‘Macho-High Timbal ‘Hembra-Low Timbal Note: Wen a particular style requizes only one cowbell, only one Line is shown above the stall, with instructions or an indication of which bell to play (ie, chacha bell, mamnbo bell, bongo bell). When a style requires two bells there is one line corresponding to ‘each bel, Some examples also include an additional reduced staff above each example showing the direction of the clave. Notation Kev 27he sound of the shell or eva, isa | ‘ery important part cf the overall sound of the timbales, This sound is used typi- cally in sals-style songs during verses, pi solos, soios by other instruments as indicated {ns she musica directions, and in other musical sections. The sound is also found in other types of Ajro-Cubar song styles. The sound is dey and crisp with a bright attack. The metal used to make the timbales has a lot to do with the sound, Stel and brass ace the mest com ‘mon metals used 10 make timbales and each ives a distinctive flavor to the ciscara. The efseara is writien on the top line of the sta | he macho, or | smaller of the two drums, has two main sounds available fo you. One of the most important sounils from the macho is the rim shot This sound is one of the most recognized timbale tones. Tris achieved by striking, with sufficient force, the head anc vim simultaneously evoke ing a sharp, bright and somewhat resonant tone. Since this is such an important featuce ofthe timbales, you height of your drums ie adjusted so shat strike should take the time to meke sure that the ing the rir shot is consistent. | 22 Sounds of the Timbales"The rim sho: on the macho is written on the third space of the staf with an accent mar. Another sound ffom the macho is the open. tone. You don’t want to use this drum just for tim shoist Very typically the macho is struck. vith the stick, not ith an open hand, (The, nema can be played this way, as we will edn latex) he hembra, ox low dram, also hes several | sounds avalable for you Ti very, very rate 1o play ima shots, asin the macho, ‘oh the hembra, Mote commonly, the open tone of the drum is used. This sound can be achieved by playing with a stick. You don’t have to strike the drum very herd to achieve a good tone, Ifthe drum is tuned correctly the pen tone should with stick. ng dut when skin is struck ‘Counting from the bottom up, she hembra is written in the second space of the staff. Dpen tones on the hembra ean also be achieved by striking the skin with the band or linger. or fingers. This method is usually used Changuito’s main method for achieving the ‘open tone on the hembra isto gently stroke it ‘while cradling the stick in the crook of the thumb ancl forefinger ‘This may rake some get- wwhea the other haad is playing another pattern ‘on the drums, ie eéseura, or bell patterns. | ting us ta bu dis eth primary way ‘Changuito gets this sound. Oue of the varia ons is using the middle and fourth finger|fin- gers to achieve thls sound | Sounds OF the Timbales 23Caban drummers neme this sound sobade, rubs some salve on yourstomach, che motion “The way this was described (© me was that used is the Spanish verb soba. It means to rab when you haves stomachache and your mom ex massage. 2a se Of the Timbales Changudee Plays SobadePTO oe Mea TT ‘hy does the timbalere play cowbell, VW ee ao nes ees Se oe cee oe ‘century. There is no. oe a a timbales (as we eee ae a ge ee cee author writes that ee Teft for a job wit dance land, a eee ue eee en ee ee, ee es one Oe ee ee Ca ee See a ee ae eee See ce ee ee ee yes Anus Oras Vern, eng Another story is told by Jése Sanchez, Jose says Unat one linabalero, by mistake, hil v cow bell in she montuno section of a danzon, Asn the sew sound was liked by everyone in the ‘erquestalipica, He says another story is that o timbalers forgot his wood block. One of the nusicians in he band happened v0 have a cowbell (perhaps he lon had purchased one for a cow!) and he lent il to the timbalero, He used ii everyone Tiked il, and the cowbell stayed! Amadito Valdes says that i may have been the great imbalero, Ulpiane Diaz, who fist played conbell. Changuite