MIGUEL ‘ANGA’ DIAZ ANGA MANIA!

MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN 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 Timbongoro bell: mouth area o bell: neck area +

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

ANGA’S TUNING D#

F# A# C#

G#

Drums 1, 2, and 3 are the same size Drums 4 and 5 are the same size
2

O T S T P T O O P T S O O S O O L 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 CONGAS—VARIATIONS Play the basic ride between each example. Niño’s style became a part of Anga. Niño Alfonso with Irakere was the first to incorporate five congas.MARCHA WITH FIVE CONGAS As stated by Anga. 2-3 clave 1 01:50 O T S T SS O T SS O T S S O T S O O S O O L L R L RL R L RL R L R L R L R (T) S L L L R R 2 02:18 O T S T O O O O O O O O O S O O S O O L L R L R L R R L R R L R L () S T R L L L R R 3 02:40 O T S T P T O oO (T) S O O S O O L L R L L L R rL R L R L L L R R 4 02:49 O T S T P T S (T) s S sS (T) (P) O O S O O L L R L L L R L rL rL R R L L L R R 5 03:18 O T SS O T S SO T SSO T P T S O O S O O L L RL R L RL R L L RL R L L R L L L R R 3 . When Anga started playing P O P S T P T O O P T S O O S O O with Irakere. There are five sounds that convert into a harmonic tumbao.

MARCHA—MELODIC VARIATIONS 1 03:51 O T S T P T O O P T S S O O O O L L R L L L R R L L R (T) S R L R L R O O O T S T T O T T S O O O O R L R L R L R L R L R R L R L R 2 O T S T P T O O P T S T O O O O 04:30 L L R L L L R R L L R R L R L R O O O ghost note (T) O T S O P T S T O O O O R L R L R open slaps 3 S L R R L 3 S L R R L R L R 3 05:07 O T S (T) S S S S S T S S S S S O O S O O L L R L R L R L R L L R L R L R L L L L R R 4 05:28 O T S T P T S O T T S O O S O O L L R L L L R L R L R L L L R R 4 .

refer to video F F F F O O R R R L R R R R R R R R R O O O (T) O T T S T O T O T L R R R L R L R L R L R L O P S T P T S sS T T S O O S O O R L R L L L R rL R L R (P) S L L L R R 6 06:10 O T O PTS T T O PTS T T O O S O O L L R LL R R L R LL R R L R L L L R R 5 .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 O O 05:30 L L R L L L R R L L R L L L R R L R R R R L R O T S T P T S O P T S (T) O O O O O O O O O O O L L R L L L R R L L R R L R L R R L R R L 3 O L 3 O R O T S T P T S O P T S (T) O O O O L 3 O L R 3 O L L 3 O L R R L L R R L R L R R L O O O O raise pitch with fingers.

MARCHA—MELODIC VARIATIONS 7 O T O S SS OS S S O T S O T P S O O S O O 06:35 L L RL R L R L R L R L R L R L R L L L R R O T O S SS OS S S O T (T) O T P S O O S O O L L RL R L R L R L R R R L R L R L L L R R O T O S SS OS S S O S O O T P S O O S O O L L 3 O (O) RL R L R L R L R 3 O R L L R L R L L L R R O O O S S O P T S O O S O O L 8 R R L R R L R R L L R L L L R R 3 3 3 3 O O O O O S O O T T T S P T S O O S O O 3 3 3 O O O O O S O O P O 07:08 R R L L R L R R L R L R L L R L L L R R R R L L R L R R L R P T S O O S O S 3 3 3 O O O O O S O O P O P T S O O S O S L L 3 O R L L 3 O L R R 3 O R R L L R L R R L R L L R L L L R R O O O O O P O P T S O O S O S L L R R R L R R L R L L R L L L R R 6 .

The first 12 measures are transcribed which demonstrate the 0:07:34 Piano Intro 2-3 clave O/O congas basic ride with some of the variations played in the previous section.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. R L L L R rL R L R L R L R L R L R L R L R rL R L R L L L R R 7 . 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 L L R R L L R L L L R R L L R L L L R rL R L R R L 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 R L R rL R L R L T T S L L R R L R L R R L R rL O O O S O S S oO R L R L R LRL R RL T T S O O S O O O P S (T) P T B oO T O T O T R L etc.

