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    Afro Cuban Grooves For Bass and Drums PDF

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    Nicolas Celestin

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    © All Rights Reserved
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    Rel are Be cy BA CPE LUG "KNOWLEDGEMENTS TRODUCTION (UM/BASS KEYS. SLAVE AND TUMBAO SLAVE 3ASS EXAMPLES 1.6 "ERCUSSION RHYTHMS ALSA-PERCUSSION CHART JASS EXAMPLES 7-9 4 AFRO-CUBAN 6/8 28 DRUM EXAMPLES 1-3, 29:30 BASS EXAMPLES 3031 5 CHA-CHA AND MOZAMBIQUE 32 CHA.CHA DRUM EXAMPLES 1-3, 32 CHA-CHA BASS EXAMPLES 33 MOZAMBIQUE DRUM EXAMPLES 1-2 3334 MOZAMBIQUE BASS EXAMPLES 3 NOTES ON THE TUNES DRUM EXAMPLES 1-4 CHARTS “MAMBO FOR TAJRID" 2 ONGO 15 “YO ME SONGO" 6 )RUM EXAMPLES 1-13, 15-17 “HOTEL NATIONAL’ 9 {ASS EXAMPLES 1-10 18:20 “AFRO WALTZ" 52 ‘BLUE CHA-CHA’ 54 #UAGUANCO 21 ‘METAL MOZAMBIQUE" 38 UMBA PERCUSSION PARTS 21 )RUM EXAMPLES 1-7 2125 DISCOGRAPHY 61 ASS EXAMPLES 1-5 26.27 SSETTE EA SIDE B: $GS—FULL BAND, SONGS—FULL BAND (CONTINUED) MBO FOR TAJRID 2:45 ME SONGO 2:56 TEL NATIONAL 2:34 iS EXAMPLES 22.19 SES MINTS RASS AS By DUM 15:29 BLUE CHA.CHA (3:48) Lincoln Goines Robby Ameen/Mike Steen Oscar Hleraander Mike Stern Guitar Oscar Hernandez Piano Lincoln Goines Bass Robby Ameen Drums METAL MOZAMBIQUE (2:18) Lincoln Goines Robby Ameen Mike Stern= Mike Stern Guiar Lincoln Goines Bass Robby Ameen Drums All bass and drum examples played by Lincoln Goines and Robby Ameen, Recorded at M& I Recording, New York City, Feburary 7 and 16, 1990. Engincered by Richard Kaye, ‘AFRO WALTZ, 4:00 BLUE CHACHA 348 METAL MOZAMBIQUE 222 DRUM EXAMPLES” 15:29 ' | NGS | woron tam css) ar Hernandez Pisno, Synth ‘oln Goines Bass byAmeea Drums MESONGO (2:54) ‘ln Goines/Robby Ameen Bill © Connel O'Connell Piano ‘ol Goines Bass by Ameen Drums "EL NATIONAL (2:30) fal Goines/Robby Ameen Bill ©\Connelt- O'Connell Piano oln Goines Bass, by Ameen Drums O WALTZ (3:58) Connell Yeonnell Piano oln Goines Bass by Ameen Drums This book is largely a result of our professional and informal interaction with the Latin musical communities of New York, Puerto Rico and Havana, Cuba. We would like to thank a few individuals for their contributions: Frank Malabe, whose fencourgement and influence provided the inspiration to write this book, and Ralph Irizarry, for being such a great source of information; Alex Acuna, Bobby Allende, Johnny Almendra, Amuro Baseneva, Louis Bauzo, Steve Berrios, Ignacio Berroa Rubén Blades, Eddie Bobe, Milton Cardona, Luis Conte, Sal Cuevas, Paquito D'Rivera, Ralphie De Jesus, Sammy Figueroa, Andy Gonzalez, Jerry Gonzalez, Robbie Gonzalez, Horacio “el Negro” Hernandez, Giovanni “Manenguito” Hidalgo, Ben “Tito" >, Irio OFuril, Danilo Perez, Porinho, Marc Quifiones, Jose “Changuito” Quintana, John Riley, Abraham Rodriguez, Bobby Rodriguez, Ruben Rodriguez, Joe Santiago, Roger Squitero, Dave Valentin, Papo Vasquez, and Mike Vir Special thanks to our wives, Souhad and Merle; to Bill O'Connell, Oscar Hernndez, Mike Stem and Richard Kaye for helping us with the music; Rob Wallis and Paul Siegel for king fon this project; Jim Petercsak for his input and advice, Jack Waltrip and Bob Sherwin for the hours spent with us working, fon the transcriptions, and Dan Thress for his enthusiasm, ideas, and hard work. We would like to dedicate this project to our parents May and Lane Ameen and Warren and Wanda Goines, Pret. Monn - INTRODUCTION Funkifying the Clave: Afro-Cuban Grooves for Bass and Drums attempts 10 provide drummers and bass players with an under- standing of the application of Afro-Cuban rhythms to contempo. rary jazz, funk and rock. We decided that the project should be a joint bass and drum book because the key to understanding and ‘executing these types of feels comes from each player's aware- ness of what the other is doing, In seeing how both pars work together, it is possible to develop a feel for the particular rhyth- ‘mic relationship that occurs in this type of music, thus enabling ‘you to “funkify" your awn grooves. ‘The intangible element within this music often lies in its “swing,” or the ability to play in between triplets and 8th-notes. This swing aspect of the music is apparent in all ofits forms and applications, but is certainly most pronounced in the folkloric context. It is the same distinction that occurs in jazz time with the ride cymbal beat and the part of the pulse the walking bass Sits upon. AS with jazz, there really is no substitute for listening and the reader should refer to the discography at the end of the book to lear more about traditional and modern Afro-Cuban and salsa feels. To help interpret the rhythms in this book, we have inchided 4 cassente tape of the musical examples. Before each example a bref introduction is given, including an example number. These audio cues are found inside the dark grey boxes above each Pl musical example, In the book you may want to write in specific tape cues corresponding to the counter on your cassette player in the major sections of the book (or before each exercise) to help you reference the tape quickly ‘The book begins by breaking down the two elements most cenicial to the understanding Latin music: clave and tumbao, Chapter one will provide 4 historical background of Afto-Cuban music, in particular leading up to the music commonly known as salsa. The emphasis will be on the traditional and essential roles of the instruments, including the percussion section. The remain. der of the book will explain five basic Afro-Cuban rhythms: songo, guaguanco, 6/8, cha-cha and mozambique. In addition to showing these grooves in their purer forms, we will integrate them into our own style [At the