says it may have been another gceat, Guillermo Garcia. Wiiatever the story, the cowbolls une avery important part oF the timbale se-up. Phere seems to be no set method foe the placement uf cowbell with tiles Changuito's set-up for this book and CD uses to bella “mambo” style bell and chcha Dell. The nianibo style bell has more pesibili- ties of sound than a bell of sinilar size, the bbongo bell. The bongo bell is used by the bon. seen) (bongo player) during specife szctions of Afio-Cafhan songs. The consisuctivo of the balls thickness of metal, shape of the bell— seein th have a lor to do with the tonal possi- bilities. Changuito uses the full ange of sou available irom the mambo bell 3 well as from the chachs hel He ako changes the posiliuning of the bells for different styles of 2 Sanahac’s Sea I Shan Hieron rf tho Camhall 96THE CLAVE he clave is a Cuban instrument one's hand, placing one wooden clave in the [ ‘ecnando Ortiz stated in 1928 that in all hand and then siziking, a more mnellflucws the ethnographic museums he visited he tone is generated.) Montadon, cited by Ortig, slid not tind am ins.rumenttike the clave. in talks about how important the clave sas aa the chapter on clave in Orti7’s Lay Instrummeaitos insinuinent, He writes that beth “bodies? both. vfohi Music Afrauntvana he details hows though pieces of the clave are of balanced importance seerching in Europe, Arica, anc in other loca because they both are equal partners in the tions, he could net find any mention of clave sound produced when ltembra iy sinuck by or any history of sich an instrument, He ‘mache. As a peccussion instrument (in the ound the “tkythmiic cells” which may define la family of tdiophones) this iva rare occurvence clave, bit could not fing the uetual instrument. and gives the clave an important structure, Phere are many examples oF instruments made Grom soon! in Abiean cultures but the clave is Ortiz ealls the clave the spirit of the uniquely Cuban, melody! The feeling of the clave in Gaba is ‘muuch more than just a shy thm tye pieces of Phe word clavija means "pin" or*peg." wooed being steucks together. Its lle. I has been thought that laborers wh used tw symphony. It is one of the most impoctent i Joa and unload ships in the harbors af things about being Cuban. As Ortiz says, “he F Havana and other Cuban ports made insteu- lave, as it goes out into the world, will sweeten i iments from the pisces of rigging that which everyone's le auch moze than the sugar from looked like kage wooden pins or pegs. (Ropes Cubals pegs) This 1 Hels? yore sometimes atlached io thes may be ene way that clave got ils name, ‘The Fhe clave, ike many other instruments of pune for both sticks that make up the instru- African origin, has been “seaualized” Bach part trent is “la cave” the clave is either male ox female, macho or hembra “hore isa female (the deeper, mellower toned There ure uo ether (or they are rarely wood) ane a male, whieh yeneraes the highe: encountered’ instruments shere the player pitchaal ne, Sometimes the mellower toned naval cup ous of the pair of claves in ene hand piece of wood, the hembra, is carved out v bit (ior sare amplified sown!) ancl ther strike to enhanee the sound quality. The macho does this with the other. (Chis, by Uie way is the the siibing, Ja order to produce a mellow tune tpioper technique for playing clave, By cupping from the hembrs. sey De" da oe O vb caer | There are two clave patierns, the son che both feet om the downbests {in cut tine this ‘and the cuba clave, both illustrated aheve, would be on" "and "2") and play the son. hese tiww clave patterns vary only in cine note, — chive. Feel the way ce pantera sucks sith the but Uhis variation delinitely gives each ils own dlownbeats. Now, play the samba clave and switig. nr feling. Fy this simple exerci. Tap motiee the diflerence between the two,"Whe clave ehytlany may begin on either the first or second measure of the pattern. he dit Fevent divections of the chive ate comes Felerred to as 3-2 onl 2-3 direction. These an also called larwarl (3-2) and reverse (2-3) chive lirections. The