MIGUEL ANGA DIAZ

ANGA MANIA!
MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDN
EDITED BY DAN THRESS
PHOTOS ROBERT MANN

Published by Music in Motion Films Ltd

PO Box 1775, Columbus, OH 43216 USA
tel. 212 358 3877 fax. 212 591 6301
www.musicinmotionfilms.com danthress@csi.com
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.

KEY
FIVE-DRUM SETUP

FOUR-DRUM SETUP

Tone of conga drums from the highest to the lowest

1
2
3
4
5
bell: mouth area
o

Timbongoro

raise tone with elbow

0
P
B
S
T
M
ST
(T)
F

=
=
=
=
=
=
=
=
=

play an open tone

play a bass like sound with the palm of the hand
play a bass sound in the center of the drum with the palm of the hand
play a slap
tips, play with the tips or fingers of hand
play a muffle sound by pressing against the skin of the drum with the hand
play with stick in hand
ghost note or light tap with fingers
raise tone using the fingers, refer to video

ANGAS TUNING
D#

F#
A#

G#
C#

Drums 1, 2, and 3 are the same size

Drums 4 and 5 are the same size
2

bell: neck area

+

MARCHA WITH FIVE CONGAS

As stated by Anga, Nio Alfonso with Irakere was the first
to incorporate five congas. When Anga started playing

with Irakere, Nios style became a part of Anga. There

are five sounds that convert into a harmonic tumbao.

O P S T P T O O

P T S O O S O O

O T S T P T O O

P T S O O S O O

R L R L L L R R

L L R L L L R R

L L R L L L R R

L L R L L

L R R

MARCHA WITH FIVE CONGASVARIATIONS

Play the basic ride between each example. 2-3 clave
1

T SS O

T SS O

T S S

L RL R

L RL R

L R L

01:50

O O O O O O O O

(T)
S

R L R R L R R L

oO

(T)

(S)
T

rL

(T) s S

sS

(T)

(P)

L rL

rL

T SS O

T S SO

T SSO

L RL R

L RL R

L L RL

02:18

3
02:40

4
02:49

5
03:18

MARCHAMELODIC VARIATIONS
1

03:51

(T)
S

04:30

ghost note
(T)
O

open slaps
3

(T) S S S

3
S

T S S

3
S

05:07

R L R

R L

05:28

16-bar melodic pattern

5

O T S T P T O O

P T S O O S O O

O O O

O O

L L

R R

L R R

R R

O T S T P T S O

P T S (T) O O O O

O O O

L L

R L

L L

L L

R L R

(T)

3
O

3
O

05:30

L L

R L

L L

R R

R R

R L

L L

R R L R L R

3
O

3
O

3
O

raise pitch with fingers; refer to video

F
F
F
F

(T)

sS

rL

T O

PTS

T O

PTS

(P)
S

LL R

L R

LL R

06:10

MARCHAMELODIC VARIATIONS
7

O S SS OS S S O

RL R L R L R L R

O S SS OS S S O

(T)

RL R L R L R L R

O S SS OS S S O

RL R L R L R L R

3
O (O)

3
O

06:35

3
3
3
O O O O O S O O

R R L L R L R R L R L R

R R L L R L R R

3
3
3
O O O O O S O O

R R L L R L R R

3
O

3
O

3
O

3
3
3
3
O O O O O S O O T T T S

07:08

APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT

This is a demonstration of the basic tumbao or marcha
on five congas in conjunction with the piano. The first
12 measures are transcribed which demonstrate the

basic ride with some of the variations played in the

previous section.

0:07:34
O/O

Piano Intro
2-3 clave

congas

L/R
O P S T P T S O

P T S O O S O O

P T S T P T B oO

T T S (T) O T O S

R L

R L R R L

R L

L R R

L R L

L R R

L R L

L L R rL

L R R

O S S O O S S oO

T T S O O S O O

O S S O O S S oO

T T S T O OS S O S S

L R L

R L R L

L R R

L R L R R L R rL

R L R L R LRL R RL

T O T O T

O O O S O S S oO

T T S O O S O O

R L

R L R L

R R L R rL

O P S (T) P T B oO

T T S

R L

R L R L R L R L

R L

L R rL

R L

R L R rL

L R R

etc.

GUAGUANCO VARIATIONS
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
start looking at the variations.