end of the book are six band ‘many of the musical possibilities discussed in each chapter. Each tune has a 8wo stave chart consisting of the bass and drum pans, In addition we have provided play-along versions of each song, ‘minus either bass or drums. An informal discussion of each song, appears at the end of the book, Is not the intention of this book to provide the reader with the complete or definitive background in traditional Latin music" Rather, we are tising the music as a departure point towards developing some new feels without losing sight of the past, ines which incorporate Note: The music examples and text relating to bass are shaded in light grey to help differentiate them from the drum examples and text. “For an in-depth study of traditional Afro-Cuban thythms, including a glossary, (covering many of the terms used here) bibliogra- phy, and discography, refer to Afro-Cuban Rhythms for Drumset by Frank Malabe and Bob Weiner, also available from Manhattan Music/DCI Video. 4 1. 22" 16" bass drum 2 G12 x 14" or 312" x 14° brass snare 3.8°x 10" tom 4.10" x 12" tom 5.11" x 13° tom 6.16 x 16 tom A.M AA regular bichats BLIS" AA thin crash DRUM AND CYMBAL SET-UP C12" Hin spas D.27 AA Sound Control Ride E15" AA bits F-2P AA Chinese 16 HH ein crash HiManbo bell 1 eharcha bell J. woodblock K.Mambo bell L crather DRUM KEY ommas runs 7 cowneus, exc. aba die igh, feb tj Snare Mid 1 Mid 2. pioor d | ass 1 } =] Grosesick 2: Ride or hi-hat {ata bell Heat 9 Tot gchacha bell Right hand hit hat chap 1 Woodblock 4. Cymbal be High pitch atacato tone) fash cymbal j tow pte Copen tone) TimpALis concas noNcos n PF So rTro SS A = — = a - b. © - ~ P-Paln Fefingers a. Finger on head, mulled tone Poringes Toth B. Open one sages O-0pen € Side of other timbale BASS KEY Tethamb PePlock [Numbers under notes ae suggested lft hand fingerings $$ ee CHAPTER ONE: CLAVE AND TUMBAO Just as the most crucial element of rock and funk playing is in the backheat, Afio-Cuban music i all centered around the clave ‘which incidentally, is Spanish for “key.” The clave és an interchangeable two-bar ehythm to which all other rhythms must elas, whether as "3:2" oF “23. Rumba clave 3:2 Rumba clave 2:3, el dL dpe J sa er ddajl dL oy ‘This clave is often referred to as rumba clave. The son clave (also 3:2 oF 2:3), doesnt displace the lst &th-note, Son clave 3:2 ed dd 1f in jazz oF pop music you snap your fingers or clap on “2° and “4," in Latin music you cap clave. Lyrics and melody usually determine how the music fis within the clave. In the course of a song, the relationship of the music to the clave can occasion: ally change from 3:2 t0 23 (or 23 to 3:2). This will generally ‘occur by either adding or dropping a bas, so that the two-bar lave itself is never simply reversed. By listening to the music of the idiom, you will come to understand how to hear what side of the clave a tune feels better on, and this will affect everything the band plays, including the percussion section, bass and Piano, lead vocals and chorus, horn lines and accents, and final- |y solo phrasing. Poorly phrased shythms are referred t0 as one a9, oF crossed. During the 1930's, 40's and 50's, great Latin band leaders such as Israel “Cachao" Lopez, Arsenio Rodriguez, Machito, Tito Puente and Tito Rodriguez, along with many others, developed aan integration between African and European musical forms which had previously been for the most part segregated. ‘The following traditional examples are written as they would be ‘seen in an actual Latin bass char; however, note how in some Of the audio examples the notes on the fourth beat are played long and exiended over the bar. Ths is done to match up with 23, < variations: delle qed daql Son clave 233, wood Generally speaking, these musicians combined African chythmic stevetures with European harmonies, although Aftican melodie and harmonic forms also played a roe in the black music of the New World, as, for example, in blues music. In Cuba and Puesto Rico, ths marriage led to a variety of musical styles and dances, such as son, mambo, guajira, bomba, plena, cha-cha, rumba and ‘many others which today make up what is commonly known a5 salsa In salsa, the shythm section consists of congas, timbales, bongos, bass and piano, The heart of the ensemble is to be found in the bass tumbao. A tumbao isa repeated figure (either ‘on conga or bass) which creates the groove. For the Cubans, the bass was a European instrument which could be used te imitate the sound of a drum, playing a role which had previous. ly been served by the mariméula, a ge African thumb piano, ra botia (bass notes blown through a botle). The music has since beea played on upright bass, elect, or typically in many salsa bands, an electric upright called a “baby bass.” the conga tumbao, The aticude given this note by the bassist will effect the swing of the entire band, To make the notes fat and percussive, I usually use the lower, thicker strings ‘wherever possible. 