diteciion of the dave aletermines the feel of the music being played [Agnin you could try the simple exercise as howe, but his tine first play the ekiee—eit ier Fuimba er so0-—in forward dircetion. Step the clave, vit fora ew monientsy ani het ry the same clave in the “othor* direction, Notice aud feel the difference.) It is eonmmonplaee lo ‘veremphasize the technical aspects of clave "VMs is the mont iinportant euncept af Alto ban music but do nol oseremphasize ind hon forget about the fel of the masie Wetton here isa example of how even sharing, in the forveard dinstion of san clove, ne cai “change the divvetion” of nvusical {companion Mery simplys sve have states! oi ‘cnmpoition™ in son chive, 5-2 dinvetion. By playing three har phrase dnd inserting repeat the 203 direesion, Chink al 1h Hion asa different section oF ue song.) But the chive never changed. The composition changed sarin the c onpesition” has no. pees| CLAVE RELATED HAND EXERCISES | C« Presented are four which can alse be tie! juny iT poled br wb ea ‘ese pier is na on erat da, perhaps giving you an insight as to how Changuilo develops his ideas IFhis warn up PTA ATA exercises rollet this mest basic of Alto-Cubai Phrases, most probably many other solo phiss 6 ace Wasteucted similarly electing basic prises ynth alot of Feel, Changuito ten uses his artistic mastery to develop these basc ideas Inno incredible soto passages Clave Hand Exercise 7 hig pattern uses alternating single strokes to make an interesting snd challeaging pattern, ‘As you can see the pattern i played all on the ritchu Don’t be footed by thinliag that this just singles vith some accents. There are sec ‘of thy 2nd sextuplet, measures 2, really be difficult due to the accented! let hand tions which may prove difficult, The last note and 6,¢an This needs lo be practiced slowly at first. RLERUERLALRLEALRERL 4 le + . jaune RURLALRALR [arn RURLRLRERLERERERL ile nj! RUERUERLERERE RURLRERURLRERERUERERL RLRLRERLRL ‘Clave Related Hand Exercises and Warmups 29.be + — (GEWWaEI YB Clete ‘rhe hembra is now allel on that ageentesl Slevely enrefully, practice amt] you cam feel thy note within the sextuplet hve, Doe he : ‘ : | _ Mn Gan Tae a RURLERLRL eo ! ! : | gee RERL an RORL RLRERLE RLERERUEMERUERERLRURERE AS, RERURCRLAC HURL AL PERUAL TURTHLETR OR URL qin sae RLERLALRLRLARE RERLAMLREALALALRLERURE Pin foe TURLREALACRL Rt Rt Rt 30 Clave Related Hand Exerases ond Wermups‘Clave Hand Exercise 3 vin based on clave and first played just on the macho, this phrase wiles an inter sticking pattern ‘Clave Hand Exercise 4 Vie same phrase, with the hembra sow alsa involved. Ge | === [esse eet Pir Roe Ret ROL Re Le pe es | ited ite TE Se PSre So oe Ante ee RR Et RLRLARLERER ERLE a Clave Related Hand Exercises and Warrnups 3732 Danzon he danain Ione of the List exansples of popalar masic im Gaba IL has its 19018 jn European lanza ane! conten, ‘which wete traditionally played, percussion wise, ansing tympani (pailas eubanas). These Lympani the Cuban style, were rch smaller thao their Faropean cousins The pailitas cubis, oF Uimbales as we call them, were developed partly as an answer to the need tore portable instrument to bring this “refined” syle of Cuban music to perhaps less necess ble areas in and around Hlvane, Santiago de Cubs “uid other areas in Cabs, Traditional tympant ‘ere tow cumbersome to carry hy mule or Trorscback, From as early as the elyhiteenth venbury there are references of the arrival of French ships lo the island of Cuba. The arrival of these hips, with their Bench erew and others on boned, greatly influenced the customs and esthetics of Cuban culture. These influences ayers enhanced by the migration of French colonists fren Haiti afer te successful save revalution [the fist record of this mevenent being in 1789). Another great influence was the arrival in Cuba of French colonists from Lowisina after Napoleun Bonaparte sold auisiona as par! of the Louisiana Purchase in 1812, Musically, the Brench “contradanza” or “country dance” aul the minuel were tau of the most important French “iraports” The contradanan was very