O O S O (T) S O (T) (T) S S B T S O S R 0:10:10 3-2 rumba clave P T T P P T T P L R L R L R L R L R L R L R R P T T P P T T P P T T P P T T P P T T P P T O R L R L R L R L R L R L R L R L 3 O R L R L R L R L 3 T R L R L R L R 3 * 3 3 O O P B O T O S S B T O T R R R R R R R R R R L L R 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 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 (O O) (S S) T M M B (T) T O T R L R L R L R L (O O) (S S) O M M B T T O T T M M O (T) T O T O S S B (T) T O T R L R L R L R L 8 R L R L R L R L R L R L R L R L Basic Ride R L R L R L R L . This will make it easier when you start looking at the variations.GUAGUANCO VARIATIONS Practice Suggestion: Learn the basic ride first with all alternate sounds.

1 10:50 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 2 11:03 T S S B (T) T O T R L R L R L R L O T T B T T M M R L R L R L R L M M B T T O T R L R L R L R L O S S B (T) T O T R L R L R L R L 3 11:17 T Ride variation S S B R L R L R L R R (T) T O T O R R L R L R L S S O T R L R L R L R L T O T R 4 11:28 L R L R L R L R M O L (B) R L T O T R L R L T S S B (T) T O T O S S B T M M M O S S B (T) T O T R L R L R L R L 5 12:01 T S S B (T) T O T R L R L R L R L O S S B T S S (T) R L L L R L R L R L R L R L O S S B (T) T O T O OOO OO O T O S 3 3 R L R L R L R L 6 12:40 T P S T R L R L R L R L T P O T RL RLRLR L R L O P S T T R L R L R L R L P S T R L R L R L R L R L R L R L R L 9 . This will make it easier when you practice the variations.GUAGUANCO—COUNTER MELODIES Practice Suggestion: Learn the basic ride first with all alternate sounds.

it should always be within these three areas. Nonetheless. one must have peace and tranquillity within and concentration. different rhythms. It’s like composing a piece of music. 10 . It then goes into other areas more related to the congas. To achieve a solo. This is the formula for producing a good solo.GUAGUANCO—COUNTER MELODIES 7 T S S B (T) T O T O P S 3 S O O O O O O 13:10 R L 8 O R L R L O R L O R O T T L R T R T L O R O R O R O R * raise tone with elbow R O L O 13:48 R O R R R L O R R L R O L S R S R B (T) R T O R T R L 9 T S S B (T) T O T R O M S M T M O M R L R L R L R L (O) alternate sound (O) T M S M T M O M O M S M T M O M 14:15 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 SOLO ANALYSIS A solo has three parts: 1 2 3 beginning middle end In between those parts you can have variations. One must not think of it as an opportunity to show off technique and do a lot of hits. experimentation of different formulas. etc. The beginning of the solo on the video starts out with a tabla pattern from India. This is the main theme.

” O 23:57 3 OPTS O 3 OPTS O R RL LR R RL LR R This exercise comes from the school of Tata Guines. Work up these exercises to a fast speed. 3 P 3 P O 27:20 3 P T B 3 P T O T B T R L L R L L R L L R L L 11 .TECHNIQUE EXERCISES The first exercise comes from Changuito’s creation: “la mano secreta. It is always the whole palm followed by fingers. Note: Do not use the heel or the outer edge of the palm. 3 P 3 P 3 P 3 P O 36:11 T O T O T O T R L L R L L R L L R L L The 2nd exercise can then be combined with different sounds such as an open and bass sound on Example 3.

TECHNIQUE EXERCISES GUAGUANCO VARIATIONS 3-2 rumba clave 1 31:17 P T T P P T O T O T T B T T O T R L R L R L R L R L R L R R L R P S T B P T O T O T S B T T O T L R L R L R R L R L R L R R L R P S T B P T O T O T S B T T O T L R L R L L R L R L R L R R L R 2 31:36 T M T 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 Anga speeds up this pattern to a very fast speed. TECHNIQUE EXERCISES—DOUBLE STROKES There are two types of doubles to practice. Start out slow and gradually build to a faster speed. Note: Practice Exer1 32:40 P T P T cise 2 with open tones or open slaps with the fingers only. P T P T R R L L R R L L 2 S O S O S O S O S O S O S O S O R R L L R R L L 12 . The second note of each double is accented as indicated.

bells.DJ GILB-R & ANGA IMPROVISATION Setup: Four congas (eliminate the lowest drum). Maintain the cowbell pattern with your feet throughout each example (1st line played with right foot. 2nd line played with left foot). two bells with foot pedal. timbongoros. 34:09 1 35:00 (P) T S T P T S O P T S O O S O L 2 35:05 L T R S L P L L T R S R O L P L T R S L O L O L S R O L 3 35:18 T R S L P L S R O R oO L L S R S L O L O L S R S L 4 35:25 (P) T R S L T P L T R S rL O P L T R S L O L O L S R S O L L R L L L R R L L R L L L R R 13 .