2 The pulse fs felt in cuctime. Example 2 Mambo moving between two chords 23 4x (C7 Example 3 S6n Montino moving between two chords 23 q BH a BT One way to internalize the clave is 10 practice tapping it with the metronome (quarter-note = 76), then add the clave with your your foot while playing a tumbso. This is a method used by foot and gradually blend in the sumbao. The trick is to get the ‘many Latin musicians (most notably Bobby Rodriguez the great rumbao syncopated with the 2-side of the clave, in sequential bassist with Tito Puente) and is an excellent independence order: foot-right hand, foot-right hand (note: on the 3-side ofthe exercise which really helps lock in the groove. The emphasis clave, the foot and hand fallin unison). here is on accuracy, not speed, Begin with a medium tempo on ‘Bass mmbao independence exercise Jers Play ‘Tap with foot Now it is time to consider the basic rhythms the percussion section lays down in a typical sss tune. First, there isthe basie conga tumbao Cor masacore) played on one, two or more drums: > >> re nese = (w/o stick) For the coro, the timbatero moves to his mambo bell and plays this bel-ide: Timbale montuno bell ride ‘When the tune reaches the mambo section, the timbalero often ‘moves to the cymbal, once again playing the cascara pattern ‘ith left hand accents on the drums. Another important function Of the timbales is to announce the beginning of the montuno or other sections with an abanico, which is a rimshot followed by a double-stroke rol of varying length (depending on the tempo) 23, and. ending with another rimshot on “I” of the next bar. The abanico is traditionally used to signal the introduction of a cow bell pattern on the timbales. Interestingly enough, abanico ‘means “fan,” and the roll actually sounds a lot like a fan being ‘whisked open with 2 fick of the wrist. All ofthese percussion examples have so far been written in 23 clave; for 3:2 clave, the measures are simply reversed. It should also be understood that these are very basic versions of the ppans these instruments play. There are also many vatations and ‘vances always being added by each player, for example, with 8 the timbalero’s left hand. Its imponant, however, to be familiar with the basic parts and to see how they can be applied to the ramset, On the following page is a skeleton uanscription of the fundamental percussion section parts played during the course of a typical salsa rune OwsPE O2ZGHZOE mMonmm< Manm< 23 >> > > pe coer a] J. fd) a al Play Ly 1 a —_, cae LERELERR{ILERLLERE ® cs BEEP RSS (BESE EERE Peel EO CoA es Play congis HEE SS r RERERLERLE |_ PRET REOT |e ret reror I CT 1 CT ana Play To Bell a = ow — Tacet Play ——<—al_ Pi Oy le “Se «gs = ogee Lt] fay : = (xe) ~ Some notes on the parts: Timbales Verse—A common alternative to the left hand on the drum is to fil in the Sth-notes on the side of the other drum with the left hand. ‘Montuno—A common left hand alternative isto play clave on a mounted woodblock (this can also be done on the verse), Mambo—This s the seetion during shich the left hand is most free, sffing between low and high notes on the low drum, Congas Verse—The single open tone on the 3sside of the clave is often a mater of taste; it can also be staggered every 4 or even 8 bars, ‘though remember it will always appear only on the 3side. Mambo—The congas are more likely to play a bit freer in the mambo, using afew fils Bongos Nerse—The martllo patter isthe Frame of reference forthe rifling that the bongocero pays during the verse, always returning to and playing of of Montuno—Ofien the bongocero will wait for one or more coros to go by before picking up the bell, coinciding with the first or ‘even second inspiracion—the lead vocal improvisation, Mambo—There are sometimes other cowbell patterns that can be played in this section, All ofthese shythms can be condensed onto the drumset in a variety of ways, despite the fact thatthe drumset isnt @ part of the 'spical salsa setting. It most important ro consider the role ofthe bass drum within the context of the bass tambuos when playing Latin grooves. The drummer should rarely play on “1,” because the essence of Latin swing comes from “#" being tied over to “I" of the next measure. Quarter-notes played on the beat are reserved for the cowbell, paila of cymbal patterns; the bottom instruments (bass, bass drum, congas, etc) generally don't play on “I.” The most common bass dim pattern is: Bass drum pattern 2:3/3:2 Some common variations could be Bass drum variations 2:3 nn ‘As for the bass, in keeping with the shythmic foundation, chord changes are usually anticipated on the fourth beat ofthe preceding bar. [example 7 Hiss tunibao moving between to chords 23, ¢ r BH ax 10 Notice how the note “Fis used as a common tone to make the line move smoothly. These {ng tumbao-lke lines through a sequence of chords: (Distt sass faenbas played over Bb bines™ 23, BHT ENT BW ideas can be very useful for construct- EW c7 Fr BIT GI 2 Bal op? Ga? BH Bhar Gap BM? qi Bar Fr? BH by Seo et = 2 vat AT op Gar cH ope ay Here are some combinations of percussion section grooves played on drumset, beginning with the cascara. patter (right hand) being played against the rumba clave (eft hand) along with buss drum patterns 1 and 2. Practice with the hi-hat playing hal-notes and quarer-notes. ‘The cascar pattem should be practiced on both sides of the clave using both numba and son clave. Here for example is the son clave against che 3:2 cascara pattern: 3:2 $on clave > Ss > >> > Af ‘The left hand can also pick up the conga pattern, though this sounds a bit dated to me: Left hand conga patter ‘ere is the cowbell ride pattern against the rumba clave played with cross stick ‘Bsiniple 2 Bell ede pattern with the lew hand cross rumba GE) = LL ; ‘The snare can also be used in a clave-like manner, which funks things up considerably: Sean Practice all of the above rhythms withthe hi-hat playing quarters and half-notes 2 Just as the bass drum is rarely going 10 groove well playing downbens, hackbeats on “2” and “# often go agains the grain of this ‘music. Thave found that a single backheat on the 2-sile of the chive ean work pretty well 23 32 4 Jose “Cl Sal Cuevas \guito” Quintana ( 4 Ralph tieary CHAPTER TWO: SONGO Songo fs a thythmie form developed in the 1970's by the great Cuban percussionist Jose “Changuito” Quintana and bassist Juan Formell of the group Los Van Van, Songo represented a major break through in Latin music by