quickly "Cabanizes!” and became the favorite dance of many Cubans, specially those in the apper classes. The French colonists were in the mountainous Eastern regions of Cuba bat the countr fad no problems reaching all areas of C Including the dance halls of Havana, There existed in the Oriental from che she: Iwo eontradans: astern provinces) and the Habanera (fom Mavane and surrounding areas). The Oriental was more popular which caused a Jet of problems Afterall, Havana was the capital ‘The African influence on the contradait is Vit) i eee very important bocaue is influence gave bir ho sehat iy known as Cabor music. The sway of dancing the conmtradanzasthe men an! swornen ia domble Fine with couples feta seach other, was a style very launiliay to the Alricun slaves. [tas how many Africans danced in choir ame countries. This fact yery Important becanse it helped greatly in the aeceptance” oF the music bys majority of the Caban population. Also, pais of ce wacinzas Cand later forans called the dane) yore written and performed in 6/8. Vhi tion of the 6/8 tine signature may be the fist Ieard influence of African music o9 Entopem rmasic, Claus music was born The oldest Cuban concradanza kane is tiled Paseval Ba lon’ and wats created in 183, di The camra ig not anytiting ele but a eon tinnation of his musical phenomenon. By 1842, composers were beginning to acd lyrics Lo the comtradanza, singing them in the Habanera style. Comsposers of damas, most notably aacio Servantes, used ely harmonic and great thythmric figures to embellish their arrangements. The siyle of contract and danza gave bitth to the danzvin, The dane is, slower than the genres thal preceded it. Mu fh sore appropriate for the tropieat Calan cline! Danyfn Ssconsiceted he Cuban national dance, Calan contradanzes were initially phyod y orquestistfpiens which consisted! of two Ans, 19 clarine's, « contranasya"cometin™ (atrumper bike instrument a irombone, “pailas cubsinas” (tympani), nd gaio, ‘The ehhavanga feancesa or orgpestas ances Simply chawargs, are ditect descendants of the ‘orquestos pica, Whereas the elaine played in these orenestastpieas ts part yes taker foyer y the Mie (she Cals woe lt, with Haitian roots, wth five keys an a high 1egs- ter} iy the havens feancesa, The metals AIuorasy are replaced in the chvanga faces ty the violins ‘The daz also featured ie thi song?’ firsl mveinent,slements ol the son. thi most important and influential musi Hom th Taietn part of Cubs‘Miguel Foilde is the inventor of the dawzon. boilde seas born ip Guamarcara, Manan Cube in 1852. The first danzéa was perlormed January 1, 1879 In che Liceo de Mavainzas lus name is “Las Simpson” Failde died in 1920. Brewis de We Hep the study of tint bles with danzén because from the music, rhythm, and lance of danza emerged if aot all ofthe popular Cuban music styles, most assuzedly chachaeli and sly mambo. ‘The som, wl came from the Bester regions of Cala (Orieate province and possibly ctners), ad a great influence also on Cuban music aund ity merging with the anzon provided be emphasis foe many new and exciting Sinipan styles The Fie Dard agit hay rn cillevent ways of playing danzén, Hore ane Alaree esa inples which will give you a good ea Of the rhytlin of danz6n on tirabales. Net only is theres nnain thytlie to the danz6n, there is ney (Trews sections, Found in each chapier, will concentrate on getting you used io playing the timbales for each of the rhythms being siusdied (Phere are various movements with which you will need 10 Familiarize yourself when learning tMtese chytinns on timbales, We looked st and listened to Ue baste souls available from the crass and bells. These exer cis lool al some corabintions f sounds and she ticking pallens andl independence they iniyoise, Repeat each shore plizase as ntny Fines es necessary in order ta develop proper Igcliniqiteaiud Ue proper sounds from the instrahinent ave already | ‘Te Sa | RL 4a way to Stick® the rhythm on timbales, The Sticking is written for you, Changuito uses var ous methods to strike the dium, with sticks playing open tones, rim shots, and mailed