"ONVERSATIONS @ timate Technical Study of Four- Way independence in Afro-Cuban Rhythms Mere ee eee ee Vet at Pecan ea Cee RCT eee cuter ee een eo tylistic groove transcriptions: Seem TN mete a eeu tt Meu No srle ee red Annotations by Ken Ross ~rammy Award winner and internationally renowned recording artist Horacio “El Negro" Hernandez was born in Havana, Cuba, into a family with rich musical heritage, deeply rooted in traditional Cuban music and well-versed in American jazz currents. His own talent became evident early. At age twelve, "El Negro" was accepted by the prestigious Escuela Nacional de Arte, where he majored in drums and percussion, There he studied with the finest Cuban teachers, including Fausto Garcia Rivera, himself a student of famed American teachers Lawrence Stone and Henry Adler, and Enrique Pla, the drummer for the ground-breaking group “irakere,” and Santiago Rieter, the most influential of modern Cuban drummer- percussionists While still very young, Horacio began to work professionally in the group of well known Cuban saxophonist Nicolas Reynoso. As part of the exciting musical scene of 1980s Havana, he worked with all its dominant musicians; among them Paquito D’Rivera, Lucia Huergo, Arturo Sandoval, and German Velazco. He quickly became the most in- demand drummer of Egrem, the major recording studios in Cuba and making hundreds of recordings with them. About the Author In 1980, “Negro” joined Cuban pianist and composer Gonzalo Rubalcaba’s_ innovative group, "Proyecto." He played, toured and recorded with the group for ten years. Though he continued to work I] and record with the best Cuban and international musicians, including Dizzy Gillespie's United Nations Orchestra, it was with Rubalcaba that he developed his distinct drum- ming style—the potent mixture of Afro-Cuban and jaz elements that has made him an artist of extraordi- nary power and musical versatility. He moved to Rome in 1990 and soon became the energizing force in that city’s jazz and Latin music circles, working and recording with Pino Danielle, Gary Bartz, Steve Turre, Gary Smulyan and Mike Stern. He also formed his own band Tercer Mundo, During his stay in Rome he chaired the Lati Percussion department of the Centro di Percussione Timba and taught at the Universita della Musica, while also conducting many drum clinics throughout Italy. Hernandez arrived in New York in 1993 and immediately began to work with such celebrated jazz musicians as Paquito D'Rivera, Dave Valentin, Jerry Gonzalez and the Fort Apache Band, the Ed Simon Trio, Anthony Jackson, Kip Hanrahan, David Sanchez, Papo Vazquez, Steve Turre and the Sanctified Shells, Santi Debriano and the Panamaniacs, the Cepeda family’s Afro-Rican Jazz, Giovani Hidalgo, Arturo Sandoval, Regina Carter, Chico OFarrill and Tito Puente, as well as with In the Spirit.a rhythm and blues/rock/funk band. “El Negro” was also a member of the Michel Camilo Trio, playing percussion on Camilo’s original soundtrack for the film Two ‘Much. He was the featured drummer for San Francisco's memorable concert, rakere West, lead by famed Cuban pianist, Chucho Valdes, with special guest star Carlos Santana. He has become a member of the Tropi-Jazz All-StarsTable of Contents Part 1 Fundamental Concepts of the Clave The Clave Rhythm .. Clave Phrasing: Rhythmic Analysis. Clave Phrasing Exercises ... Part 2 Achieving Dexterity With the Clave. Technical Exercises. Rhythmic Permutations With Rumba Clave Rumba Clave With One-Note Variations .. Creative Exercises Melodic Permutations With Rumba Clave... Part 3 Fundamental Concepts: of the Cascais Rhythm The Cascar Part 4 Achieving Dexterity With the Cascara Rhythm .. Technical Exercises. Rhythmic Permutations With the Cascara Creative Exercises Melodic Permutations With the Cascara Rhythm.. Applications in Improvisation... Part 5 Fundamental Concepts of Afro-Cuban 8. 8 ctave ... Technical Exercises. Rhythmic Permutations With the Afro-Cuban § 8 Clave .. Creative Exercises Melodie Permutations With the Afro-Cuban § Clave... Applications in a improvisato Variations for § RhythmsPart 6 Advanced Systems Technical Exercises. Preparatory Patterns and Combination: Cascara Independence Exercise .. Bass Drum Patterns Part 7 Groove Transcriptions.. Introduction......... § Grooves for Drum Set ‘Guaguancé Cha Cha Cha Merengue Mambo de la Luna ‘Sin Saber Porque Part 8 Supplemental Materials. Left Hand Variations. Left Hand Variations: Master Melodic Exercises: Master Sets. Melodic Exercises. Selected DiscographyDart T Fundamental Concepts of the Clave RhythmFundamental Concepts of the Clave Rhythm he key to understanding Cuban music begins with the clave. The word, literally translated, means key, With this key we can learn how to phrase and interpret the music with authenticity and the correct feel. The clave is a two-measure rhythm that serves as a reference point for all the thythms, melodies, song-forms, and dances in Cuban music. This clave rhythm is always present in the music, even ifitis not actually being played. There are four basic clave patterns in Cuban music. The son clave, rumba clave, § clave, and the Bembe clave. The two- ‘measure pattern can either be 2:3 (meaning with two beats in the first measure and The Clave Rhythm three beats in the second measure), or 3:2 (meaning three beats in the first measure and two beats in the second measure), Within the arrangement of a piece of music the direction of the clave may be either 3:2 or 2:3 in any given section. The exception is the Bembe clave. Once set in motion, the “direction” of the clave never changes. Itis important to understand and master these four clave patterns and their related concepts—how to hear, feel, and phrase them—before moving forward. This section lays the foundation for the remaining mate- rial in this book and your contro! of this material is essential. ‘Audio Note: On the recording the following examples are played on a woodblock. They ‘canalso be played on any sound source on your drum set—side of floor tom, rim of a drum, closed hihat, cymbal bell, cowbell and the like. 2—il HtAd Fundamental Concepts of the Clave Rhythm Rumba Clave Te rumbs clave is unique in the fact that it can be phrased a number of ways, depending on the musical situation, of course. Sometimes this clave is played with strict four feel" and sometimes with a six feel,” Other times the phrasing falls some- where between these two (duple and triple) meters, The standard notation system cannot do justice to this rhythm or*feel,” as it Is impossible to capture this feel in ‘writing, and attempting to do so and then perform the written version would diminish the integrity of the music. However, the following examples can help you to visu- Audio Note: On the recording the following examples are ‘snare drum. They can be played on any two distinct soun srrrrr eee 2 4. 