0:10:10

O (T) S

O (T)

(T) S

3-2 rumba clave

P T T P P T T P

P T T P P T T P

P T T P P T T P

P T T P P T

R L R L R L R L

R L R L R L R L

R L R L R L R L

R L R L R L

3
O

3
T

O T

O S S B

T O T

R L

R L R L

L R L

* raise tone with elbow; refer to video

T M M B (T) T O T

O S S M T M O T

T S S B (T) T O T

O S S B (T) T O T

R L R L R L R L

R L R L R L R L

R L R L R L R L

R L R L R L R L

M M M M M M O T

O S S M M

O T

T S S B T T O T

O S S O T T O T

R L R L R L R L

R L R L

R L

R L R L R L R L

R L R L R L R L

T S S B T T O T

O S S O T T O T

T S S B T T O T

O S S B (T) T O T

R L R L R L R L

R L R L R L R L

R L R L R L R L

R L R L R L R L

T M M O (T) T O T

O S S B (T) T O T

(O O)
(S S)
T M M B (T) T O T

R L R L R L R L

R L R L R L R L

R L R L R L R L
Basic Ride

(O O)
(S S)
O M M B T T O T

R L R L R L R L

GUAGUANCOCOUNTER MELODIES
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
practice the variations.
1

T S S B (T) T O T

O S S M (T) M (T) M

(T) M (T) B T T O T

O S S B (T) T O T

R L R L R L R L

R L R L R L R L

R L R L R L R L

R L R L R L R L

10:50

T S S B (T) T O T

O T T B T T M M

M B T T O T

O S S B (T) T O T

R L R L R L R L

R L R L R L R R

R L R L R L

R L R L R L R L

11:03

Ride variation
S
S

(T)

11:17

R
4

T S S B (T) T O T

O S S B T M M M

M O

(B)

T O T

O S S B (T) T O T

R L R L R L R L

R L R L R L R L

R L

L R L

R L R L R L R L

T S S B (T) T O T

O S S B T S S (T)

O OOO OO O T O S

O S S B (T) T O T

11:28

12:01

R L R L R L R L
6

R L R L R L R L

RL RLRLR L R L

R L R L R L R L

12:40

GUAGUANCOCOUNTER MELODIES
7

P S

3
S

R L

L R

O T T

R L

T S S B (T) T O T

13:10

R L
8

R L R L

R
* raise tone
with elbow

13:48

(T)

O M S M T M O M

(O) alternate sound

(O)
T M S M T M O M
O M S M T M O M

R L R L R L R L

R L R L R L R L

T S S B (T) T O T

14:15

R L R L R L R L

SOLO ANALYSIS
A solo has three parts:
1
2
3

beginning
middle
end

In between those parts you can have variations, different rhythms, experimentation of different formulas, etc.
Nonetheless, it should always be within these three
areas. This is the formula for producing a good solo.
The beginning of the solo on the video starts out with a
tabla pattern from India. This is the main theme. It then
goes into other areas more related to the congas.
To achieve a solo, one must have peace and tranquillity
within and concentration. One must not think of it as an
opportunity to show off technique and do a lot of hits.
Its like composing a piece of music.

10

R L R L R L R L

TECHNIQUE EXERCISES
The first exercise comes from Changuitos creation:
la mano secreta.
O

3
OPTS

3
OPTS

RL LR

RL LR

23:57

This exercise comes from the school of Tata Guines.

3
P

3
P

3
P

3
P

36:11

The 2nd exercise can then be combined with different

sounds such as an open and bass sound on Example 3.

Note: Do not use the heel or the outer edge of the

palm. It is always the whole palm followed by fingers.
Work up these exercises to a fast speed.

3
P

3
P

3
P

3
P

27:20

11

TECHNIQUE EXERCISES GUAGUANCO VARIATIONS

3-2 rumba clave
1

31:17

31:36

Anga speeds up this pattern to a very fast speed.

TECHNIQUE EXERCISESDOUBLE STROKES

There are two types of doubles to practice. Start out slow
and gradually build to a faster speed. Note: Practice Exer1

cise 2 with open tones or open slaps with the fingers only. The
second note of each double is accented as indicated.

32:40

12

S
O

S
O

S
O

S
O

S
O

S
O

S
O

S
O

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 throughout
each example (1st line played with right foot; 2nd line
played with left foot).

34:09

(P)

oO

rL

(P)

35:00

2
35:05

3
35:18

4
35:25

13

DJ GILB-R & ANGA IMPROVISATION

5

(P)

oO

rL

(P)

oO

rL

35:40

6
35:44

7
35:47

3
O

3
O

3
O

3
T

3
O

3
O

3
O

3
T

3
O

3
O

3
O

3
T

high bell

med. bell

low bell

37:47

In Example 9, play with a stick in right hand. Open

tones with the right hand are also played with the stick.

