FUNKIFYING THE CLAVE | " AFRO-CUBAN GROOVES FOR BASS AND DRUMS : by Lincoln Goines ___and Robby Ameen Published by Manhattan Music, Inc. DISTRIBUTED RY DCI MUSIC VIDEO 541 AVE. OF THE AMERICAS, NEW YORK, NY 10011 © 1990 MANIIATTAN MUSIC INC. INTERNATIONAL COPYRIGHT SECURED PRINTED IN THE ANY CINAUTHORIZED USE OR COPYING OF THIS MATERIAL 1N WHOLE OR IW Past Is PRotipiTED BY LAW Bee eee eee eee ee eee oo ee |DRUM AND cyaual. guive cman diy ainattck A Cyao Bel f Chateegnated 1 =] TiaLes: Paton : 8. Fnger on Dead, Mel tone Petters Open tone singer + Besta (Sle oF other ante sASS KEY Tn bey ink Tova H-ttusnmerest wth fet fared C14) Neb id weder ted + yd wc ten are uggs hawt Negesngs,neu Unis etal elemento eka fap 1s Sj fe hey The slave fn I hese Seal i | Jide ed. lomha clave 213+ ee Ua 2 BUD : oy the Bk fa Te hata de dla J. bi | fas rte all ecaneted sant ruse 1 Talat eat tga sve eters wetenvead ts anne hare The arr tale i228 lle as alate dd {i aro apse ya 4, je dad Wr Fegrs ea om 2 a hung fs “ au ny caer re Hale mcvce Nope Latbag| Fis, yous will come olsun fue to Hoar what she BOP Fie cnc ane teks eter om sad ew at every bg): sna tuys inhtng the preston tection, he 2:8 tor 23 ws 420, This oll generally ‘ula pliasing. Poorly prased etna are refered fr exawred. During the $9.30", 4058 es tntegration between Al edhe Hich bal previously heen ec in an actus) Laity ban chats however, note how In wee Br the audio cxamples the notes on the fonh beat ate played and extended over the bar. This I done to match up with aM Ue yhclaWSATR ‘The pulse le el In cutie, peeeerwaes fed doe ql Son clave 23 ald conic hy Thiam aan mots fel ni ss layed yk ek see ow sys ces Meo, he ie an Sy scars, fi, ny shy = ly speaking, these mmusict > sm ag ia eee the Ga tn valet the ehythos section come OF er boas, bee and pane, Th ‘or ana) hel cater the ocr whieh evkntoe rani oe flnee fee piven sasha ache x eae iy be the coma tantnes The at ‘si tone the ing ofthe Tre perce | aly un Ue lowe, hr aig Ce wherever pose, peeseecoe: eesesse[Rahingte $,Gniencha 4 : isle 6 aif 32a s20r23 gy Daim ‘One way to Interalize the clave Is to practice tapping K with the Cquarier.nete = 76) then ack the clave with your your foot white pliying a thao, This Is « method wed by foot andl gradually blend In the 1umban, The trek isto get the many tatin musicane {owes notaly Bobhy Reddguez the grest tumbuo ‘wth the Zside of the clave, tn scqu | Karis with Tho Puente) and Ian excellent Independence onlen fopteright hand, Sooteright tsind (exe: on the she of the # enerae which rally hips Hoek Inthe groove. The emphasl chive, fot and hand fl hs unto. Sele Ison accircy, not speed. Piya wx medium tempo on : , | ass rmtao independence exeree ! ‘Now ff tine te eraser the este eythine the pereution aalon faye down fo typkal alsa tone, Find, there Be ae ase cones ‘umbiw Coe masacol player me, ter man demise Cree the Sow dam cm the Ske of he caved Conga tumbae “ 23 prsrrroo pis oorooTeemu phiyercor banger pone bth met, wih aerate ats censerst he he esque: Mee be the fase mt j sige mail patiere ct, while ae reeyrrov preevreot 2900 PRL WER URERL ree the song seo athe mtn em Com, the succes pays he Ege wage ane ually plays his ps bell part : aaane tally pres Ini the anambe aecthan, whi ike a brass shout chon, oft followed by a Tear pees will tow py om fle bell te eyahin the abate player-or dnbuterewas playing cm the xkke he te Cle sere phayleycn the aes ote Ueto be elle playhny pee oF ease . i cmd pays tk eter eer rere eee rere ee - cd - - 7 - - - ry ” . CT cy oy ai Oa ae - «- . £ meet, he