18 ‘trorerer alize the clave rhythm and obtain a starting place for your studies of combining these two superimposed feels (meters).1 suggest that you listen to 2 variety of Afro-Cuban music and fee! how clave is phrased in each instance. Practice playing the clave rhythm (right hand) on a wood block or the side (shell) of the floor tom. Play the subdivisions quietly with the left hand on another sound source such as the hihat and listen carefully to the phrasing, Practice each two measure pat- tern until you feel comfortable with your rhythmic execution and your sound, syed on a woodblock and the ‘sources on your set. corer pereer ay +i. 4+ dy corer poreFundamental Concepts of the Clave Rhythm Combination Phrasing Jere we see the clave rhythm outlined in Hyon § and cut-time. Notice that the notes with the “x” notehead outline the clave within the given subdivisions. As explained earlier, the 3-2 and 2-3 markings designate the direction of the clave, Practice playing the x-notes with one hand while playing the subdivisions with the other hand, Listen carefully to the phrasing of the clave rhythm. The objective of these exercises is to develop and inter nalize a sense of phrasing that is relaxed, swinging, and authentic ‘Nro-Cuban music can be played with a strict “four feel” a “six feel,” or it can be phrased both ways, depending upon the ‘musical situation. This is similar to jazz music. An example is the way a jaz ride pattern can be played as a strict dotted eight and sixteenth feel, or the more laid back triplet feel. Another example is the New Orleans shuffle, that falls somewhere between the two (duple and triple) feels— in the cracks. Practice these exercises until you can comfortably “shift” between feels. It is essential, however, that you listen to record: ings and performances of Afro-Cubo music to better understand the prop phrasing, Note: the”x" notehead outlines the clave rhythm. ‘Audio Not On the recording the following examples are played on the closed hihat and the snare drum. They can be played on any two distinct sound sources on your set. a gn!) 44 Fo e * ipgued ol Ty ddd omooyooFundamental Concepts of the Clave Rhythm Clave Phrasing: Rhythmic Analysis ese exercises are written in cut-time— tapping your foot in two pulses to the 3—a common meter in Afro-Cuban measure. If you play only the clave rhythm music. Notice how the § feel translates to (the “x” noteheads), you will hear a certain triplets in cut-time. Try playing Exercises 1 “elasticity"in the rhythm. through 8 on two sound sources while ‘Audio Note: On the recording the following examples are played on a woodblock and the snare drum. They can be played on any two distinct sound sources on your set. 3 3Fundamental Concepts of the Clave Rhythm 7 “ee tala hey Crore cert tt O° a ttt ff irre eerie T oO sa tet f cr fttrr ) * ley dene |}. “y fel: Toor torrFundamental Concepts of the Clave Rhythm Ti otontea eercses continue with the techniques and concepts presented in the last section. The notation in this section presents another way of looking at the rhythms, but the underlying elements—the elasticity of the feel and the superimposed Clave Phrasing Exercises duple and triple meter—remain the same Practicing these exercises will help you gt the correct phrasing of the clave rhythe while naturally incorporating this simult: neous duple-triple rhythmic combination ‘Audio Note: n these examples the clave rhythm—"x" noteheads—is played on a wood block, the standard notes on the snare drum and the left foot is playing the downbeats of each bar—the“1” of each bar—on the hihat. — > pepe ddd Lom. LCLDart 2 Achieving Dexterity With the Clave RhythmAchieving Dexterity With the Clave Rhythm Technical Exercises Rhythmic Permutations With Rumba Clave ‘ollowing is a series of permutation exer- ‘cises designed to develop your indepen- dence, coordination, and sense of phrasing in this style of music. The hihat rhythm, played with the foot, is an important refer- ‘ence point, because it marks the downbeat of each measure and helps you to lock in the time. The clave rhythm is without a doubt the most important rhythm in all Afro-Cuban musical styles, for it-serves as a reference point for all the rhythms and melodies, from the point of their composition right through to their arranging and performance. The clave rhythm, played here with the right hand, can be played on any number of sound sources, such as a cowbell, wood- block (or LP. Jamblock), auxiliary hihat, or the shell of the floor tom. Keep in mind the timbre and feeling you are trying to achieve. It should relate to the percussion instruments traditionally played in this style of music, especially if you wish to play with an authentic sound, | also suggest that you practice Part 1 with your left hand playing clave and your right hand playing the variations. Don't be afraid to break-up the rhythms around the drumset once you feel comfortable with the exercises. Finally, you can try going through these exercises with the 2-3 clave position. In other words, simply reverse the clave so that the measure with the two quarter notes is played first. Note: The notation and suggested orchestration of each of the following exer: cises is provided at each rhythmic pattern,Achieving Dexterity With the Clave Rhythm e first ostinato system key consists of the clave in the right hand (or left hand if you are left-handed) with the hihat foot playing the downbeats (the first note) of each bar. Remember that you can play the clave pattern on any sound on your drum seU/percussion setup (ie. side of floor tom, rim of any drum, closed hihat, second hihat, bell of cymbal, cowbell, jam block). You can also play your hihat foot part on the hihat itself, or on a jam block or cowbell mounted ‘on a foot-bracket for playing with a pedal. The exercises are designed to be played with a *strict four fee!” (duple feel).| would strongly recommend you play System 1 and System 1 Rumba Clave With One-Note Variations sing the eighth note subdivisions—instes of playing—them. Then go to the followin set of variations and sing those a» continue in this way. Singing the rhythe will pose a technical and coordination cht lenge, because your voice functions ie another limb, Mastering the exercises int fashion helps you internalize the rhythm and the general approach and will mex playing the rhythms far easier. Practice this system until you can play with a good sound and feel, as well a solid pulse. Basically, you need to be ablev “play this in your sleep.” wpe Once you can do this comfortably, continue to the next page. Here you continue to play the system with the corre- sponding limbs and play the variations (one-note through seven-note variations) in the left hand on the snare drum. Once you can execute these easily, you should also play the left-hand variations on other sound sources, as well as improvise by “breaking them up” onto varying sound sources in your set. Finally, repeat each exercise numero times, then continue on to the next witho: disrupting your groove. Read down tm page playing each exercise two times ea four times each, and eighth times each. On the subsequent six pages you wi find the two-through-seven-note vari tions. Remember, after your basic executio is under control, the sound and the fee! a your main concern,Achieving Dexterity With the Clave Rhythm ‘Audio Note: In these examples the clave rhythm is played cross-sticked on the snare drum, and the right hand plays the variations on the floor tom. The left foot is playing the down- beats of each bar on the hihat. System 1 jy fe be J J 2 , Fe a ' One-Note Variations 1 fone p= jo} = MW 2. \ - woe 1 3. | — +4 oo - AD \ “4 yee - a adi 1 ° ody daa 1 | »—_1_~—_ 2 lon 8. \ —t oly a +Achieving Dexterity With the Clave Rhythm ‘Audio Note: n these examples the clave rhythm is played cross-sticked on the snare drum. and the right hand plays the variations on the floor tom. The left foot is playing the down. beats of each bar on the hihat. System 1 TPT Two-Note Variations 1 _— — fens aNd ns + ej = a : \f}teg— ee = fy ee = aH 2! h » etek 9 2) 3 tt 2 Hen J b= ia 24 Hen- t i el | BeAchieving Dexterity With the Clave Rhythm ‘Audio Note:in these examples the clave rhythm is played cross-sticked on the snare drum and the right hand plays the variations on the floor tom. The left foot is playing the down: ‘beats of each bar on the hihat. System 1 A \ (ox at y x z oR = rs ' Three-Note Variations 1 = o- cee - 1 si C1722 = 91-0 do _-= 1 : odd y 1 4 \r Ar i yeecet bo yecet i 2 Fo fen: - o—}= oe ew 6. a qh % ye ee 7. | T 7 Ge — 2} 0 ee} _) el 8. = \ h Henee} 2 4 yetAchieving Dexterity With the Clave Rhythm ‘Audio Note: In these examples the clave rhythm is played cross-sticked on the snare drum and the right hand plays the variations on the floor tom. The left foot is playing the down- beats of each bar on the hihat. System 1 Four-Note Variations * Hheped—s od id iif “ Gtzy ee ee 2 44 e0 eet een ay ey 1a fet dL thot 5, Ty CTT few-—__J 0. 