Open tones with the right hand are also played with the stick.DJ GILB-R & ANGA IMPROVISATION 5 35:40 (P) T S T P T S O S S O O S O oO L 6 35:44 L T R S L B L T L S R O R O L S R S L O L O L S R T rL O L 7 35:47 (P) T R S L T R P L T R S L oO L S R S L O L O L S R O R T L 8 P T L S R T L L P L T R S rL O 3 O L O R O L 3 O T L O L 3 O B R T L 3 T S L O L 3 O O R O L 3 O T L O L 3 O B R T 3 T S R O R 3 O L O L O R 3 O L T R O R 3 O B L T R 3 T L S R R 9 37:47 P R T L L O R P L R O R S L R O L O R R T R L high bell L R T L R R L R T L R low bell med. play with a stick in right hand. Many variations can be created by playing on different surfaces. This is the basic ride. bell L L R L R L R R L R R L R R L R In Example 9. 14 .

conga. conga. Maintain the bell pattern with the feet. cowbell. ST = strike drum with the stick. etc.DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS Notice that Example 8 goes into a double-time in triplets. maintaining the cowbell pattern with both feet. T 38:39 * ST ST T O T O O O O O O S O O L R R L R L R R L R L R L R R T bell T bell T bell P T O T O S O O L R R L R R L R L L R L R L R R *Can be played on timbongoros. 15 . 3-2 rumba-clave. etc. 3-2 rumba-clave 3 O 3 O 3 O 3 T O O O T O B T S R cowbells right foot R 3 L L R 3 L R R 3 L R L R left foot DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME This groove goes into a double-time feel. The x can also be played on timbongoros.

2-3 clave 41:10 Drums OS/O Bata: Iya drum call OS/O OS/O O O S S O O S S S O S Three Congas w/ cowbell S O O S O S S O S R L R L R L R L R L R L R L R L 16 . The iyá is playing a batá rhythm that comes from Iyesá.MIXING STYLES—PILÓN + FUNK 2-3 clave Drumset Hi Hat o Timbales + + o + + o + + o + + P T S Congas T P T B O O T S P O O O T L L R L L L R R L L R L R L R R MIXING STYLES—BATATUMBA + 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.

2-3 clave. Anga continues the bell pattern between his feet. 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 41:57 P T S T P T O O that these examples are variations on the basic tumbao or marcha played at a fast speed. 2-3 clave P T S O T T O O L L R L L L R R L L R L R L R L 2 P T S T P T O O P T S O O S O O L L R L L L R R L L R L L L R R 3 42:14 P T S O P T O O P T S O T T O O L L R R L L R R L L R R R L R R (Played with a stick in the right hand) 4 42:42 T T O T O T O O T T T L L R L R L R R L R R L R R L R 17 . Reminder: maintain bell patterns with the feet.HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP In addition to the four drum setup. The bells are mounted on two separate bass drum pedals.

Tambores iyesá. Los Muñequitos De Matanza. John Santos. Miguel "Angá" Diaz. Be sure to maintain the bell pattern with the feet when practicing these examples. Many variations can be played by playing 1 43:22 P T O T O T O O O O different surfaces where the cowbell is indicated (refer to the video for ideas). NY 11418 (latinpercussion. Bill Fitch. Solo Transcriptions Guillermo Bar retto. and Johnny Almendra. Greg Askew. CD. Louie Bauzo. 2-3 clave T O T O O T T T L L R L R L R R L R L R L R R L R R L R R L R 2 O O O O T O O T T T L R L R L R R L R R L R R L R LATIN PERCUSSIONIST MAGAZINE Published by Victor Rendón (Tortilla Flat Music) Interviews With Milton Cardona. Book.00 ($14. and The Art of Salidor Playing. Instructional Columns John Almendra. Mongo Santamaria.com) 18 .00 international) Tortilla Flat Music 83-15 116th Street Suite 4A Kew Gardens. José Madera. and Video Reviews Order information: Latin Percussionist is published twice a year yearly subscription $10. Ken Ross. Victor Rendón. bolero. Manny Oquendo. John Santos. and David Peñalosa. Johnny Almendra. and solo applications. Drumset and Timbale Applications Horacio Hernandez. Mozambique. Candido. Folkloric Percussion The Secret Abakuá Society.HOMENAJE A EMILIANO SALVADOR—SECOND 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. cha cha chá. 6/8 patterns.