neste playing the caccara pices fees em the denn, Another bao fancy the Hina a announce the heaton ofthe mee cr sectone wean aati well et thn Flee ete el of varying emg feeling othe fempe as oF xe percusshn example have mo Ga Bien wate he 23 for B:2 ave, the measures are Np reversed Mahl be underten! that these are very Ile verso the ne intone ply Tere ae to pny vate wd nce alway Ing add hy ea player, kn exam, wih aad craig oh onvalor dusk on 17 ab te weet Hee ‘The hence ts traivonally used te sy dhe Kereta of 8 c= hell pattern on the tnbales, tnerestingly ennui, ahaniew jeans “Tan nd the ell actly sounel wot He’ fan elon ‘wehisea! apse otha Oe of he wer . the mhafer’ Het and Wis lnportan, weer be fie ‘wal the basic parts and to ace have they can be applied 4 the clranuet. On the following pays Is a skeleton transcript of the feackamental percustion seetion parts played cing the vane of «typical als tneht soorge he seerogSune notes on the pars ‘Timbaler NeRG=A cemnmen kettle bt the I 1 1 the Hen the ew tae ees sn wa > Stout common let Ue steve Bt play cif or mantel wena tie ea ae he bs ‘Starts se section cht whic the leet est een Itech av ih es ss i mt he Sah of cae ofc ate of te; tas ae iyteeavy even ea wl aways apps only i the kk Mambo comet ice mane key phy ait ewe hy dhe sabe, ng fee fe, . Fongos i Da ayy, we he feo eferemce dhe a a he ac ay chr he were, ae eu and plays of ft . Seeune Ofte the banger wil wat for one oF aire ema om by. afore pcg up the Dell, cg wth the fest ew em sev fipinec tanith ca Inpro an, ‘Moamnber—Tere nue svete other cowl patter thal enn he phiyed In this veto. All of these thyslane can be cuedknsed ont the drunict in ity of ways, despite the fae that he de IRest aa sett. We rat peat ta comer th’ lo He Fe drum we tse even of tee hee {atin arenes, The drummer shou! eaely play im *1,* because the erence af Lin sel comes fee AX Rent ensure, Quarter-enes played ow the heat ae reer Fr the coal also eyed panna {hoses race dram, cones, te.) wencay don't play om *L” The meet cannon fae dean poner Bass drum pattern 2:3/3:2 ‘Some commen varialen cont es ‘Bass drum variates 2:3 fourth beat of the precling bar: | Ce earecocccanerea ee eeshame, ee vm patie H ded 2. Prete wiht es piped ase sae 04 eobiathins of pease seta aye pat the ra ve th ed ae “Vie earcaea patern shih be - lave agaist the 3:2 cascaea patterns * 3:2 Sonclare i = “The fet aout en as ple aye eae patra, chem thle mga a ate to me t Left hand conga pattern ; ‘ ve ere the ernebell Dagar wattle; icra WATE NEM Hand Sree ailee aT ETE qe a 23 “The sare can aly be used tna elavetthe san whl fnka dings up cue 23 > > Loop, > > ax ml 1 — : 7 ms aa 4 J Practice allo the shove shythnis wih the H-bat playing quater and Kallnotek, 12 ‘ See CeCe CUCU eee erent aeeneennofeefeaacaeOOS BRE e eee Oe » eum (rarely ln rove wel playing chrwntwat, Inicklsene ts “2° aml A len ge pti the praln hie Pre Uhave fol hat angle hac keaton the Zale ofthe clave eum work pay well Jamestsapieiay ‘Keep in mind that when we are talking shout backheus aloce we are “ey Sm ettiene, the Beck ely: i Mera gree forthe ms monly laying ce, hich nha ain percussion extn wt i he aye . . R LURE RL oF rit ure! & sewn tem Ci, i» fil Ip+ Fuentes terete stower verston of these rilating.