07 f nm qm rm : [etree p20 eet } eeu = end bh bt +eAchieving Dexterity With the Clave Rhythm Audio Note:in these examples the clave rhythm is played cross-sticked on the snare drum and the right hand plays the variations on the floor tom. The left foot is playing the down- beats of each bar on the hihat. System 1 \ je ip J Joe adr rp Five-Note Variations ' Hittite cee 2 ee ot 4 “Gh eee ee} pee ceed 4 oo ae ‘ eur peleeecit—1 cecee x pene JIT IJ» ee ee i ® nent dy + JT TT wotil> Ol) 8 mo mo \ k Hetree dcp 7 cis dsde +Achieving Dexterity With the Clave Rhythm Audio Note: In these examples the clave rhythm is played cross-sticked on the snare drum and the right hand plays the variations on the floor tom. The left foot is playing the down- beats of each bar on the hihat. System 1 det ee i i ; xt 4 Six-Note Variations : 3 7Achieving Dexterity With the Clave Rhythm Audio Note: n these examples the clave rhythm is played cross-sticked on the snare drum and the right hand plays the iations on the floor tom. The left foot is playing the down- beats of each bar on the hihat. System 1 \ peg — eA 2 J J 2 ee } iW fF kos Poo Seven-Note Variations " nell JT Audio Note: Example 30is animprovisa- tion using the dlaveandvaria- 2. TT 1 To TT] tions from the Chit eelpececso oi previous seven examples, enw OO OO ees oa ° ft Ja JT 5 addy ddcidd dds Jia Clie-2-d de CoO s [¢tr- d aad yee Jd JaAchieving Dexterity With the Clave Rhythm Creative Exercises Melodic Permutations With Rumba Clave the clave rhythm can also be treated as a melody. By revoicing this “melody” around the drum set we can create hundreds of new rhythmic patterns and musical possibilities. If, for example, we take the clave and play this melody on two sound sources, such as hihat and cowbell (as in Example 1), we have a new melody. The possibilities are limitless. In Example 2 we are using an LP. Jamblock and emphasizing the bombo note by revoicing the“and” of beat 2 on the large tom. Examples 3 and 4. demonstrat further melodic use of the toms. Experiment with different voicings ané orchestrations, then select one melody you like and go back to Part 1. Play through the exercises again, but now use your new melody in the system in place of the existing clave. This will introduce new tech- nical challenges to overcome, but working in this fashion will give you much new tech nical ability and control and with it many new creative possibilities. Audio Note: Example 30 is an improvisation using the clave melodic permutations from examples 1-4 above in one hand with tions played around the set with the other hand,Part Fundamental Concepts of the Cascara RhythmFundamental Concepts of the Cascara Rhythm The Cascara which literally translated means “shell” is a very important ride pattern in Cuban music.ttis a duple feel ride pattern that interacts in perfect harmony with the clave.in fact itis the most common ride pattern in the son, quaracha, mambo and other similar dance styles. t is typically played by the timbalero (timbale player) on either the side of the timbales (the shell,on a cowbell or a cymbal cup. It was derived from a strict eighth note subdivision using the following sticking: RLERRLRLRRLRLRRL Try playing this rhythm first on the closed hihat. It is very important to create two different sound levels for the accented and unaccented notes. After you master the pattern above try doubling all the notes played by the left hand. The pattern then looks like this: RIURRIIRURRIURURR Try the following exercise first using both hands on the same sound source, ic. closed hihat. NOTE: This is not the way you would play the pattern in a musical setting. This is simply a technical exercise. ‘After you master this exercise, begin creating patterns by combining single and double strokes in the left hand. These cascara concepts have been presented in the 3-2 clave position. However, you must practice all of these exercises in the 2-3 position as well. This is done by simply starting the pattern on the second measure. Once you are comfortable with the exer- ise, try breaking up the left hand patterns around the kit. One-Hand Cascara The one hand cascara is derivative of the preceding rhythm but simply omits the left hand. Again, give special attention to the accents of the pattern, ‘Once you are comfortable with the cascara in one hand, add the clave chythm in the other, then proceed to the following exercises and add the feet.Fundamental Concepts of the Cascara Rhythm Cascara Rhythm in 3-2 Audio Note: Example 32 is the following example of the paila played with one hand. Audio Example 33 is the same pattern played with two hands. Follow the two-hand sticking given with the example. Cascara Rhythm in 2-3 @ wii s.i53. Horacio with Walfredo Reyes Sr.Dart a Achieving Dexterity With the Cascara RhythmAchieving Dexterity With the Cascara Technical Exercises Rhythmic Permutations With the Cascara 1n this section we follow the identical Japproach of Part 2, where we addressed technical exercises with the clave. Here we apply the exact same system to gaining technical facility with the cascara. Following is a series of permutation exercises designed to develop your inde- pendence, coordination, and sense of phrasing in this style of music. The hihat rhythm, played with the foot, is an impor- tant reference point, because it marks the downbeat of each measure and helps you to lock in the time. The cascara rhythm Is a very important rhythm in Afro-Cuban music, for it serves as the most basic comping (ride) pattern on timbales and drum set The cascara rhythm, played here with the right hand, can be played on any number of sound sources, such as a cowbell, woodblock (or LP. Jamblock),auxil- iary hihat,or the shell of the floor tom. Keep in mind the timbre you are trying to achieve. It should relate to the percussion instruments traditionally played in this style ‘of music—especially if you wish to play with an authentic sound. | also suggest that you practice Part 1 with your left hand playing cascara and your right hand playing the variations. Don't be afraid to break-up the thythms around the drumset once you feel comfortable with the exercises. You should also sing the variations as you play a system, as was started in Part 2, Keep in mind that you are working with a duple feel. Finally, you can try going through these exercises with the 2-3 clave position. In other words, simply reverse the pattern and start on bar two, Note: The notation and suggested orchestration of each of the following exer: cises is provided at each rhythmic pattern.Achieving Dexterity With the Cascara System 2 One-Note Variations fren: 2. —— Part? Audio Note: Example 35isa seven-part ‘example. t consists of Variation #2 from this ‘on each page Swough panes 4. played 2 times . + ‘each back to Tete back.Turn to the next page as the ‘example plays to follow along. (Variation #20n 5, ere fo J, . J. 4 played two times pet —— each.) The cascara (systor) is played ona Cowbell withthe © left foot playing the downbeats on the hihat. The variations are played on the snare.As you develop teciity 7. with this approach, these patterns can be orchestrated ina variety of ways around your drum set. 8. AAchieving Dexterity