inueducing the drumset into the standard percussion triumvirate of congas, timbales and bongos. While some limbale players had been known to add a bass drum or even 2 snare imo their setups, the songo rhsthm Finally put the dnumset on equal fooring with the other instruments. For the bass, songo represents a much more free and open syle of playing. Ulimately, songo reflec the influence of rock and funk from the US. and that of other Caribbean-based styles, on Cuban musicians. Example 1 shows the basic songo rhythm on the drumset All of these songo rhythms should be practiced withthe bi hat playing half-notes and quarter-notes The left hand can ako be orchestrated between the snare, toms, open hi-hat chokes, let hand cowbell et, providing an endless number of vations ‘Example 2 Three basic songo patterns with the lef Band orchestrated around the Kit ai ST = 15 Similarly, the right hand need not stay locked into the quarernotes on a single bell, but Gan add some notes oF move around to a higher bel Bxample 4 Here's. right hand variation, played on 2 diferent cowbells Another righthand pattern, which I heaed Joel Rosenblatt use with Michel Camilio, is played between the right hand hi-hat and the bell 1 then added “sweeps” with the left foot on the hishat, to create the sound of the songo guiro pattern ‘Example 6 ere a songo groave where the te Hi-hats iy the gulro paern-the lft foot playing sweeps WI he Kor Example 7 Now a slower version of the guiro WERaE’ (same as 2nd part of Example 6) (Naturally, the bass drum vasaions given in chapter ove ae completely compatible with all ofthese shytms.) When I first started playing songo behind different groups, I sion breakdowns, or soloing). I then decided to move most of the always found tha unless 1 stuck f0 the left hand crosesick nppe let hand tothe hchat whl hing the snare‘en 8 lind of sono agr00re, the above variations often sounded too busy or catered backbeat This ceated a much funkier and more versatile groove Gey worked better when limited to select pars ofa tune, percus Example 8 Here's fuakie Version of the singo with the left hand on the hi-hat, with 3 difflereat snare drain vartatlons RoLLRL L RLLERLR i JT a 23 = ey RSPEI SANE oMG Games Example) 1 Another instrument which the songo influenced are the congas. The pawtemn changed dramatically from the baste two drum imasacote, to 2 much more expanded and melodie rhythm, Here I a stipped-down version of this conga pattern played berweon the toms on the drumset Example 10" Nex is a songo pattern applying the somgo-conga pattern t6 the drums > 6 > = > «4 547] r= — — = : = x x Lo otirt et rait ‘xanple:11Mere’s the slower version ofthe Somgo Conga PANEFAS! (same as Example 10) Meanwhile, doing away with the combell akogethes it s possible to simply side on the hi-hat incorporating the songo backbeat and creating this funk groove. This example is shown with two snare drum vatations, Fxample 12 This is @ = which incorporates the songo backbeat 7" Note that different toms may be substituted on the fourth beat ofthe LOR L RRLER L > >> 23, Finally one can ride on the cymbal, playing the songo pattern mostly on the snare drom with cern accents, creating a ride-on effect. Example 15, Here's a ride-out songo patiera played up on the cymbal with various bass drum patterns i ‘ Mile all ofthese examples have been given in 2:3 clave, they can also be played in 3:2 clave, as always, by begining wih the sec: fond measure. 7 {In songo, while the tumbao for the bass remains intact or implied, other inflections can be added. Here are a few examples of some possibilities for songo bass: Dxaiple'3."1268-Van Van wieh ang” This pattern invites the bassist to occasionally il in the space provided by the last two bars 3:2 Rumba clave ca Di ar FA This next rombao has a calypso influence Sane al br ‘The bass lines of Andy Gonzalez (Eddie Palmieri, Libre, Fort Apache Band) are definitive examples of how pure folklocie elements ‘can be used to create funky modern lines 3:2 son clave ax @ Since all rhythmic and melodic figures in Latin music are drum ori ented, as a bassist I found i very beneficial to sit down and learn some patterns on the drumset and congas—not only songo, but ‘most of the other rhythms covered in this book as well, 30 1 at Jeast had a basic idea of how they are played. This helped me to hear how the patems were pitched and to build permutated lines accordingly. Here are some examples of how the slap technique can be wed 0 further embellish 2 bass tumbo and build intensity in the thythm section, This is a syle developed by Latin session great Sal ‘Quevas. These lines are essentially “double lines” tumbao on the ‘bottom and fragmented piano (montuno) or conga pattems Cor the bbussis's own personal funk phrasing) on the top, ‘While the intial attack should be sharp and percussive, the tumbao notes should ring over into each other ina legato fash jon—keep the left hand relaxed and spread over the notes to be Played. Keep the emphasis on the tumbao, and dont let the syn- ‘opations throw off te groove. Make the lines smocth but aguyes- sive. Examples 6 and 7 begin with eight bars of basic tumbaor TP TP simile 19 (Bxamiple77:Slap tambao, 2 14 Sal Coevas © In the following examples the tumbao notes are circled. ‘Esaimple slap songo, pe. Bepates pate F a Istx fc ee eT CHAPTER THREE: GUAGUANCO Guaguanco is properly defined in Afro-Cuban music as one of the three “rumba” forms—yambu, guaguanco, and rumba columbia. Yambu is played at slower tempos and basically involves the same parts as the guaguanco, while the rumba ‘columbia is played at fast tempos, with a stricter triplet feel The traditional rumba group includes three congas, clave, ‘palit (tick pattern), vocals