} (samess Example 2) itt eee eee eee ee ee rere CHAPTER TWO: SONGO - | Semp ty x thythe fon cele a she 1970 ty the real ft theca, ang tn ally oh nt erp Catan retin “hcg to fete oan fan sh Se her Uva, Fel ge pee fame the op i Yn Va. Song reper 4 nae eak- mc ge fr and een ay ping. (natty weg nf Aro om ng tei a nde Iface of ak nd fk Hm he 8, an tf eter rersion trate of cones isk and bg. Whe sone Cudibcaased sil om Coan munkiane. People ¥ aes eee Mts ples td hon Rv dw has crm even are Ta xn cin te de " exéeaple §, Bank og’ rhythm th erobb GUE S4 Altec babi i HAA»; 23 \ {to ns wine pc! with he pnt rd mnt Th a a fe eee ! i fescue se, tas, pen hit chokes, kt hand cota oe, paving an us numberof varie Ie. Example2 Tiree bslesongo panterna wh the eR hand orbestted around eMba) a. i a food| eel SAnather right and pater, whidh tear Joel Rovenblat use whh Michel Cai, ts ployed hem ade "ew ih ee Tonto the Beit erate the enn ef ten 16 Here's a vongo groove where the two bial pay de gle’ patlii=1 Tt fo playing eweep Witte foot} gras 4% aple 7 Now a slower verslon ofthe gulro hl-hat] (snes 2rd part of Example 6) ue ham aan en In captr ome ae empty oni wih al fhe ge) en [fest started playlog seonge Duline dtferent gemps, Fon brakaknens, ce sebuing, | then deed to meee nna ofthe Pabocys fund ce unt tuck Wo he Kft fae erat type kf Tame oo de Ubleat while hii the ans em ld spe rans efien sewn tons ey ox umenead Auckbyt, This erated eve nen dinies to seket pa of atone, Here's a Fonkler'verlon‘o c'dongo wlth belch hand’ Ax r= SOTA ilaet eritaa’ of that Bonga] (same as Example 8)PRP RRP POORER ROPER RRB EB EERE ER ERER EERE RERERERERE BEE! awh the a nord ave sh conta, The pen en dey Gan the Rae a fare am cu wane pn oe ea mets a di ngs nn na asf ima ie Faample 30, Next ln songs, seen spplytng thé roage:tonge pater tothe Arent] Re athe slower yerglon of the'iGinjo Sones petterned nm Beample 10) [Meamscite, doing sway wh the conbell sogether, his pravble to simply ede on the hia, ineorpansting the song Icke mca hank prose Ths example Us how with Iso rae ra arto ich laGorpératée the songo beckbeat SJ Nee tt liere i ay be mas on the Fett ce oe ad ae LR L ORRLER B >A PHHADAINHNGANA GF seo, wt he wn fr herman ri tic he wed oe ep of Resale for semgo Fars: i a a aeees ITs Vor Naa WI TU] This paten Ines the bast 0 occasionally 1 othe space provid by Ur last two bar 32 Rumba clave ce bt or sass aananenarageaanassa ae ad o _o ax eft #3 i Zz tenet B jee! f z =] ‘he Yat tne f Andy Gomes (ie Pall, Ue, Yon Apache and re defi exaies of how pe fled clemenes Tn berted cee hy der ek ' P| ‘uzeon cave a x f il ¥ Since all shythnie and melodic gure ta Latin muse are dr = ented, 28 a hares I found I very trenefical to st down and lear ‘ome paterson the drumset and congat—not only songe, but fret of the other dyke evvered bn this hook as wel, a Pat {hort had a hae bet of how they are played. Ths helped me 19 ‘heat how the pater were pled and to bull permunated toes accordingly - ere are some examples of how the slap technique can be ‘used to her embelish a bass ombao and bull lene lathe thyllm aectlon. Ths i tye developed by Latin esslon great Sl + REPEL SLIT A 23 CVORT SES STODIBDDDODD * o ‘cueas These nes ave esetay “ate en tumlnoon the ‘rtm ad gered pro Cnontin) of cong ptr (or the assists awn personal hunk phrasing) on the top. "WhHC tht Ina stack stl be slp and prev, the numno noes aa ing cwcr It each ther ls eg fab trate the ek band felted snd mprend vet the nes to Pe flayed. Ree te emphaat on the tao, sed de ft the te -coputions throw off the groove. Mike the fines ameot bur aggees= she ample 6 nd ben wih lt har of base bcSisiple7 Sap tumbao, nla Sat Coevee') anacenese scr FP fatter o tax poete ve we Te or otf ete Te pat Aree. 2Sroe i + 2 a | oe, 2 ees I CHAPTER THREE: GUAGUANCO i Fined Afr Chan skew ving ulate, ane sb cr tempin aed askally ening Antelly or