With the Cascara System 2 Pare2 Audi Note: eo pied mee, F Seat gut t 1 ee, from page 38-44 played 2 times: ext page as the example plays to follow along. (Variation #2 on. pages 38-44 played two times each.)Achieving Dexterity With the Cascara System 2 a =. uf ¢ i ; ax L i whey “eh t Three-Note Variations *: 1 és m=}. ©): Audio Note: seven-part example.tt back.Turn tothe 4, next page as the example plays to follow along. Wariation #2 on pages 38-44 layed two times each) 5 > - en ee j= __¢ 6 26 4 a fete 9-2 de pe an mod il Che 2 2 e420 2 2 2 8. etre 02 —} > fy ro oaAchieving Dexterity With the Cascara System 2 OE > > & 7 wep ie i i oie Four-Note Variations eye al TT eee Tere ag hii! meee ete yee de py dd ey follow along. Seon : Bape tines tte 24-2 6 ete} 2-2 6-1Achieving Dexterity With the Cascara System 2 — — > > = k hes poe y= Five-Note Variations i —— [Cte cecee b jee eee 2 Wl 7 — — m- [Cit ee ceed yeoeecet in Parts Audio Note: Example 35 isa _— severspart 3 example. tt ene eceeee jk oeeee 4 consists of Variation #2 from page 38-44 played 2 times tach back to back.Turntothe 4. APT TC) rr re [Clit 2 ee eee lt 4 eee cen follow along. Variation 82 on. pages 38-44 played two times tach) z —— i ¢ise b eeceeio ft ee cei [Otero dt 9 ee ciced ye dda : = = 4 = Jee ce bf ee eee ft een fenAchieving Dexterity With the Cascara System 2 > > > > > > lls Ie TJs le x x7 rij J jis x 4 a 2 Six-Note Variations * peel II Oy JT Fa a ens Jaa J.J My IG sy Parté Audio Note: Example 35 isa sevenrpart example It consists of Variation #2 from page 38-44 played 2 times Sach back to back.Turntothe 4. next page as the ‘xample plays to ‘fol Nc 8-44 played two times each.) 5.Achieving Dexterity With the Cascara System 2 > et yews ee cel Part? io Note: Example 35 isa seven-part 3 example.|t consists of Variation #2 from page 38-44 played 2 times each back to back.Turn tothe 4 next page as the he example plays to follow along. (Variation #2 on odd d-d 4000s 0-00 ttAchieving Dexterity With the Cascara Creative Exercises Melodic Permutations With the Cascara Rhythm Following are a series of rhythmic combinations written on a single line. You are to think of these rhythms as melodies and orchestrate them around your drumset-percussion setup. You should start by simply playing the ostinato system and the “melody rhythms” ‘on the snare. Once you are comfortable with the technical aspect you can continue with the following. Your approach can be twofold. First, you can try playing repeating “melody rhythms” in order to create motifs. These can then become grooves you use in playing musical pieces and can even become the basis for a piece. Second, you can try to play from a purely improvisational perspective Obviously your improvisations should consist of motifs and recurring themes, but here your challenge should be to see how far you can go with the orchestration of these patterns. Your approach should start with the following ostinato systems: 1. Right hand plays rumba clave-left hand plays melody. 2.Left hand plays rumba clave-right hand plays melody. 3,Right hand plays cascara-left hand plays melody. 4. Left hand plays cascara-right hand plays melody. The pattern you play with your feet is up to you. You should start with the downbeats in the hihat, Later in the book there are additional patterns to play with the feet. Try to concentrate on phrasing and always strive for a good feel and dynamic balance.Achieving Dexterity With the Cascara Two-Note Melody Exercises ‘Audio Note:The cascara (system) is played on a cowbell with the loft foot playing the downbeats on the hihat. The variations are played on the ‘snare. As you develop facility with this approach, these patterns can be orchestrated ina variety of ways around your drum set. 1 4 Ged 2 db je de by ed od iy 2 — — Ge te tt i de tee | | \ Fe — {}- oe e = oe © —. ye. 4-6 = j-<. ; 4Two-Note Melody Exercises (continued) o—}— + #14} _#—_} _+-6 dyad 1 -dy Ly J b yoyo 3-4 on Achieving Dexterity With the CascaraAchieving Dexterity With the Cascara Three-Note Melody Exercises ; eee a bee e 2} id gg o + Jad dy tty tilly yd, Gy sd, jek Jt z tty, dy + Jp dy Gh /t tod» J by -0-$—0 24 diy “+ ou 2. — Goo dit dy 4 Gh ope yeh 4 | \ Ny | N \ H}2 #0 —+ 611} 22 4 6 je —-4-# 2) 10 4 0 + 2 fea dics da Jd 14,1) J dey J4dy dps 4 dy doy dh d + dig dy or dyAchieving Dexterity With the Cascara Three-Note Melody Exercises (continued) ‘Audio Note:The cascara (system) is played on a cowbell with the left foot playing the downbeats on the hihat. The variations are played on the snare. As you develop facility with this approach, these patterns can be orchestrated in a variety of ways around your drum set. pal ipl el pl pe A 44d Ld 4 my JI, Sd, » JI, y pt» 4 dS Audio Note: Example 38 is an improvisation orchestrating the rhythms from the previous example around the drum set.Achieving Dexterity With the Cascara f \ \ \ | | \ | pee bp lit eo py lid ole 2 0 yp ole 2 \ = KY : 0-6 4-0-6 } 12 04 «o_+} 6 4 0 3 — 4 fra \ on | \ | \ dpe po oj} yp 0) ope pt gy ele p olyAchieving Dexterity With the Cascara Four-Note Melody Exercises 4 i ft —= SS tee © © je 0 0 © |; etetpeyeiteyeyetes 2 = — = = K He} 0 oo jp 0 9 ht gp ely pe te gly ey i \ \ J-0-4-0-} 10 -d-y J) sty a. J gdlig Dl oa 4 m ‘ai aT i | J 4 0, GOL, Ba dey Ll hy bad {Re 0-2 eeAchieving Dexterity With the Cascara Four-Note Melody Exercises (continued) here -)_ Fe dh) LL, ELL, a, ffeey d. yd JG egy ty bd Jd yd PS JL Jy J, Fad dd. did = dt ged Oddy OO fe 5-day pp ty dy Ji _d. _d. dd ~e aL ao) diet JG yd Oy 1 A a Ji-dd» Fd» 4d) Ty, . dN f ee ee 14 JG FG4 Dy dyAchieving Dexterity With the Cascara Four-Note Melody Exercises (continued) = \ \ am \ am a \ Jer oe tp eeined 2 dejeie ed pelt 22d te yyy yy tg Dh QO ie ‘ >J, DO, By Ds, td dt, Sh, eee} 0 jeoe to ye oo} + ds oc et +24 fe eee }—e 2-3-4 he eee bye ty 2-6 et gpl OJy JO), +d, Ty +d gi» 10d. 1, ., GIO. Ga, oo _ 8 gltid Ol. 40, oo,Achieving Dexterity With the Cascara Four-Note Melody Exercises (continued) “nee Oy Oy Ty , DL, pee IJ, 1 0, db, ,ST, dy , FO, oe Jy SJ Sy by — — — — {Joe 2 = jo-e-0 a o-e-e-e ‘ 5 fe » J4dy Jd, SD, 4d % dt 2 H+ 4» Ol, J ut +4» 44 J. AG }- +d td dy ILO, e by Jd nJJ da tit Ly 14d daa edd yd 4 .Achieving Dexterity With the Cascara Four-Note Melody Exercises (continued) fee 0,» OO,» ~S» dO Ge — Jody il 4 gl pt gh» Fy» DO, pd y fy a= el IC ip) ge ee IU 2-4Achieving Dexterity With the Cascara Applications In Improvisation Te final step in practicing the “melody improvised, as would be done in an actual thythm* exercises is to improvise the _ playing situation in which you are comping rhythmic line as well as the orchestration and improvising with these rhythms. (melody). Following are two examples of Take these improvised rhythmic lines these exercises with the thythmic line and improvise melodies with them. ‘Audio Note: Example 39 is an improvisation using mixed rhythms, as in the following two examples, ‘and orchestrating them around the drum set. The possibilities are endless as both the rhythms and J) ve orchestrations are improvised. “pg dl J dip dy i I po dl J. 4d jy by SII ds »11, 0, 0- ody dl, ae il gga yg il diy Je 1 needa Ty ty dy yD Oy ; im J) Di» JG, Jig J). J gett 2 is deg a sh gudld 9 diy 9 sy dy 4 pl! Dy,» 1,57 a ed ElPart 5 Fundamental Concepts of Afro-Cuban §Fundamental Concepts of Afro-Cuban § 8 Clave This section mirrors the approach taken in the last two sections—clave and cascara development respectively—and now applies them to Afro-Cuban §. This often-used term: “Afro-Cuban § pattern” (or § clave), is actually a generic term use to describe many different actual rhythms. Though many people use the term to describe a feel, they do not know the specific