strokes, Souretioes ie uses bis fingers to play the muifled strokes, Following the notation and listening th the accompanying CD will cleanly demonsitate the danon, he basic danzin patiern gives you a basic dew of the thythm. Our adviee, whitch is repeated throughout this book, is to practice ‘each patern, extremely slow, perhaps out of time, to geta feel for the sticking involved. Some patietnis may be a bit easier than others, he second measures ofall the damzones contain a ef hand pattern which serves basi- cally as ¢ time keeper. ‘The left hand plays the “ceadened pattern with fingers” on most of the ands" of beats {,2,and 3. Although Chanyuiti plays mos} of them, only the most important, and hee notes Aave been tran scribed Note: The notation of the mufiled hembra played witha stick, isa simplified way of rotating (he actual sou. This sound is played Iyy striking the hembra with one stick while the ‘thor hand is deadening the hembra the Sounds from the Timbales: Ihe fast chythan in the book is that of Uanaéue, Danzéin uses some interesting sounds And hand patterns, The pMed hembes and cross stick inthe hembra is played using a sticking pattern very similar to the right pare lille, Here isthe pastera as iris played on the heres, First, | muffled sound is played on the hembra with stick, The rmatiled sound is achieved by leaving the left hand lying on the livin stbile you strike the drum in the eenten, swith the rigat stick. This sound is followed by armas slice fn the hombea with the lel stick Following this sound ane two more ruled hembra sounds. Le’s try this pattern.chin Rent ttiem begins sia ettcroms, reve abe Heh playedl ath the right Geko ne horney, followed bya gmuifia — stele Followsyg Fe a) sie is another Jheminra with he Fight hand. Ue next scum is fey stick ori elt hand, pe (\er se ener oe Ioy att ross sticks Each precticed many fog the seval sticks is nett followed fof these patterns needs Lo be Hines to feel the Mow necessary Pattern 3 features four different sounds fhembyra, Mfiled hocnbra with right ‘muffled heraba with fin fe sound. tight from the sick is followed by gers of the let hand. The op daze. fled hembra right J with bend dl ced’ macho ig another mut and, followed by heenbra matited Jett hand, Aopen hembra 4 (Lout the measire Daitern four has five iflerent sounds frown both drums, A mvlited hembra, right have, fs fatlowed by at accented macho, This accent {Following the accent- sound is very postal! or fingers ‘eros stick tou of te hand neve= otter mndeystaning Cariectexcntion of these fue peters wl et yor To. bP racials necessary for danz6tLieCiirE er nen Danzin 35very innportart to learn. Striving, fr most important coricept for this an thingetse inv his bok. Variations one and wiradd some open tones ar tim shots to spice up the dana, ‘hess still fall into a Fypieal category and are 36 Danzonjhe Spanish word abanico means fan, as [ iy ceiling fan, atic fan or something vwith which lo fan yourself. Ir scems to come from the fans that were used, and in some cases still ore used, in the dancing of asic Cuban dances like the coutradanza, larry ane danzdn, Each section of the dance, from introduction of the partners to the actual ance itself, Lad special accompanying musie phiyed for the section, One section of a dan calle! (or the participating ladies Lo all open Ui Fans ata cercain time. Phase fans are tra ulitianally made of yooden slats. Imagine the sound, i you will, uf dozen of thew fans pen ing simultaneously, A elruaumer, who history has perhaps consigned to anonymity, thought (oF this sound and came up with the abanico on Limbales, signifying the change benseen sec= Lions of Aleo-Cuban songs. ln “Las Pallitas Culanas” by Marta Rokhriguer Cuervo, the albanico is referred to is“ rol which called for the beginning of the improvisational section of the danzén.” In sabiescyle mines, the abnien has been used extensively to signal the change between the verse section and the chorus section of a song, (Il can also be used in other ways but this way is very basic o the style) The abanice is also used in chachuebi and other