ax comptes. The Nghe plea cong (the quik inoulves the sme parte aa the yueapwanca, while ‘h comagnilyeifiog tthe reply, sles taking hiv ces fim the evs sir open A a herp el ddoocer. A typleal song beats wih th ‘Terme ina rumba yon clades three congas, clave, — by the Grin, vere, comes, «piso, ew are he epee ihe porn ens The ene wit anf eve "ed. bd de Wd a Satktororlow comp SWB EF RO woplest the whee emesntle, often wai in and out abe Implied queanee-nete tok nl h-note to ip she es. Faample 1 Here's a direct application ofthe guagunnico conga paiterns i played.on the drvinset, whh the,clave tn the | Wighehand { ween oo H Yssmiple 2 Thiv iv antower version of that guaguance , (sume ny Fxanpe 1) ‘ zr ERROR RPP PPR PRR PRR RRR RRR RRR RRR RRR RRR eeeoe Sr a an eae trenton he Sahl he fe teseely playing de Maye ofthe tn pe tt eH ame en sane any sae ene eral: orate won ane lst Beng cave Nrople'3"Now' would lke to play some guaguanco’on the drums; orchestrating the ff snd arovnd the MsFRo ally, Note the flooe torn substitute on the Selde of the clave. j‘Went eg wokapy one oe anne nen jen, ae Prample 4, Scre's 2 guaguanco pattern wilch peatea.the Jef hand on the crone-aucle-ewte.the bang deur Ys " ' en sei sees by vig he Lf hap aero he Ha, th the Once atin, by e-onchesteaing dlr, a ac fers Hxample $ Now a!fonkler version of the gusguance which besteally, ‘over to the hihet,.d hai was happenirig wlth she SCRA, eee eee ee ee eee(es: Onkeas second ve sgh sehere thy pubs betel than baekbeat ZVarlatlonT 6 the badd druiviwithlo the prove") ATOM ANAS ENTE nese = PH EN DAA BSI |Dwt - ae: Cd mod . ar rs Ls * Ld L te? Cd =? Lae Ce Cd - - “ Leto) aw Ca =m - - - Ladies - C - aL are, batts, Ot = wd mas mre,- a - 7 .“ Cy ry Cy cy cy “ OT a - - ” oT - od a - - - - a - - ry - ~ - a Cs rt aemtete msn ha eet nf hn Bendel ase ae ec an, teeta i Beem 0 Wa shot salon psn re ec ae eat aman: UH Wes Jove congas and vocals, atomg with the gultarlst Afwento f= ining aroun em the fase within te context of the fave, fa muck the same 8a at the qutnta follows the Jead worall onthe movements of the dancers bn radio ais [Bosarople 2 Desciin Oobane" (2397 2 PEsainpleSTAsoit BE gg Tact Ix zea Pep acct tn te yen” pensar bale mt DESC RINE Orlehng oot ME eT SRB ‘SitOST aa 4x, Here are some lines tat combine elements if usgusnce, New Orleans second Fine style, and Funke Dee ra giaanace 7 Hea 28. £ too Late Nt ceatingy 4 4i Andy Gonzalez wesy wf Nay acta eaten Aes Center)pov UR: AFRO-CUBAN 6/8 tetas may tere tance In playing hy RRADEAMAR eq Ld EG2 _ | ao ; Tt : Hae den EILIERARM ' Sientarly, with te damed quarter becoming silaner-mtes, yu own play Riteantes over he pulse, creating # dete eto feck del be POR TBEATAG Meal, the f-ncte ofthe 6” can hecome 3/4 quarter notes, creating» es-wake Fel blo, HHO ANE ANADAMSSAAT OTISasople2 Now thesime reythan, plied oi hid ” a - - md od . - - ” . . - cy Cy Cd - or . - a c a - ” - ea ea - - cd rt - oa Cy = . CdpT aanmane eonmne of as peace, send at OE otro otter eae 1809 etn see iy hw iyiAs eta "St changes, sects xs ti ie aiaging ont testy a dese eet an at sudan eye fn soe 8 cy poy tre at WE and felt to 7 one eke sey Pa gon He wa ne cet om ine oan ahs ema gw evetha Rank Foetal] wirity wc yng > mein ILA, tA yh the cert fk ot at on dew tthe fatelia can also be played In 32 elawe,. i oo jnfiy xxx xxle x xX lx + 8 > Bde Chats Gots clo = dha euch tb tombaigus 406 3% Croup ds Aa Los de Jian aie. d>xr pr +E KE Badia 4 Y ay Ay) toy Oni diste kul 7 io ri ba ya: 1 xx ke KX KIX SY x Des Yyor* 7 eS oot wn Gu Dy, WN ty _j iS ‘ hy ¥ dud