patterns in the particular styles, This section presents what is probably the most common of the patterns that are usually asso- ciated with the music called “Afro-Cuban §” The first two patterns notated below are different from each other, yet they are both often referred to as f clave. tern 2 is the pattem we will focus on in this section. t is often played on cowbell at Bembes (religious gatherings), and other folkloric events featuring music with ‘African roots. When practicing these technical exercises try to internalize this bell pattern as the clave. This bell pattern becomes the basic pulse to which all of the other rhythms conform. Try playing the pattern on a cowbell or the bell of a ride cymbal. Then play the left-hand variations on one sound source, such as your snare drum. Once you feel comfortable with this, try“breaking up” the rhythms around the kit. Again, it is very important to listen to. performances in this style of music to learn how to phrase with an authentic feel, Think of this approach as being the same as the approach you might take to study the jazz ride cymbal patterns of Elvin Jones or Tony Williams. After you overcome the technical hurdles, your phrasing feel and steady tempo should be your main concerns.Fundamental Concepts of Afro-Cuban § Technical Exercises Rhythmic Permutations With the Afro-Cuban § Clave 1¢ following exercises will help you gain control and dexterity with the Afro- Cuban 6/8 style. This section follows the same process as that of the clave and cascara sections. That is, we take a basic system and maintain it as an ostinato pattern in two limbs—in this case right hand and hihat—and play rhythmic permu- tations in a third limb (the left hand). Remember that once you have the tech- nical aspects under control, the feel and groove is the main concern. This Is a triple- meter feel so you should practice singing an eighth-note triplet subdivision under all of these exercises. The following pattern, System 3, will be System 3 your main system for this first set of exer- ises, Play the right hand on the cowbell, side of floor tom, cymbal bell, or closed auxiliary hihat, and play the hihat with the left foot. Remember that the hihat foot pattern playing the downbeats is estab- lishing the basic pulse and the bell pattern is establishing the feel. ‘Once you have this system under control, proceed to the following patterns. Keep in mind that the Afro-Cuban 6/8 clave and its related rhythms are triplet feels. itis a good practice to sing a triplet subdivision while practicing the following exercises. This will help you further “lock in” the rhythms.Fundamental Concepts of Afro-Cuban § snare with the other hand. ‘Audio Note: On the recording this system is played with one hand ona cowbell, the hihat playing the downbeats with the foot and the variations played on the System 3 Poy One-Note Variations i 1§--— Ff sol ee —}+—___Fundamental Concepts of Afro-Cuban § ‘Audio Note: On the recording this system is played with one hand on a cowbell, the hihat playing the downbeats with the foot and the variations played on the snare with the other hand. System 3 agers Ob Oy | a i Po Two-Note Variations q i s oe +rFundamental Concepts of Afro-Cuban 8 Audio Note: On the recording this system is played with one hand on a cowbell, the hihat playing the downbeats with the foot and the variations played on the snare with the other hand. System 3 Three-Note Variations "ng 2-12. JIL: 4 6,Fundamental Concepts of Afro-Cuban § Creative Exercises Melodic Permutations with the Afro-Cuban § Clave Following are a series of rhythmic combinations written on a single fine. You are to think of these rhythms as melodies and orchestrate them around your drumset-percussion setup, You should start by simply playing the ostinato system and the “melody rhythms? on the snare. Once you are comfortable with the technical aspect you can continue with the following. Your approach can be twofold. First, you can try playing repeating “melody rhythms” in order to create motifs. These can then become grooves you tse in playing musical pieces and can even become the basis for a piece. Second, you can try to play from a purely Improvisational —_ perspective, Obviously your improvisations should consist of motifs and recurring themes, but here your challenge should be to see how far you can go with the orchestration of these patterns. Your approach should st following ostinato systems: rt with the |. Right hand plays bell pattern-left hand plays melody. 2.Left hand plays bell pattern-right hand plays melody. 3. Right hand plays bell pattern-left hand plays melody, 4. Left hand plays bell pattern-right hand plays melody. The pattern you play with your feet is up to you. You should start with the downbeats In the hihat. Later in the book there are additional patterns to play with the feet. The first and most basic foot pattern isto add the bass drum on the second note of the"three-side” of the clave. Try to concentrate on phrasing and always strive for a. good feel and dynamic balance,Fundamental Concepts of Afro-Cuban § Two-Note Melody Exercise \ ‘ s pd Three-Note Melody Exercise Audio Note: On the recording this system (with the basic cowbell pattern) is played with one hand on the Siok er hihat playing the downbeats with the foot and the variations played on the snare with the other han qg-/_,_d. yd. i,tFundamental Concepts of Afro-Cuban § Four-Note Melody Exercise ig JG, OGG EASY fr dA, 4 als JL, FGA, j,._G J, Gf, LL, i, prod» J, 2, SLE LE LG eyeFundamental Concepts of Afro-Cuban § Applications in Improvisation Te final step in practicing the “melody improvised, as would be done in an actual rhythm” exercises is to improvise the _ playing situation in which you are comping rhythmic line as well as the orchestration and improvising with these rhythms. (melody). Following are two examples of Take these improvised rhythmic lines these exerci s with the rhythmic line and improvise melodies with them, n improvisation using mixed rhythms, as in the following two ‘examples, and orchestrating them around the drum set. The possibilities are endless as both. the rhythms and the orchestrations are improvised, joe dl. 4 Judy Sy IL:Fundamental Concepts of Afro-Cuban § Variations for § Rhythms ‘ollowing are a number of additional vari- you variations for the cowbell (ride pattern), ations you can play with the rhythms bass drum, and hihat. presented in this section. The table shows oa rm > boy : jDart Advanced SystemsAdvanced Systems Technical Exercises Preparatory Patterns and Combinations px 6 introduces more advanced systems comprised of three- and four-limb ost! 5 with a variety of rhythmic ions. The following preparatory exercises will give you the facility to begin working with the advanced systems, Be by practicing each exercise slowly and care: fully, then work them up to as many different tempos and dynamic levels as possible, Remember that the broader your dynamic and tempo range fs, the more control you will have and many more ical possibilities will be available to youAdvanced Systems Hand Exercises Over Clave With Foot Ta exercises will help you “line up” played with the hihat foot, Rhythmic accu your alternating single and double racy is essential as is good sound, feel, and strokes in the hands over the clave rhythm steady pulse, 1. Single Stroke Exercise oo a i a rte prrered? Riek tRiERi RERLRIRI PPP PPP PPP PP PP 4 \e pr pe fo PURURERERLRERLRL RERLRERERERERER oa ooo oo, ye y 2. Double Stroke Exercise eo oe tL ot oR Rk tot bdo, «2 je g ¢ 3 4 ¢ be pt ot ; RRELRRLL RRUELRRLL TT eee e 9 ee s+f pegegen bi 6p f RRLLRRLLRRULRRLL RRLURRLLRRLLRRLL , draaedguecandaga, duldagadadgdddddad, teor