Willie Colón. Ray Santos. Rendón's work has appeared in Modern Drummer. Eddie Palmieri. Play-Along Charts. Bell Patterns. Throughout the book are writ ten grooves for congas. Includes Drumset Adaptations. and JOHNNY ALMENDRA (Jóvenes del Barrio. And SOLO TRANSCRIPTIONS from GUILLERMO BARRETO ("Descarga Cubana" from Cuban Jam Sessions in Miniature Descargas) and MANNY OQUENDO ("Llora Timbero" from Conjunto Libre Ritmo Sonido Estilo). and by his richly detailed interviews with master timbaleros. By using these play-along charts you will gain valuable realistic playing experience that will directly translate to your school ensemble or professional group.95 This excellent book and CD package is designed for the beginning timbalero. rhythms. Abanico. Chico O'Farrill. Heriberto Rivera (bongo). Tito Puente). and References. tim bales and drumset. The Latin Jazz Coalition. congas... Destined to be a classic. bass. Position of the Timbales. and sometimes drumset) function as a unit. Not only are there typical licks. independence exer cises. independence. transitions. Mozambique. stick sizes. Publications. and Victor Rendón (timbales and drumset). Simply read the music exercises. Celia Cruz. Aníbal "Tito" Rivera (congas). always in explained relation to the clave. Bilingual English/Espanol The Art of Playing Timbales Vol 1 ISBN: 0967309824 MIM003 $24. MODERN DRUMMER MAGAZINE Victor Rendon's book is as close to having a virtual teacher by your side as one could get. Conga and bongo students will find their parts in each section of the book and CD. Carlos "Patato" Valdéz. styles and feels of timbales. drumset. Fania All-Stars. and Rendon's instructional method is as clear as it's going to get. 96 Page Book with Full Length CD with play-along tracks. Each exercise on timbales is also arranged for drumset. Each section features play-along CHARTS and CD TRACKS with some of NY's top Latino musicians: Sergio Rivera (piano). Tito Puente). Los Más Valientes and many others. Conga and Bongo Transcriptions. son. Victor Rendon has done the improbable: He has made it possible for a wide range of drummer/percussionists to approach the art of tim bales without fear of failure. transitions from paila to mambo bell. 1 by VICTOR RENDÓN BOOK & CD A Complete Guide for Developing Rhythms. 6/8 and mozambique. Victor Rendon has worked with giants like Mongo Santamaria and Patato Valdes. congas. ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKE COLLAZO (Tito Rodriguez.. Mongo Santamaria. Transitions. A full-length CD helps guide you through the sounds.it's ALL here. and Photographs in a beautifully designed. and Warner Bros. Victor Venegas (bass). And. Viva timbales! —BILL KIELY. Please note: to take full advantage of this book. Solo Phrases. song forms. Different Sounds. there are sample charts with a "music minus one" feature of removing the timbale track to give the stu dent/performer the experience of really owning the groove. rhythms. The author's clarity in presen tation is further enriched by his discussion of the evolution of Latin rhythms and instruments.. If you have just purchased a pair of timbales. Cha Cha Chá.excellent photos of stick and hand positions. phrases and solo ideas spelled out for you. But this book is SO much more.. John Scofield). and bongos. who wants to understand how to play Afro-Cuban music in a professional setting. JOSE MADERA (Machito. and listen to the corresponding track number on your CD player.ALSO AVAILABLE FROM MUSIC IN MOTION FILMS THE ART OF PLAYING TIMBALES VOL. Independence. Solos and Traditional Timbale Techniques. this book will teach you everything from proper setup. Grupo Caribe. CHAPTERS: Introduction. and in context along side a rhythm section that includes piano. and soloing. DRUM!. there are tracks that include drumset. Pacheco. Percussionists and drummers are going to love this book. Victor Rendón is a sought after New York City percussionist who has performed with The Latin Jazz Orchestra. Percussive Notes. bon gos. Clave.. Rendon breaks down the daunting clave structure so that we all can relate. guiro and drumset. or drumset player. Each music example has a corresponding track number which can be found on the CD. This book is a complete Afro-Cuban percussion work-out. and demonstrates how the instru ments of the Afro-Cuban percussion section (timbales. Son.. — GORDON GOTTLIEB 19 . students are encouraged to learn each part for timbales.two solo transcriptions with recommended stickings and keys to phrasing. beautiful layout and clear instrument/sticking/hand notation key. congas. Specific rhythms covered are cha cha cha. Learning to play timbales (or to emulate their rhythms on drumset) makes any drum mer more valuable on the bandstand. and has taught music for years within the New York community. bongo. 6/8.. and now he's authored the most authorita tive book on the "original" Latin drumkit. bongo.