ey tA Gy) I> IL pt Hey EG Rey . me OTD PE) ITE SP Tia tile Olds. fi di lyy Mert y Exe & xle Rw Fy os) betidiche, sy x * oof DEPPIL DEMIS. br DED wine ora eee iieest thidinn tery ee Eo le Se & ae res | | 1 | Day Dar: atte Wot dave yay hd we oe DELS Daopr PERF |PLP , t ¢ £FFF a ae ae Pullay ea: gy J bbe Mi Mt My Ly yyw 4 fv ik fy y) Cr rr ns‘The bass turbos in the cha-cha often resemble the tumbos of Cheple ? played atx slower tempo. A good: found in the mais prove (Chapter 1, Example 6). Siapsongo Wes can Hao work well athe ce-ch tempo, Here are some examples: . MOZAN ‘vz aor cpt why ha olen een us la ck al a comity ena of lcm few of See (Gai atin prone, nich asthe den prt on Paul Sinwon'e “tae The Henlog.™ Here the nate mozainbtyve played on tnhaten 28 8 oJ] d dle 19 lek on drum ‘Oe apo, we sete any accent the “and” of “2 nthe pa of Ha chive Nene rms okey ee fe theca 2 funky vertn ofthe ‘hwnd apecinim of temp. Part the fun coos fan the haut dain plying both “1° anal "2 ‘the et “Ake Steve's latte ent Tp Chee” Ses, alas Fam IMG Maske WhenFeemple §-This ts avothce axranibique paticen mbich wee a concept of Roberto Petinlas, where yo Bhai right hand on the hhat—aleo wote the claveon the paare dram |) | an sis em the dort ofthe 28 cave, Also carats Behe ys als seae pce te neon Be. vs prltent ofthe int fe se the 7 He ew Gn th | Ae the dha, the Fase ie for te sbi | fasxeeapte 3 Tendttanat mozarablqne tne? i 2S =a : fexaimpte 4 ‘sex mvc ait om the oni te Crocn* 4g . PEPE eee eee eeef (Bbdib pe 5 TUT NEE Sera ATONE SE NIN IY “ul 23 ‘This ner tne matches up withthe mozamblque taba pater Funk-Moramblque In certain ‘chaecha and miseambique grooven the downheat will Orc the Inctupanoted, whether on thy 2s or the Said of te cbawe, ath Hy and Forge, we have only. sven tbls ti ovcur In the New | oo | T tT OTeTe proce, where the’ dawnhes! othe 3 2 es G4 FAS ree be Ree eereeesaeseee reer ee ee ee | ee errrAlls are referenced! according to thelr general chapler reldvance as follows: Chive and Tubes 2-Sonen 3-Caniguaneny A-Aa-Cohan 67h; $-Cha- Ch ane Morne - a - Meo Gxba “Aeterna - acre, Rey . “Que Vier Ls Manes") . Rett oh cnet Itacuinbcfe “Cam ta Foca Song CAS Ld Sta pte emp 2) . Ure he erent ff Re 2) ry ‘des Robt ad Sele dl Solr “tire Gl chaptcen) * des, Rub end Wille Calo res" wih ava} . Cetin Fy s0 nln Callente cuban Jam Scat Ig Mlnlane-—Deseae 17 . Caml, tet “Miche Camo (429 wa ad Coltrane, Join ive a tana) deat . rnvera, Paglia “Why Now" 41.2,85 Conti . oo Gonzaler, Jerry & Fort Apache Rand Ohta Cal chapsersnih Aly Gone) np . . “io Me Care" EA wth Andy Gowen) ange . shore taketh) ont oy on van an Que Pia 1.2 wih tang fon cee. ‘Anu on yAluewtu C23 Fem bd Machito _ “Ato ian fare") wine . Metera The ira" (3) ude - rnoni Retdimeid-gay oe ba . “Benth (15 with Any Gonzales) oom ba Patna ote svat y Tater? we . : (3, wl Cacbao and Abenin Rode) Puente, Te “Dance Mania” (1.3 wih Boy Rogue) CA termationat bd Gea MT 12 aoe . odtelguer. Thy - “ThazTha,THo* 1 wilh cachacd” >, ‘West ide tin * Tobatesha, Ganzato “Gia (alt chapuer) evden . bye in Havana Mesa . “Grupo Proyecto de Gemale Ruhaleaha® (2) acto os Santamaria, Monee “Oreo tur aA) ney « Mader, cat “Sonia bee" (8) vere - Toll y as Reecron “Toten y un Rumery (3 wh Andy Ganzahed Manion « Astenth, pave “lahat (2.5) on a “tive te ue Newel chapter) “ ” 61 .Diray callow ave Grusta Vie Juels yo Kawa ‘Tanta Marla luce Menduza ob Mlacier Holy Alones Bill O*Connet Mark Soke Leal Se Dave Valentin oceln Geines endogses 5 hanes, (ED DISCOGRAPHY. 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