pt UOAdvanced Systems Cascara Independence Exercise System = St _ s = ames I icy Mls gl a by Hed 2 ay iF te pe 2 Bass Drum-Snare Drum/Right Foot-Left Hand Patterns * gee) oo * nen SL * peel LOS * gel OD Joo * enewee dele led lyGC Advanced Systems Cascara Independence Exercise (continued) 7. awl, Loy seo DDL Ty gens Ta gene TT da Hh etie iJ odes lel len ene Jedi lee J Stet elAdvanced Systems Gg B¢}—+- 4-24 ——t Bass Drum Patterns 1 fe a ry a a a Hp ” tH * . Ht ter Tt He-+9 1-9 2 cyt 74 H}e— a H}-e-+ t tt + coi, aa!Advanced Systems Hihat Patterns 1 He He 2 Yee Qe wt eo ttetott Victor Mendoza, Rod Morgenstein,Trilok Gurtu, Gregg Bisonette, ‘Negro and Raul RekowAdvanced Systems Cascara Variations Primary Pattern > 1s > > > > 7 Qe te 1d d oe “ned FG 1 Thy * elobp pion,) a 2 (3) Shen ® x< Ta = F — ” i) Advanced Systems Pz 2bevinsthe advanced sysems tech nical exercises. We'll start with a system comprised of the cascara pattern in the right hand, (played on any of the sound sources previously suggested), the rumba clave rhythm played on the hihat (or mounted LP. Jamblock or cowbell) with the and the basic bass drum pattern n Number | from the Bass Drum System Exercises All of the systems are created by combining a cowbell or cascara pattern with the bass drum and a hihat pa from the pages 77 and 78. Work with th system hen you have mastered these you can develop your own itten here and combinations.Fifteen System Exercises System 1: Cascara and Clave With Bass Drum Pattern 1 > > & > S PJ al oJ feet i Tes hy" One-Note Left-Hand Variations ' ly * ewe 9 J 4 AY n a of hy d a4 i ie Peers when you 3. eu n 4 wy the simple HH eo + oo 4 ‘version red. @ 4. ih \ 2h +31 = +37 it M2) to) ‘ —_ . e-——1 2 .~__1 > 4 : Hies-——>-d gj — + dy 1 ” ei=—p—-+ =p 8. xFifteen System Exercises System 2: Cascara and Clave With Bass Drum Pattern 2 ‘Audio Note: Shown here is System 2 with the Two:Note tt ° 2 mt r Left-Hand Two-Note Left-Hand Variations yafetend , desk _— 3] On the recording H}¢tire 2 3 = ee} = 4 ® Bee oo. S packeteserw = \ h eh Seema” ey de = ip de ®o < 3 — _— Lu ([}@hit — ee = 2 a 1 3 ‘ J \J a Git yee bb pee ot P i) 5 — _ Chie= 2-2} += oJ) 4 6. \ Chis= 4 jd io +o. a rT 7, eu: = peda » Jy & \ end py hy yg hyFifteen System Exercises System 3: Cascara and Clave With Bass Drum Pattern 3 7 \ r fx Le pe | a ig | ‘Audio Note: Shown: ie t ¥ here is System 3 yinihetiee, _Three-Note Left-Hand Variations Variations. 1. m —_— ‘Onthe recording Het 22+ —_ = po . a Speen ls. ‘trate these perce 2 amust — practice these vari- TT Sonswitallot HOH) ete = py tt thegiven systems. oy) 4 ” pie () =} ul < 1) in 2h 7) @ oeFifteen System Exercises System 4: Cascara and Clave With Bass Drum Pattern 4 > > > SS > fp te “ feet system | yesh the FourNote Four.Note Left-Hand Variations 1 Variations. — onthe recording .¢l-e-0 0 2 = — Roracio uses u System 1 tollus- outethese four-note vatia- tions. You must 2. practice these vari Stions with all of the given systems. i in Ae) i} bo Co x if = a) a ) ”Fifteen System Exercises futoNoe: Shown ystem 5 with the Five-Note feftHand Variations. Onthe recording Sytem 1 tol Spam lus ‘trate these thegiven systems. System 5: Cascara and Clave With Bass Drum Pattern 5 > > > me. xx a ee eh —+ od J o o+t—_+ AT | a ]etie 42-20-20} odo Clie eh} ye o ewetb teeces eel \ oT \ eh: te lesee} + 0): ” < n a @ = wu (7) = 2 12) @o ol‘Audio Note: Shown here is System 6 with the Six Note Har va tions. On the recording variations with all of the given systems, 0) ra) 2 } thew oH x uu = L a ) 7) Fifteen System Exercises System 6: Matibo Bel aid Clave With Bese Orixn Ration KV 3 k 1D ; 6-3} — 1-9 +t 1. * v Vv ‘Six-Note Left-Hand Variations 1 a fend J II 0, pI Els 1} Yr h HI} thi e-2-2 2-242 1000-6 — 4-dayFifteen System Exercises System 7: Mambo Bell and Clave With Bass Drum Pattern 2 > > >> >> > é bee LDL a { - | = | | | | ayoston ie i—r¥ a r +t —F }—_»— en Seven-Note Left-Hand Variations +J-d-0. dad JJ eee J oH Enample 54is an a fe Ty] oy eo 2 tem 1 [ete e-0-0-0-0 W > a | al i) =| Wl bad @ = ig) 7) o | Iw mons o-2 otee o-\s-0-0 oo 6-2} ‘complex patterns. 11 J oe 8. — — . tre dcdeddyciedededrenfoe) o wa (3) = oO be a £ O at a) > 1) Fifteen System Exercises The following pages contain the remaining systems —systems 10 through 15— shown with the one-note varia- tions. Practice each of the systems with all of ‘System 8: Mambo Bell and Clave With Bass Drum Pattern 3 > hes Hepp ~~ | pe Pe < | = thetheleft-hand One-Note Left-Hand Variations variations— fone through seven notes variations, 1 4. ene * Den 6. en Hen fens —— Al h \ yee 2 et HW 0} 26 41Fifteen System Exercises System 9: Mambo Bell and Clave With Bass Drum Pattern 4 tee +53 ote — 2} One-Note Left-Hand Variations 1 - 2) t o—} 1 > 2) al * eur a )y 1 g a ro 4 — il 4 4 @ht 3 —-o-= +2 oe = ab @o . © ien:- eo} 4= ot 6. \ \ C= 7 0} 7 e 4 aFifteen System Exercises ‘System 10: Mambo Bell and Clave With Bass Drum Pattem 5 jlew—} xok, G0 9 be ey r* o—| ro) Onerlcte Left-Hand Variations Sl Cy er + =f C0) pa 2 \ ‘ 3) by ol} 5 pe ped cd) Le 3 Lu a \ 4 a . CH -=$ 43-7 0 =H n > 2) * en=— 2) = 6. A \ G90) 2 5 9 f¢n-— 4—e 4-2-4 4 ® e-— py eeFifteen System Exercises System 11: Bongo Bell and Glave With Bass Daum Petter | wy io) * ne ¢ + - a One-Note Left-Hand Variations ; i) Hen 2 -—___jo_} =~ ys oe 2. \ h i) Hh tee) = py ot ey 3 Uy a | ~ Cite += 4 9) 4 Q. 4 \ h ~” teh 1 = 9 = Hl >) -_ —y 5 ee +4 6. h \ Hens = $a ~All ” \en-—_» + 4-1 4 8. h h +} ++-=N b ol 0) fy (3) h co bo Ea = iF pet n > 17) Fifteen System Exercises System 12: Bongo Bell and Clave With Bass Drum Pattem 2 ihe —— x45 | | He+—1—-8-2-—» —23 ¥ One-Note Left-Hand Variations ' t the —— ie 2 h eis 2 = ¥ 3. | i ¢tt-—e— = + 4 \ Hea: , 2 = + tte ie ~ Chia — 6 —__}= en rT t — 4 jt i | os " J 4 ott n et —i—_4—4Fifteen System Exercises System 13: Bongo Bell and Clave With Bass Drum Pattern 3 wf plo si I | opt One-Note Left-Hand Variations "pend 44 = * Het ay 4, a | 3, | | H}ts3—_*—_-___-—_+ = “ea —» d__» , J. _4 * en-——d_3j-_1 34 2) < 7) aw (1) 3 ww Pad (0) i 2h 2) o ty 1%)SF 2 c A S) k= i = 5 — n > 17) Fifteen System Exercises ‘System 14: Bongo Bell and Clave With Bass Hhe-% my = t or + t t+—» te One-Note Left-Hand Variations ae ire p= te: 2. N HH Hi-7—e + 3. 1-3 —= ¢ 4 h ¢hi-3—_ = ? en o—} = 6. \ qu yo 2 7 HH — 8 \ a Drum Pattern 4 MW Hl aM A h eaFifteen System Exercises ‘System 15: Bongo Bell and Clave With Bass Drum Pattem 5 x > > > q fes—p—s ++ fad sd | fer ered o a a One-Note Left-Hand Variations ig AY etre 2 = fo —}—_=_____4 2) a é ‘ ‘ 1 Hh @tey—e 3-9-6) => =} uw a | ral H} te} —= + _¢. _=__iy (9) = ie * eng —9 ae ye Sl fl 4 _ a a ae so * hen te 4 Jets-——3—~+ te 8 i \Dart Groove TranscriptionsGroove Transcriptions Introduction pe part presents transcriptions of grooves Horacio has developed and plays, as a matter of course, in his perform- ances. These are not meant to be copied and played by you as the end. They are meant as a reference and a starting point for your to develop your own grooves. You must be able to play these musical styles in order to perform in Afro-Cuban musical settings and in many settings where a “generic” approach to a particular Note: Latin style is called for. in these situations you must play a “basic mambo” or a “basic songo” or whatever the musical situation ‘alls for. But this should simply be a begin- ning for you to explore your creativity and these many rhythmic styles and develop your own versions of Afro-Cuban rhythms and also to integrate these rhythms with other musical styles. ‘The notation scheme for these transcriptions is as follows: The patterns have been mostly notated on one-line staffs instead of five-line staffs for easier reading. In the case of cowbells and