14

This is the basic ride. Many variations can be created

by playing on different surfaces.

DJ GILB-R & ANGA IMPROVISATIONCOWBELL PATTERN IN TRIPLETS

Notice that Example 8 goes into a double-time in
triplets, maintaining the cowbell pattern with both feet.
3-2 rumba-clave

3
O

3
O

3
O

3
T

cowbells
3

right foot

left foot

DJ GILB-R & ANGA IMPROVISATIONSECOND PART IN DOUBLE-TIME

This groove goes into a double-time feel. Maintain the
bell pattern with the feet. 3-2 rumba-clave.
T

* ST

ST

38:39

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.

15

MIXING STYLESPILN + FUNK

2-3 clave

Hi Hat

Drumset

P O O O

Timbales

P T S

T P T

B O O T

R R

R L

Congas

L L

R L

R R

MIXING STYLESBATATUMBA + FUNK

Note: Anga plays the congas with a stick in his right
hand which also plays a cowbell mounted on a stand on
the right side. The iy is playing a bat rhythm that
comes from Iyes.
2-3 clave
41:10
Drums

OS/O
Bata: Iya drum

OS/O

OS/O

O S

O O S

S O O

S O S

S O S

call

S O S
Three Congas w/ cowbell

R L R L R L R L R L R L R L R L

16

HOMENAJE A EMILIANO SALVADORUPTEMPO WITH FOUR-DRUM SETUP

In addition to the four drum setup, Anga continues the
bell pattern between his feet. The bells are mounted on
two separate bass drum pedals. 2-3 clave.
1st bell with right foot

2nd bell with left foot

The first section of the piece is played with the hands

on four congas until we get to Example 4 which is
played with a stick in the right hand. You will notice
1

that these examples are variations on the basic tumbao

or marcha played at a fast speed. Reminder: maintain
bell patterns with the feet. 2-3 clave

41:57

42:14

(Played with a stick in the right hand)

4

42:42

17

HOMENAJE A EMILIANO SALVADORSECOND SECTION

This takes us into the second section of the tune which
is a guaguanco derived pattern played with a stick in the
right hand. Many variations can be played by playing
1

different surfaces where the cowbell is indicated (refer to

the video for ideas). Be sure to maintain the bell pattern
with the feet when practicing these examples. 2-3 clave

43:22

LATIN PERCUSSIONIST MAGAZINE

Published by Victor Rendn (Tortilla Flat Music)

Interviews
With Milton Cardona, John Santos, Candido, Bill Fitch, Jos
Madera, Miguel "Ang" Diaz, and Johnny Almendra.

Drumset and Timbale Applications

Horacio Hernandez, 6/8 patterns, Mozambique, bolero,
cha cha ch, and solo applications.

Solo Transcriptions
Guillermo Bar retto, Mongo Santamaria, Johnny Almendra, Los
Muequitos De Matanza, Manny Oquendo.

Book, CD, and Video Reviews

Folkloric Percussion
The Secret Abaku Society, Tambores iyes, and The Art of
Salidor Playing.
Instructional Columns
John Almendra, Victor Rendn, Ken Ross, Louie Bauzo, Greg
Askew, John Santos, and David Pealosa.

18

Order information:
Latin Percussionist is published twice a year
yearly subscription $10.00 ($14.00 international)
Tortilla Flat Music
83-15 116th Street
Suite 4A
Kew Gardens, NY 11418
(latinpercussion.com)

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ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKE
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Victor Rendon's book is as close to having a virtual teacher by your
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19

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Cameroon (Mangambe & Bikutsi)
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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 my
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Finally, a book that includes North African rhythms. Thank
you, Mokhtar. Respect! BILLY MARTIN
20

Mohktar has given us many creative and original adaptations

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in a logical order which allows us to develop each rhythmic ele ment gradually, internalizing these difficult and multilayered pat terns. His contribution highlights the sophistication, genius, and
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A welcome addition to the drumming lexicon. Ancient rhythms
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that 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 bands
as recently as fifteen years ago. But by now an African kit
tradition has been established, and Sambawhos played
with, among others, Youssou NDour and Jean-Luc Ponty
takes the clearest, most direct route toward explaining it to
a new audience. MODERN DRUMMER MAGAZINE