and sometimes bass and even tres (guitar). At the forefront are the dancers, either performing, indivdually or as couples, The highest pitched conga (ihe guinio) is constantly siffing (the repique), also taking his cues from the dancer. A typical song begins with the clave and palito, followed by the drums, verse, chorus, quinto solo, chotus and out Heere are the basic pattems of the percussion ensemble. The clave will be rumba clave dd 32, ed. Palito dre dla Salldor or low conga FoFF o roa eat SS ———— Be] TRE R "os goles or mie an je sso £6 x ja * s sO ra ant iting solos over the whole ensemble often weaving in and out of the implied quarer note triplet and Bthnote (or tipet and 16th-note) feels of the ocher drums, RLERL ‘of that gaaguanco, (ame as Example 1) 21 The floor tom can be added to reinforce the 3-side of the clave, which we will see greatly enhanced by the bass player's guaguance (oot included on the tape) 32 > a L a at LER LOR = L RLERL t ‘The snare drum is basically playing the slaps of the tes golpes part, but the left hand can also riff around and play some quinto licks, while the basic guaguanco voices are already being covered: ‘Exaniple 3” Now T WOuld LiKe to play some guaguanco 6a Whe arims) orchestrating the left hand arvund the Kig'Fiffiag ‘sporadically. Note the floor tom substitute on the 3.side ofthe clave. 4 Aa7 ion, piano and bass solos This next example works pretty well behind quieter sections of a tune, or during percuss Example 4 Here's a gitiguanco patern which Incorporates the left hand on the crass-stick—note the bass dram variations: Once again, by re-orchestrating the sound sources by moving the left hand over to the hi-hat, with the right hand on the snare 8 drum, a much funkier sound can he realized ‘Example 5 ‘Now a funkier version of the guaguiinco which basically traasposes what was happeaiag with the left hand ‘over to the hEhat RELL RL LE RER oo > ie ° 23 At this poim. the Pym starts to resemble a Bo Didkdley/New Orleans second line style, where the pulse is more eave than backheat ‘Exainple 6 "This i wie Same type OF groove, WiKh Soiie Varlations on the bass drum Withia the groove bob LLRL LE SEMEN ° 32 —_— > : PO Tr TT, Fan ji See ee a e ALOE ee ‘Biimiple 7 Here's faster version OF this Kind of funk guaguanico: pet EY 24 | RLRL => oa RLRL 2 So LJ = area = ae a at Tp RFI ee T] = pina min wan Fa5F 08H SS = m TT = = L = ear a Ta A = a= TT ip ce == mm aff = pa == |g ao co eaeredenieay yas == Saat OO moj RL = I a ea vt qe The sole of the bass functioning as q drum par is most evident in Rodriguez. Inthe fit example, note the melodic simility to the the guaguanco, This isa style of playing developed by Cacho, wes golpes ofthe guaguanco. This line is commonly used both in ‘who in addition to playing with a fll band, also recorded with unison with, and as a calland-tesponse to, the ics golpes. just congas and vocals, along with the guitarist Arsenio [eseample 1 Rumba Gusiguanco’ 32 ax Cachao is a master at riffing around on the bass within the context of the clave, in much the seme way as the quinto follows the lead vocalist or the movements of the dancers in traditional rumba: 23 ax ike the drums the bass can also get into the “Bo Diddley/New Orleans” groove by oulinng the 3:2 cave inthe following manner 3 ax P TP THTP THT P TR T PP THT P THT TP Esering) 14 4 THTHTH Tito Puente Andy Gonzalez Photo counesy of Boys Harbor Performing Ars Center 27 Meanwhile, the Sb-notes of the 6/8 can become 3/4 quart 28 CHAPTER FOUR: AFRO-CUBAN 6/8 Afferent approach ying Wayne Short ‘The basic 6/8 Afro-Cuban eaythi is: Similarly, with the dotted quarter becoming qua Ter-notes, you ean play Sth-notes over the pulse, creating a double-time: _ “pond? a 2 Jd. 4 i a a > ay 1, A. ay Keep in mind that there are many vatiations of this groove, which can involve all sorts of changes, such as using differen: bass drum pattems, adding toms, bringing out ghost notes, or ‘even freeing yourself up from a backbeat pulse on “I” of each second bar. One interesting pattern comes from a bass drum/hi hat combination suggested by David Garibaldi's playing, which ‘can be used underneath all ofthese pattems: Keeping this pattern to the guaguanco: Frcs onc Sea s0ing with the feet, here is atom idea which echoes a more folkloric conga pattern, Note its melodic siilacty Bass: ‘As with all the other Afro-Cuban shythmic forms shown in this book, the 6/8 bass tumbao takes those elements from the ‘drums that best connect rhythm and harmony. These lines are DiStample 16/8 with 3 variations) 255 yey polyrhythmic in nature and can be heard and felt in many diferent ways. When playing them I usually feel the time moc, ing in doted quarters and make the notes long and even 25 30 31 CHAPTER FIVE: CHA-CHA AND MOZAMBIQUE CHA-CHA This chapter will Focus on two other common grooves within on, as it is one of the only basic rhythms that lends itself readily the Afro-Cuban tadiion, toa backbeat on “2° and “4,” with the incorporation of the bass The cha-cha groove is most easly recognized by tempo, and sometimes bass drum on the downbeat, Anyone. who has which is generally medium-slow to medium (M.M. 88-132). ever listened to Santana's version of the Tho Puente standard More than any other Latin style, it may be the easiest to rock out "Oye Como Va knows what we mean. Here i a basic cha-cha groove on the drums: a 2 ° ° ° Here are some possibilities for the more driving parts of the tune: ‘Example 3. Here's more of a rock version of the cha-cha, played up 60 the Cymbal with the Clave Of thé snare drm Within the Latin context, the cha-cha is best characterized by the constant quaner-notes the timbale player plays on the small chax Jd Small cha-cha bell _ 1H on drum