woodblocks, unique noteheads have been used for the various sound sources. Each vi is notated at each example.Groove Transcriptions § Grooves for Drum Set rn the first groove Horacio uses a typical § bell pattern but revoices the downbeat on the large tom to give more of a Bembe feel. Notice the hihat pattem simulates a shekeré pattern. In the second groove the right hand is playing an Abacua pattern, which implies Afro-Cuban 6/8 Groove 1 y Afro-Cuban 6/8 Groove 2 N yo, another (superimposed) meter.This isa very ‘common characteristic of African music, He also plays the shekeré pattern with the hihat. Notice how the bass drum outlines the Abacua rhythm, implying a meter of three,Groove Transcriptions Afro-Cuban § Groove 3 > >Groove Transcriptions Guaguanc6é uaguancé is one of the most popular musical forms of the Cuban Rumba.The ensemble can be made up of percussion ists, dancers and vocalists. In this highly complex form of music, the lead or solo drummer plays the quinto, skillfully mimicking the movements of the dancers while maintaining a conversation with the other two drummers—the salidor and the tres golpes. The middle drum, the Tres Golpes, and the lowest sounding drum, the Salidor, each play a specific melodic and rhythmic pattern that gives the Gauguancé its characteristic sound. The drums are always accompanied by the clave and can include other various percussion instruments, such as the shekeré (a beaded gourd) and the guagua (a piece of bamboo mounted on a stand). This example combines some of the basic Guaguancé patterns as applied to the drumset. It must be mentioned that the drumset is not played in traditional Rumba. The tempo for Guaguancé is usually medium to medium-fast. The following pattern will also work on drumset for the Yambu, which is another form of Rumba that is slower in tempo.Groove Transcriptions Mambo ie mambo is 3 popular Cuban dance thythm that evolved from the Cuban Danz6n style during the 1940s, The great composer and musician Israel Cachao Lopez is credited with further developing the mambo which became a staple for many of the Latin big bands in the United States during the 1950s. The traditional percussion section calls fora congero,a timbalero, a bongocero and one of the orchestra musicians playing the clave (instrument), Here is an example of a basic mambo pattern played on these traditional instru ments. (Note the bongo bell pattern is played by the bongocero and the mambo bell pattern is played by the timbatero.)Groove Transcriptions Mambo (continued) Ti next example Is» drumset apeiica- 28 played in the previous example. The tion of the mambo, extracting rhythms mambo is generally played at medium to from the traditional percussion instruments fast tempos.Groove Transcriptions Conga and Comparsas 1e conga is a carnival rhythm from Cuba The rhythm (conga) Is played in festivals and parades (comparsas). The music can be performed by singers, dancers and a band, complete with brass players and a full compliment of percussion instruments. Some of the more typical percussion instru- HI} a jl ments include various sizes of cowbells, congas (rebajadores and salidores), snare drums, bass drums,sartenes (mounted frying pans), and a host of other percussion instruments. Here is an example of a tradi- tional conga followed by a drumset application. V/ie Groove Transcriptions 7 ) Conga (continued) Ou: dp pratt ++] td —pe—a—_ pp p—_ pt 2—fhis is a good basic groove for many styles of Afro-Cuban music. It applies the cascara pattern, a bell pattern variation, a bass drum figure, and the 2-3 clave. This is a very versatile groove that can be applied to the drumset in many ways. Try revoicing some of the rhythms around the drumset. For example, substitute one of cascara notes for the snare drum, or try playing the qex fey? ty feriadir - 1¢2—* i Groove Transcriptions Cascara Groove bell pattern between two bells. The word cascara, literally translated, means shell, and, in Cuban music, cascara can either mean the actual rhythm itself, or it can indicate the percussionist should play on the shell (sides) of the drum (usually the timbales). in ‘other words, one indication is for a rhythm, and the other is for a timbre. Ja + x9 ih | foe 4 4 z 2 <= V/Groove Transcriptions vj Macuta he macuta Is a unique rhythm that Matanzas and Las Villas, where these reli borrows clements from a variety of gious sects are more popular. It has ‘Cuban traditions, including traditional folk- similarities to the Puerto-Rican Bomba loric styles such as the rumbas as well as as rhythm, especially in the ride pattern, more contemporary dance styles. The Horacio brings these elements. together to rhythm comes from the Bantu or Conga reli- form an interesting drumset groove, gion. It is usually played in the regions of ped hl | a Nery 9a 9—t jer rs “| = | poo dl 1) 9 FyGroove Transcriptions Cha Cha Cha he Cha Cha Cha is a song and dance groove that started a dance craze in the style that evolved from the Cuban United States during the 1950s. The percus- Danzén. The name is taken from the sound sion instruments for this style typically of the dance steps. The tempo is usually _ include timbales, bongos, quiro and conga played medium with a strong “four feel.” drums. Here are two examples of a drumset Although less syncopated than most Afro- application. Cuban rhythms, the Cha Cha Cha’s a unique © adi sags Gln pre al oni roves + fed J J Ly) JF) | 0 9 = ee ta oe Audio Note: Onthe recording mic: [fea—rb-——_p—o dp Sy bass drum variation to this pattern,Groove Transcriptions Merengue 1 merengue has a wide variety of musical iterations, The most popular and well-known version is the one from the Dominican Republic, which is one of the most popular Latin dance forms through- out the world, ‘There are also variations of the meren: gue that emanate from Cuba and Hai Following is a drumset adaptation of a Cuban version, Notice that the pulse in the feet mark the downbeats—the same as the Dominican version.Songo Peas has ase are oft mat popular rhythms played on the me} = © < Pm ®o | his section contains all of the left-hand variation master sets. They are listed here for convenience in reading through all of them in a practice session. You should practice all of these variations the one through seven-note sets—with all of the systems listed in Part 6. Practice each exer cise slowly at first with the eventual goal of playing any variation with any system and moving from any variation to any other without any disruption to the feel, Practice all of these with a variety of tempos and dynamic ranges, as well as using different sound sources around your drum set. Remember to stay focused on the fee! and groove. This is the most important element in actually applying this material in musical situations.Left-Hand Variation Master Sets One-Note Variations 1 | t} @h-e—_3_ =e 2 _~ Ml 20 h h Het = bye gd = —l : Heir —- = He Jes Fr “ eh t— + db. +} —+ J A 5 Gi ——_e—}2 = Ja 4 ie) =] ) Fd fe) to ) < aE o r= fe) =] n * hi + dy i % dy FT8 n = 2 = a G => 7) — ° = = i Left-Hand Variation Master Sets Two-Note Variations 4s » s a gewtd4 4-4 . pene d- yh) . 4 fer bd a — 4 o.= ewe —> Dy yg yg HI yg : en jp-~—_J 4 a en — di) ge ——_ ad i a fens t JL t= ene 4 dd »-» + a) HlLeft-Hand Variation Master Sets 8 Three-Note Variations onc 00 4 * none TT... LT). nol y 4» Oly * nena» DT, » + ST 4 ° Chi £4 4-4.-— J J 1 ° Chi poddye 4» JI sy =! 