its all up! — JAMEY HADDAD Each groove is a dance and until you dance the patterns. — DENNIS CHAMBERS The grooves just LEAP off the page! Mokhtar Samba's illustra tions of African Rhythm's are wonderfully insightful. Dance first and read the notes after then the grooves will explode. Thank you. and masterfully. genius. as well as any form of creative popular music. Youssou N'Dour. — ROYAL HARTIGAN A welcome addition to the drumming lexicon. Central and West Africa to Drumset. He presents the material in a logical order which allows us to develop each rhythmic ele ment gradually. Ultramarine. internalizing these difficult and multilayered pat terns. rock and funk. the more I realize that I am tapping into a source of rhythmic ideas that will never run dry.95 This is the best explanation of African rhythms that I’ve heard. — CHRIS PARKER Finally. Henri Dikongue. Jean-Luc Ponty. Tama. His contribution highlights the sophistication. North Africa (Gnawa & Maghreb) Cameroon (Mangambe & Bikutsi) Guinea/Mali (Doudoumba) Senegal (Sabar) Mokhtar Samba and his explosive drumming can be heard throughout the world on tours and recordings with Salief Keita. Mohktar for enlightening all of us! —VINNIE COLAIUTA Mokhtar has opened my mind to rhythms I have never imag ined before. a book that includes North African rhythms. challenging and fun! Talk about coming full circle—by embracing the past—Mokhtar points us in the direction of the drumset's future! — DAVE STANOCH For a long time I had hoped an African drummer would write a book based on contemporary African drumset playing. Respect! — BILLY MARTIN 20 Mohktar has given us many creative and original adaptations of traditional African drumming styles. 48 pages plus CD (96 tracks). The more I listen. Carlinhos Brown. Thank you. and many others. Mokhtar did it. Bilingual English/Français African Rhythms and Independence for Drumset ISBN: 0967309816 MIM002 $24. there were no drumset players in African bands as recently as fifteen years ago. and Samba—who’s played with. but that of jazz and Latin. jazz. — ALAIN RIEDER This man can really play! Many new books are just older books with an added cd. Any drummer interested in a fresh look at how to orchestrate a groove on the drumset would find these rhythms uplifting. Graham Haynes. and incorporate them into my playing. Brazilian. Any broad-based analysis of a continent’s worth of drumming is an ambitious work. Richard Bona. Ancient rhythms with endless modern day applications. enriching. among others. Youssou N’Dour and Jean-Luc Ponty— takes the clearest. and what a drummer! His book is a gem. — WILL KENNEDY African Rhythms and Independence brings the traditional trap player into the land of the original swing—Africa—by spelling out the essentials on the set. but Mokhtar keeps the common threads from country to country. I like the way he plays and thinks when he’s behind a drumset. But by now an African kit tradition has been established. they may seem daunting. Designed for students and professional drummers interested in exploring the roots of drumming while learning new rhythms applicable to all forms of modern music. most direct route toward explaining it to a new audience. genuine project that will become a classic! — ALBERTO SEMENZATO As Mokhtar Samba explains in the introduction to this excel lent book.ALSO AVAILABLE FROM MUSIC IN MOTION FILMS AFRICAN RHYTHMS AND INDEPENDENCE FOR DRUMSET by MOKHTAR SAMBA BOOK & CD A guidebook for applying rhythms from North. Mokhtar’s material not only opens doors of insights into his music. I really love the way Mokhtar breaks everything down and presents it to you. Mokhtar's Moroccan-Senegalese heritage mixed with the jazz and Afro-fusion atmosphere of Paris has created one of the most exciting drummers of our time. The first time you make that connec tion it will feel incredible. Nguyen Le. and deep feeling in traditional African music. Joe Zawinul. including Afro-Cuban. Mokhtar. Bravo! — TONY MARTUCCI Roots rhythms made fresh. and that’s the idea. This book is a fresh. — MODERN DRUMMER MAGAZINE .