Remember, the cha-cha can also be played in 3:2 clave, 32 Zhe bass tumbaos inthe chavcha often resemble the tumbaos of Chapter 1 played at a slower tempo. A good example of this is found in the guia groove (Chapter 1, Example 6. Slap songo lines can also work well atthe cha-cha tempo Here are some examples MOZAMBIQUE Mozambique is another rhythm which has often been used in a rock and funk context. It forms the heartbeat of quite a few of Steve Gadd's Latin grooves, such as the drum parton Paul Simon's “Late In The Evening” Here is the basic mozambique played on timbales 2 9 % ss 6 oon. o LH stick on drum ‘Once again, we sce the heavy accent on the “and” of 2" inthe 3.part ofthe clave, Here sa funky version of grooves nicely over a broad spectrum of tempos. Pat of the funk comes from the bass dram playing buh bar of the clave mozambique that nd "2" of the first “Also see Steve's instructional videos “Up Close” and “In Session," available rom DCI Music Video. 33 Example 5 This is another mozambique pattern which uses 2 concept of Roberto Pettaca's, where you use the left foot and the right hand on the hi-hat—also note the clave on the snare drum > > ees = 23 Uke the drums, the bassline for tbe mozambique offen stats on the downbeat of the 23 clave. Also characteristic isthe thyhmle patter ofthe first bar and the 7th ofthe chord on the Sth-note preceeding the second bu. | [Exaiiiple 3 raatdonal mozambique tine 23 aH 73 ay imodera Variation Oa ie RAOZARBIGEE] “Irio's Tumbao™ “This next line matches up with the mozambique timbale pattern: Funk Mozambique 23 ax. T T TPTe PT TOT TPTP In cefain cha-cha and mozambique grooves the downbeat will Orleans-guaguanco grooves, where the downbeat of the 3side be incomporated, whether on the 2-side or the 3-sie of the clave, ofthe clave is played. By and large, we have only seen this to occur in the New 35 Lincoln Mike Stern Oscar Hernandez Bill O'Connell «Pheto NOTES ON THE TUNES “Mambo For Tajrid” Oscar Hemandez wrote this for us as an example of a typical salsa structure of verse (melody), montuno (coro) nambo, verse and out. Besides being a well-established salsa pianist and arranger, Oscar is also known for bringing a more progressive style (0 salsa ‘writing, most notably in his arrangements for Rubén Blades. Drums: The drum grooves demonsrate some possibliies on the kit tithin the ion, while not paying songo, The were fs straight ‘iscara with the rumba clave, which seems 10 swing lt beter St thes tempo and without percussion. The [B] secon ofthe verse goes w the som clave wih the backbeat on the 2d of the cave. The montino yh sla) uses the base tinal bl Bass: This tune begins witha 4-bartumbao, The addled 9th inthis fig- tte gives iva jaz iver, Section [B] is a breakdown feature for the base-try (0 feel the dave when phrasing your own fills Oscar’ synth solo at [D] is the tadiional montuno section-here Example Breakdown (from Chapter 1) Drums “The intro is example 1 played on the cymbal bell also example 1 example 4 ;Montuno solo) is example 2 ride, while in the mambo things get a litle looser with the left band playing against a cascaratike pattern on the cymbal, The fills during the band breaks almost become past of the breaks, liule like filing while playing a groove. The key here is n0t to fil around the figures, but rather within them, 1 just lay on a straight tumbao. A typical device for the mambo includes a stong unison line with the other instruments, as “demonsirated here at section Base {Bis based on Example 1 “Yo Me Songo” This tune came about as a group effor with Bill O'Connell, We wanted to show a songo syle which the three of us have devel oped over the years as a hythm section for Dave Valentin, Drums ‘The drums begin at [A] with te basic songo crose-stick pattern, the bass drum catching sone of the movements within the Bass tumbro. The second ue sound, the ight hand hihi aed tothe bell. spicing Kup without geting inthe way. At [B] «a finkier sound stirs to be implied and the et sare his re layed In unison wih some of the bas slaps. The breakdown re withthe songo backbcat, riding onthe hihat ad Cropping the quarters-aoes onthe bell which finally lad oto asst Inthe [i] ection, the bass pays a simple melody 1 up wih Robbys bas duns I wanted 16 show here aw the thas can cry @ melody while al paying stance dsp congo Now tat kre On bare ts eeion alr the Hatt make 2 bt with tbe sare. tne breakdown {neces matches Example Breakdown (from Chapter 2) Drums First time i rom Example 1 [A] Second time uses the nigh hand of Example 6 [B] Derived from Example 8 Example 12 Piano solo is derived from Example 13 a straight backbeat as the bass line gets played in its entirety This line is really funk, but it's sill in clave, and sill feels like songo. By catching parts of the line with the kick and a hi-hat groove, you can stil add the backbeat with the right kind of bass line without sounding like you just started playing "2" and "4" to make a Latin groove sound funky. The groove then moves back (0 the songo backbeat over the piano montuno, ‘which goes into the ride-out songo for Bill's solo, alin Which is developed ito a furker tne at [5] a8 the rine Feds) pane eidemotine becalor ie atc Hepa Ine tat ays wih the clave ad keeps the api of songo wae the band gc om atin to fk bao on an elaboration of example 1 are similar to Example 8 in the tne, the last Sth-note from the 2side is ied over to the 1st note on the Side. [oan ennerereenanamnnreneneseneta essences “protel National” «uaguinco) In tis tune we wanted to link up the more traditional guaguanco with the funk guaguanco, so we moved back and forth between the v0 Feels The ight hand iat ses up the clave the fst ime Hugh thon ds the conga pans othe oms the second ne tgugh Nene, the cave stl imped with the igh hand ghowtng Oth sare drng the fuk sets, Forth sand a of te Bass In this une the bass plays folklosi-style lines stretched out to fit the melody while still keeping in cave. These are altemated with Example Breakdown (from Chapter 3) Drums isa slower version of Example 4 and [Ear based on Examples 1 and 2 [Band [D] are based on Examples 5-7 Piano solo there's more of a block chord montuno-like Feel going on. I felt this needed a slight change, 50 I went 10 the ymbal to open it up. Finally, we go back to the original _guaguanco, with sweeps on the hi-hat the last time around, szuaguanco funk lines. 