of Latin
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Santamaria and Patato Valdes, and has taught music for years within
the New York community, and now he's authored the most authorita -
tive book on the "original" Latin drumkit. Viva timbales!
—BILL KIELY, MODERN DRUMMER MAGAZINE
Victor Rendon's book is as close to having a virtual teacher by your
side as one could get. A full-length CD helps guide you through the
sounds, rhythms, styles and feels of timbales, and in context along
side a rhythm section that includes piano, bass, bongo, congas, tim -
bales and drumset. Not only are there typical licks, phrases and solo
ideas spelled out for you, there are sample charts with a "music
minus one" feature of removing the timbale track to give the stu -
dent/performer the experience of really owning the groove. And,
there are tracks that include drumset. Throughout the book are writ -
ten grooves for congas, bongo, guiro and drumset, always in
explained relation to the clave. Specific rhythms covered are cha cha
cha, son, 6/8 and mozambique. But this book is SO much
more....excellent photos of stick and hand positions, beautiful layout
and clear instrument/sticking/hand notation key, independence exer -
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with recommended stickings and keys to phrasing....it's ALL here.
Percussionists and drummers are going to love this book. Destined to
be a classic. — GORDON GOTTLIEB
ALSO AVAILABLE FROM MUSIC IN MOTION FILMS
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20
This is the best explanation of African rhythms that I’veheard. I really love the way Mokhtar breaks everything downand presents it to you. I like the way he plays and thinkswhen he’s behind a drumset. — DENNIS CHAMBERS
The grooves just LEAP off the page! Mokhtar Samba's illustra -tions of African Rhythm's are wonderfully insightful, enriching,and masterfully. Thank you, Mohktar for enlightening all of us!—VINNIE COLAIUTA
Mokhtar has opened my mind to rhythms I have never imag -ined before. The more I listen, and incorporate them into myplaying, the more I realize that I am tapping into a source ofrhythmic ideas that will never run dry. — WILL KENNEDY
African Rhythms and Independence brings the traditional trapplayer into the land of the original swing—Africa—by spellingout the essentials on the set. Any broad-based analysis of ac o n t i n e n t ’s worth of drumming is an ambitious work, butMokhtar keeps the common threads from country to country.Any drummer interested in a fresh look at how to orchestratea groove on the drumset would find these rhythms uplifting,and that’s the idea, its all up! — JAMEY HADDAD
Each groove is a dance and until you dance the patterns, theymay seem daunting. Dance first and read the notes after thenthe grooves will explode. The first time you make that connec -tion it will feel incredible. — CHRIS PARKER
Finally, a book that includes North African rhythms. Thankyou, Mokhtar. Respect! — BILLY MARTIN
Mohktar has given us many creative and original adaptationsof traditional African drumming styles. He presents the materialin a logical order which allows us to develop each rhythmic ele -ment gradually, internalizing these difficult and multilayered pat -t e rns. His contribution highlights the sophistication, genius, anddeep feeling in traditional African music. — ROYAL HARTIGAN
A welcome addition to the drumming lexicon. Ancient rhythmswith endless modern day applications. Mokhtar’s material notonly opens doors of insights into his music, but that of jazzand Latin, as well as any form of creative popular music.Bravo! — TONY MARTUCCI
Roots rhythms made fresh, challenging and fun! Talk aboutcoming full circle—by embracing the past—Mokhtar points usin the direction of the drumset's future! — DAVE STANOCH
For a long time I had hoped an African drummer would write abook based on contemporary African drumset playing. Mokhtardid it, and what a drummer! His book is a gem. — ALAIN RIEDER
This man can really play! Many new books are just olderbooks with an added cd. This book is a fresh, genuine projectthat will become a classic! — ALBERTO SEMENZATO
As Mokhtar Samba explains in the introduction to this excel -lent book, there were no drumset players in African bandsas recently as fifteen years ago. But by now an African kittradition has been established, and Samba—who’s playedwith, among others, Youssou N’Dour and Jean-Luc Ponty—takes the clearest, most direct route toward explaining it toa new audience. — MODERN DRUMMER MAGAZINE
AFRICAN RHYTHMS AND INDEPENDENCE FORDRUMSET by MOKHTAR SAMBA BOOK & CD
A guidebook for applying rhythms from North, Central and West Africa to Drumset.North Africa (Gnawa & Maghreb) Cameroon (Mangambe & Bikutsi) Guinea/Mali (Doudoumba) Senegal (Sabar)
Mokhtar Samba and his explosive drumming can be heardthroughout the world on tours and recordings with SaliefKeita, Youssou N'Dour, Henri Dikongue, Carlinhos Brown,Richard Bona, Tama, Ultramarine, Joe Zawinul, GrahamHaynes, Nguyen Le, Jean-Luc Ponty, and many others.Mokhtar's Moroccan-Senegalese heritage mixed with the jazzand Afro-fusion atmosphere of Paris has created one of themost exciting drummers of our time.
Designed for students and professional drummers interestedin exploring the roots of drumming while learning new rhythmsapplicable to all forms of modern music, including Afro-Cuban,Brazilian, jazz, rock and funk.
48 pages plus CD (96 tracks). Bilingual English/FrançaisAfrican Rhythms and Independence for Drumset ISBN: 0967309816 MIM002 $24.95
ALSO AVAILABLE FROM MUSIC IN MOTION FILMS
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![[Percussion] [Congas] Bob Evans - Conga Rhythms](https://img.pdfslide.us/doc/110x75/5471dd67b4af9f29358b45c5/percussion-congas-bob-evans-conga-rhythms.jpg)