3 = @o 4 = ° rr @ ry =h © (a5 eo} =] 1.) ” eda JJ, » Sy 4 ned * > + dT 4 ‘ aM) ¢ BS) p=) 0 © > wo — [e) 2 he 5 ns Left-Hand Variation Master Sets Four-Note Variations Hen: feu feu: eh: 3 td poreLeft-Hand Variation Master Sets EI Five-Note Variations 1 ted JT Heres J ee i {++ iad om tH ened Jas 2 AG, Dene g DLT % Ja Jen pee e ee} eeee ond + J t sella Herd 2 FLA J om Hl TT h h Cle eee} pdiddddy yo a < ud r4 fe) — (0) Py =+ r) cep fe) =] 7)Left-Hand Variation Master Sets Six-Note Variations Th A TT Fa * H]}¢lrececeejtjseedee} i z rey TOL)» SO {= 8 eee o fens ddddddi, sd sd lds 2S (4 — > ‘ iene » dL. OO, C a Fa 5 fete} -ecde Jed yp ddddi R 7p) ® Jere ee oy eee T oo m —" \ | \ Henly de dy olyLeft-Hand Variation Master Sets Seven-Note Variations * en Oo ? fee J 1S, SOL ody ° Hen OTL Os = o ‘gen SL os 2 N (y)} os 1) 3 = ° — (0) > = i] (ap fe) =] 2) H} Gtr oy pm rds " nonlTOl O y © tied Idd yd eG 4” 3) Be a — i A ae] 2 ) — Melody Exercises Master Sets Achieving Dexterity with the Cascara Melodic Exercises: Master Sets TS section contains all the melodic exer- cise master sets, They are listed here for convenience in reading through all of them ina practice session. You should practice all ‘of these variations with all of the systems listed in Part 6, Practice each exercise slowly at frst, with the eventual goal of playing any variation with any system and moving from any variation to any other without any disruption to the fecl. Practice all of these with a variety of tempos and dynamic ranges, as well as using different sound sources around your drum set. Remember that the improvisation is not only in the rhythm but in the orchestration of the notes around the drum set. You create the “melodies" through your place- ment of the notes around the set. Try to establish themes with your placement of the notes by repeating things. This will help you develop your sense of phrasing, Remember to stay focused on the feel and groove. This is the most important element in actually applying this material in musical situations.Melody Exercises Master Sets Two-Note Melody Exercises He2-- 2 Jy dy ty dy 4 ty dy 4 de erty ly ly pt dy dy Sy > a a jg Jy yd et lh sasioioxy Apoja|\| S}ON-OMLMelody Exercises Master SetsMelody Exercises Master Sets Three-Note Melody Exercises 1 \ \ a a a ‘ — — jo 0 ei} oo 0 1) 6 pe pot 4 oy oye \ \ ote 010} 0 0 14-0} 4 6 4-6 14-0} 0 4 2 | j — — k thee} ee .© @ } © -4 e+ od + ey «pe } tod kK — ¢-0—0 4-0 } 16 6 dy iy LG ot 24-0 4-0 2 2 \ | \ | \ 3s \ fh nm \ | 1 — — yo} oo ty 22 2 2 2 oe pe tp 6 yp oy oy | \ \ \ Per S ee Milley me) een8 mM) ) oe () Pad ) rd uJ > mo} 2 ® — ) pee] {e) = ® ® re ds = Melody Exercises Master Sets Three-Note Melody Exercises (continued) 3. ed gd ST Sy y J Sy dy gy J Jal TT h \ ae ani oo 4s 1s} 4 #6 19 } 4 so sy frdy a Dt » Fl ty yd ty Hed 2 eds ae dd dy 15-0 >a moh tle Dy Jy bt dy . tN > d 2 Jay ta 4 Id, dle —> ey dip gah Jay nr n hy . di. yd 4p dg dy dye Dy lp ly glyMelody Exercises Master Sets Three-Note Melody Exercises (continued) 5 getty 0, dL) 1b = 5 = x m0, jy Dy, bd) ,d) , J dy "4 — 1 Gd, Tl, 4d, 0, . Jd)» Jd = h 7 h gq hd J » Ho1 ede eth 1 eb eee dg dd J Dy = () 5 (oy Be LT di dd de gO. J 0 ,f,., Fo. gy J Dy a es poli id ey jy bd pet) = ie ul Jed ay yd pd fad gd 4 S9SIDI9OX8 ) v a 3} = 5 be if Pa] 3 2 } = v Cd } 4 x Ss ° oo Melody Exercises Master Sets Four-Note Melody Exercises 1 Hee da danrd and bed iy db ged deg dey 10-4 Ea = \ | — — flee dee je} 0 0 jy oe 4 0 yy et pe es Wy tt, GO by GO 5 Ms! | N | 1 rc r™ \ tf}ee—e-0} 40 0 2 0} 19 0 4 6 4 oe 14 oy 2 yo! dy 2 fe t—e -e wy lt Od. ody God + J, Sty —_ cc \ | \ | i \ | \, H}e-e+ eh} -« 'eetelh-e + eo oe + 0 ++ 0 «0 +6 H J dy dy +e _., ay =) 5-3-4. ot ey wd oe a a dda did —» aly dJ4d -ydiy bd igFour-Note Melody Exercises (continued) Melody Exercises Master Sets E} 3 fer » J a 14d —e- Pe a de dvd) % dnd ieee +p — Jad +d +—} odd JJ. 1y-dd aa n bo, Ree pepe cope teoce yd JJ. fala. gy OG, To ww, — — = | h }@-t-e 0 —_s-0 theyvelbie att aid J oe} ow Ji, teal Jide told ti, 4 me J, dt hl. J ere J rit DD — JJ 0, oo id JJ yD Sy alin Ss3sidi9oxXx> ST SION-4JNO4EF} Melody Exercises Master Sets Four-Note Melody Exercises (continued) 5. ferddo Sid OT yd dl gidy Sy Dy Tope Dd ig py Dy Dy Did dd yd Nd pod SD dy Cn iy ST ned Tl, J Oly. GIO. GIL mii» 1 Ol» bd, Ty +), Fo, nly t Oy 1 FO, +50) ae godt 4d, 014d, +I OS Dh 1) v fh ) = 5 x fy ) 3 2 } = v Po } Zz x | ° LLMelody Exercises Master Sets Four-Note Melody Exercises (continued) vor din JD oe yo dle ot AST, go Olt, 100, dy ,fTI,, dy ,IT, ge Ot, 0G ,b0Gd, dy, 7d). — 4 - J.J Ja 5 8 ger JL dy FL dy J by gl .t, Ol, 1,00, 1,0, (he. aly joa yd wat og HT toe xa = i al h —— \ loco z jt ee—e boy o-d-a-4 0) 49 6 db cy old 8 3 Apo|jeiN 310N-4noJ x @) @ Q m7 0) 7)8 Melody Exercises Master Sets Four-Note Melody Exercises (continued) 9. op yy Sy yp Dy Ny g~—_JITI. J771 J, ,J7J 4 , Jy Jy Oy» OO, 4 NO al o_o a OL Four-Note Melody ExercisesSelected Discography With Gonzalo Rubalcaba Grupo Proyecto Live in Havana Embele Iruke MiGran Pasion Giraldilla Gonzalo Rubalcaba and Clark Terry in Finland Gonzalo Rubalcaba and Dizzy Gillespie in Havana With Carlos Averhoff Solamente con Amor With Cuban All Stars Volumes j,ll,and ill With Paquito D’Rivera Forty Years of Cuban Jam Sessions, Volume | (featuring Cachao and Chocolate Armenteros) ANight in Englewood With Kip Hanrahan Arabian Nights Deep Rumba | and II (Hernandez, co-producer) With Michel Camilo Two Much (film soundtrack) Thru My Eyes With Tito Puente Tito Puente and La India With David Sanchez Street Scenes With Tropi Jazz All Stars Tropi Jazz All Stars Volumes | & I With Roy Hargrove's Crisoul Habana (1997 Grammy Award for Latin Jazz) With Steve Turre Steve Turre With Santana Supernatural With John Patitucci Imprint With Sergio George Live With Sergio George With Giovanni Hidalgo & Umberto Ramirez Best FriendsWith Joanne Brackeen Pink Elephant Magic Joe Henderson Tribute Christmas Carols With Arturo O'Farrill Bloodlines With Juan Carlos Formel Songs From A Little Blue House With Gabriella Anders “New Recording-Title Unavailable With Ilario Duran Habana Nocturna With Papo Vasquez Pirates and Troubadors With the All-Stars Jammin’ In The Bronx With the United Nations Orchestra Forty Years of Cuban Jam Sessions, Volume I! (featuring Chucho Valdes) With Ed Simon El Dia que me Quieras With Victor Mendoza This is Why With Dave Samuels Tjaderize It! With Santi Debriano Suave Circle Chant With Juan Pablo Torres Together Again With Jack Bruce *New Recording-Title Unavailable Paolo De Sabatino Threeo With Gary Burton “New Recording-Title Unavailable With Ana Torroja Pasajes de un Suefio Chucho Valdez Live In New York (CD and Video available)ee Re eRe Cm Pee i et Coe) De eee ec CU u Rd Seg nee ARO ere ee ‘hip between eighth-note and triplet rhythms will help you master the Besar ene mL style dates back before the drum set was invented, but today one Pd tee a ea ‘Afro-Cuban percussion section. However, you must first develop the skills and master the freedom to move within the music. By studying Ree eee meee ccna ec ean eee Tu es dence on the drum kit Incernationally renowned Grammy Award-winning recording artist Horacio “El Negro" Hernandez, born in Havana, Cubs, started Pe neue aod inhi ey ogee) : Neate big 1 Music Publications Limited Sense ory ISBN 0.7692 9947-4 WMO 780769'299471 ALSO Nw lag Da Pir og Set + DE Ce RRC cad Oo including Paquito D’Rivera, Lucia Huergo, Arturo Sandoval, ar German Velazco. Horacio quickly became the most in-demand dru mer in Cuba. Since arriving in the US. in 1993, Horacio has works SMM a ee SSM LCS uy Michel Camilo, Ti Puente, Chucho Valdes, Changuito, Giovanni Hidalgo, John Paciuc Gonzalo Rubalcaba, and McCoy Tyner among many others. Peo eee tana sa eae in Boston, the Drummer’s Collective in New York, and the Percuss Insticute of Technology in Los Angeles and frequently conducts wor Ree CoM Sane Go men us Gree eel cece is considered one of the top drummers in the world today. Mr eee a 0. =