1 ply fills in the bars before section and [D]} that anticipate the funk feels and smooth the tansitons. bass is derived from example 2 begining onthe side [isis tke the 2nd pan of Fxample $ [cis star to Fxampie 3 the 1st part of Example 5 [Eis like Example 1 “Afro Waltz” This tune, writen by Bil O*Connel, is a good vehicle for exploring the various time feels which ean be superimposed over the Airo-Cuban 6/8 groove, paniculaly in the jazz and blues vein. Bills an exciting improviser and we hope you enjoy playing with him as much as we do, Drums: ‘Once you get past the 68 groove. you can begin to think about whatever time fel is coming next so that the transitions will feel comforable and the sections wil Now into each other. Naturally, Bass: The pube in both the “jazz four" and shuffle moves in quater notes. [distinguish bewveen the to feels by using more acei denials and chord movement in the jazz section, while in the shulfle I stick mostly 10-2 pentatonic approach, Similarly, there is Example Breakdown (from Chapter 4) Deums First time through the char is a version of Example 2 Bass {ses Example 1 (Ast variation for 6/8 heads) Example 2 for shuile section these feel changes are not always planned in advance: concentrate fon making yourself comfonable moving back and forth between them, depending on what the soloists doing, a slighily different atiiude berween the 6/8 heads and the jazz waltz tag—in the waltz | put a litle bit of forward motion and bounce on the pulse, while in the 6/8 I focus more on the mide dle of the beat. “Blue Cha-Cha” This quanet tune shows how a cha-cha feel cin be applied to a Mike and Oscar worked up a melody to Fit the mood Drums: The left hand is basically playing clave throughout the tune; whether as cross-stick (for the head and piano solo), of snare ‘drum (for the guitar solo). The bell pattern is used t0 give a lift the second time through the head and piano solo. The guitar solo stants out as halftime rock, mixing single backbeats with "Wo hills on the 2side of the clive. The double-time licks are ‘medium rock groove. We came up with a chord progression and played in unison with the bass, Finally, when I go up to the eymbal, the clave goes into a straight rock backbeat for a while ‘The halftime and the straight backbeats are two common ways ‘of rocking out on a cha-cha groove, but playing the whole or par of the clave on the snare can also sound pretty strong for a different approach, bd « "On these lower hinds of en yaed PEK ste at especialy when going fom a pize wo a slap line, Note the iene, 2,08 thes slower kinds of grooves, Cconcentate on deebie ace ‘with Robby in bars 9 and 13 of the guitar solo, ‘rong, even notes to help keep the tempo from picking up Example Breakdown (from Chapter 4) Drums Intro and ise Bass derived from Example 2 Mike's solo i sna rhythmically to Example 1 (unk variations) “Metal Mozambique" Drums ee th tne; the drums an bass ae almost alvays inthe sare. The solo scion [6] is son of paree-down version unison. The litle changes within the groove at [A] are played of the original groove, with the toms playing a more typical Taetir andthe ne at [] called for sight rack quant on. Somme 8 Bass hese lines are tightly locked in with the drum patterns. 1 use the slapping technique all the way through to get 2 havd define tion to match Mike's and Robbys intensity, Example Breakdown (from Chapter 5) rove is an elaboration on Example 1 Bass The [A]section uses Example 6 CLOSING Teena should realice that thee are 2 multitude of Lain and posses as to wher Sram in the Afro-Cuban tadiion, not to mention those of sen ese fecl free to take them somewhere new Ameri The Dominican Republi, and many other South few generat work well in your own musi MPa ee Guibban counties. Also, we have not touched i he hee aennte keep the music growin, pon the fata drums, whose Afro-Cuban thythmie forms cond yd ‘maintaining the integrity of its roots, w make up a lifetime of study. Going aay with preconceptions, allowing the music to recch Jo Ging, we hope that we have provided a means of cap- metal people (iting the attitude of some common Afro-Cuban groove, sal Stow how they can complement some of today’s contemporary ‘music styles. What have been presented here are just some tlany, ' i | CHARTS This page intentionally left blank. 41 MAMBO FOR TAJRID © Oscar Hernandez 2 2 _ [ == — SS og pM bese | Fill 2nd time fa I 2 a i He = = z - He a iE Sete oe i So iSio Fp | il Synth solo, PI] i Fill 2nd time 44 | i i deo ale xia | 2 TE: = Tacet 2nd x 2 - 2 45 YO ME SONGO © Lincoln Goines Robby Ameen Bill O'Connell —iz Intro | = A AT D Aa F SS = SSS S-S— =e Peaks ” : - ~ FP LAT x br — x : = ee = 4 2 . Tas Montano Po o P T Teo fr 2nd x only 2 He 47 D] Songo 4x (16 bars) AT E] Montuno and xonly = - SS my = (2 et ‘Caasher Slap Tumb: FLeT eee eee tearCeNERee HOTEL NATIONAL © Lincoln Goines Robby Ameen Bill O'Connell 32 Descarga x E? x x 49 P Fill 2nd x Rumba Guaguanco E7 51 AFRO WALTZ © Bill O'Connell Into p7 FI “1 MT ov : ; % J —_ We = ? E sus Eat -): 3 = — = J pT) At Qo G? c <= z = 2 2 Hg Wa He 5 pe Sj L 4 ey 52 solos AB "ovo dod sx d.=Jjnzzteel, 2nd x double xjaze feel, 3rdx hulle feel, coda Fine 53 LUE CHA-CHA © Lincoln Goines Robby Ameen Mike Stern Oscar Hernandez ar Tacet Ist x 1st x only > = at A] Melody Par FV ae FA Bm EM == asa 2 2 Fill hi Dl OL NL Dew 54 Piano solo AT “Simile Hit w foot & ° F x ar ' x ay ag a ‘Ay — = 2. n fi ar Flak FB BY ETAT C] Guitar solo AT G7 = 2 = = es 4 = a 2 = oe = = 55 at Fill ia ap ae TH les | P HH disk nh _ 2 2 f 2 HE | E ME LAL MOZAMBIQUE © Lincoln Goines Robby Ameen Mike Stern. o x” Al TOT RRL SS = S om: ao be Guitar Solo 59 = — _ — SSS SS 2 EEE He 7 By 7c Ge F/B 7 P63 ee oo — | 2 foo * £ 2S =o Ss aa | oa ra Guinea: = aoe i =a 2 2 2 La 2 2 = We = He S . nee ee + paeh pho heniotgsas - o > > > o> pS = SS = @ Coda DC. al Coda DISCOGRAPHY Albums are referenced according to their general chapter relevance as follows: 1-Clave and Tumbao; 2-Songo; 3-Guaguanco; 4-Afro-Cuban 6/8; 5-Cha-Cha and Mozambique. Afo Cuba “Afro Cuba® (chapters 2.4) Egrem Barretto, Ray "Que Viva La Musica” (1,5) Fania “Reconstruction” (1,5 with Sal Cuevas) Fania Batacumbele “Con Un Poco de Songo”(2.3,5) Tierraro “En Aquellos Tiempos" @2) Terraza “Live at the University of Puero Rico" (2) Teraz0 Blades, Rubén and Seis dt Solar “Live” Gall chapters) letra/Asyhum Blades, Rubén and Willie Colon “Siembra” (1 wih Sal Cuevas) Fania Cachao Fy su Ritmo Caliente “Cuban Jam Sessions in Miniature—Deseargas”(1) Pana Camilo, Michel "Michel Camilo” (1,2) Columbia, Coltrane, John “Live at Birdland” () Impulse D'Rivera, Paquito ‘Why Not" (1.2.3) Columbia Gonzalez, Jerry & Fort Apache Band *Obatala” (all chapters with Andy Gonzalez) Enja "Ya Yo Me Cure" @ 4 with Andy Gonzalez) Pangaea Irakere “Wakere™ (1,2,40 Columbia Los Van Van Que Pista (1,2 with Changuito) Egrem ‘Anda Yen y Muevete (1,2) Egem Machito ‘Afro-Cuban Jaze” (1) Vere Meters, The strutin” @) Chasey Palmieri, Eddie “The Sun of Latin Music” (13,5) Coco “Sentido" (1.5 with Andy Gonzater) Coco. Patato and Totico ~Patato y Totico’ Rve 3, with Cachao and Arsenio Rodreguez) Puente, Tite Dance Mania” (,5 with Bobby Rodriguez) RCA Imernational *Goza Mi Timbal" (1.2) Concord Rodriguea, Tito “Tho,Tito, Tito" (1 with Cachao) ‘West Side Latino Rubalcaba, Gonzalo *Giraldilla” (all chapters) Messidor Live in Havana’ (2) Messidor “Grupo Proyecto de Gonzalo Rubalcaba” (2) Are Santamaria, Mongo ‘Greatest Hits" (1.4.5) Fantasy ‘Tjader, Cal ‘Sonia Libre (1) Vewe Totico y sus Rumberos “Totico y sus Rumberos" (3 with Andy Gonzalez) Montuno Valentin, Dave “Kalahari” 2,5) cre “Live atthe Blue Note” (all chapters) 61 | Gato Barbieri Bob Berg Michel Camilo Scott Cossa Paquito D'Rivera Dizzy Gillespie Dave Grusin Vic Juris Ryo Kawasaki Tania Maria Vince Mendoza Bob Mintzer | Bob Moses Bill O'Connell Mark Soskin Leni Stern Dave Valentin SELECTED DISCOGRAPHY Para Los Amigos” in The Shadows” Michel Camilo” “Switchback ‘Why Not Celebration New Faces ‘Out OF the Shadows! "Night Line forizon Dave’ Litle Tree’ -Live ‘Come With M Made In New York ‘Start Here Urban Contours” ‘Incredible Journey’ Spectrum” ‘Visit With the Great Love For Sale “Overjoyed “Closer tothe Light” Dave Valentin/Herbie Mann Flute Summit Live atthe Blue Note ind Time’ “Light Jungle “Kalahan ‘AGRP Christmas’ Doctor jazz Denon cus Windham Hill CBs cas GRP Arista GRP Muse CBS/Sony CBS/Sony Concord Jazz Manatran Fun House DMP DMP DMP Gramavision Jazz City Pony Canyon) Jazz City (Pony Canyon) Enja smc [ROBBY AMEEN Rubén Blades | David Byrne Conjure Scott Coss Dizzy Gillespie | aa ines Kip Haneahan ‘Connell Palmieri Ponce | Hilton Ruiz Dave SELECTED DISCOGRAPHY ive’ Nothing Bur the Troth Agus de Lana Escenas Crosson Rei Momo” ab Calloway Stands in for the Moon’ “Sovtehback New Faces ‘Endlessly “Darn it” “Thea She Turned $0 That.” Days and Nights of Blue Luck Inverted! Love For Sale Dreams Change te Llama Stru Two Amigos Live atthe Blue Note Mind Time Light Struck” Jungle Garden Kalahai A GRP Christmas’ Flekwra Hlektra Flektra Elektra Hlektra Warner Brothers American Clive Windham Hill GRP Impulse American Clave Pangaea Pangaea aC Intuition Island RCA/Novus Gre GRY GRP GRP GRP GRP GRP ¥y Pony Canyon) Robby Ameen endorses Pearl drums, Sabian cymbals, Vater sticks, Peter Engelhar’ Metal Percussion, and Latin, 63 ALSO AVAILABLE FROM MANHATTAN MUSIC BOOKS WITH AUDIO CASSETTES FOR DRUMS “Afro-Cuban Rhythms for Drumset” by Frank Malabe and Bob Weiner “Brazilian Rhythms for Drumset” by Duduka Fonseca and Bob Weiner “New Orleans Rhythms for Drumset” by Ricky Sebastian and Charles Otis FOR BASS Jaco Pastorius “Modern Electric Bass” (revised edition) John Patitucci “Electric Bass" (DCI Video Transcription Series) AVAILABLE FROM DCI MUSIC VIDEO. DRUM VIDEOS Peter Erskine, Everything is Timekeeping” w/ booklet Peter Erskine, “Timekeeping 2 Afro-Caribbean, Brazilian, and Funk" w/booklet Steve Gadd, “Up Close” Steve Gadd, “In Session" Dave Weckl, "Back to Basics” Dave Weckl, “The Next Step" Steve Smith, “Part Two" BASS VIDEOS John Patitucci, “Electric Bass John Patitucc, “Electric Bass 2" Mark Egan, “Bass Workshop" w/ booklet Jaco Pastorius, "Modem Electric Bass" w/ booklet eee For more information on these or other quality instructional videos and books contact: DCI Music Video 541 Ave. of the Americas New York, NY 10011 1 (800) 342-4500 in N.Y. State (212) 691-1884 In Europe: Music Mail, Led., 142 Cromwell Rd. London SW? 4EF, tel. (01) 857-6309 A GUIDE TO raha) Watery GROOVES TO JAZZ, FUNK AND ROCK FOR BASS AND DRUMS oe ac ines cel Sitio epee eres yan ee Sa eee Eocene tt peat ea ppatierns, con be heard on recordings with well known Ree exer hy dee Ae) ile ecto Wet Utes feet Mari Meena Mey tem tasers

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