forms of ‘Afto-Cuban music. Changuito ses the alsani= co in traditional! anc) nen-traxlivional says. We feel that itis most important for you to leara. this important part of playing the timbzles, Abanico for’ Chachach the abanico is comprised of two sounds, the crack of the rin shot (there are two separate Fin sbots} and the dry roll m the macho. As you! wpe, she aecenitet hnoves in the macho are very iinpertaut for the ibanieo. This isa yory basic abanivo, Recek. Lan RLLR As you listen to mose ark more Afto-Cuban tnasie you vill har others. With this basic idea you wall be able to interpret she other, more advanced patteras, Practice slowly at first, increasing the tempo only when you feel comntoctable | Abanico and Traditional Danzon with Bell Heve is an example ot the abanico jn use with the traditional dann yeh ehcha bell, is ‘one of the forerimners of the chachu bell pattern: Ahanieo 37orig oe reed by rey 95 the Ee WFehechacha Ihe cance yt ue acordg torte he Sound athe dancers ftom he des ees Fiona seth ofa ey typical Ao Cu se bance ng ae seesang th nt ner calle danvaes de Sow mo foro ree thy ht ep i sme fo cuban pueda ‘An important feature of this new dance ws the Stlization of a new rhychons and tie ackli- tion of vocals and chores, One af the mos important neve rhythans andl a very nwportant part for the timbalero isthe chacha hell [Vis a driving pattern anid a very “tp feel. The feel is enhanced by playing all oF the eighth notes ‘within the pattern, ih the doernlycats being accented, ‘Onee again, the hembra plays a very impor ant part emphasizing the lumbao of the tun Iadoras (congas) and base, Don't underesti- mate this port, IL 1s most important Preliminary Exercises ‘he accented atiack «i the macho is very impartaat. [Lis abo very maportant to be able to make the transition from this sound to the "This transition is very sound of either cowb dechesa ite Now with the mambo bell (Nove 1: Barr hough the mado bells noe eastely eed chachacks, Chomgaivo fl tat ie was impaviem to inlule vhs inforrution here.) (Nowe2: At ties its easier to wre the differ! Bes 2. 1 eet | ee important with several difierent ehythms ancl ppaiterns. Hore is the leansition for you to prac tice. Hirst eth the chacha bell chocka ana naannbo) on he sonic inc, whet they ane woe i seine exercises, Whenever his happens yon will be notified bp wecompenty ing text.)fle. Apo ite | Chena Bel Chacha bell | sine J on pp {he interplay of bell and drums, «specially sell be playing wo sounds on the chacha bell hembca, is ery important when Tearning Aita- (input and body) while the left hand plays the Cuban timbales, Here's an illustration of that hembra mvaflled with hand or fingers. jnterplay with chacha bell and hembra. You Now the pet bembra is adkled, played Book” fr important tips on geting the mest with ail’ of the fingers of the kt hand. fro these hase exercises) (Notes Pease rere “How Jo Practice tis . 4 cho-cha Bell fea Blea el fea ee (FTE e eae tera ae Here is the clnacha bell playing all eighth, while accenting the downbeat nan Aa! mann Now a bude chiselizeh’, Notice the simple ail basic dosed and open tone in the hembra, LE Ea pede Chachaché 39 ees6 3 ~ oe When the music wally starts to groove, the monitino (sometirnss translated as a two-bar piano vainp) is smoking an the flute is really blowing, fected by wat is happening arisnd him or her (bet by the band and by the dancers), the exciternent fs shoven in the hensbra. The ritbalero (timbale player) may ad anone notes or play 2 diferent ppatern in he hembre. Thee is a long history of the relationship between the drum aad the flute. As far back as 2,000 years ago, an author, writing in the ‘ncient seriting of the Periplo de Hannon, sist fd that saiors sailing doven the African ecest ould, at night, hear a great noise nade by ddeams, oes, and eyrnbals. Also, « Roman Suriter named Pomponio Mela wrote of 2 inhabited by satyrs, where it was quiet during the day but at night one could sce bonfires and the superhuman sound of drums, eymbals, ‘and utes. Pethaps this gives your an idea of the history of the relationship and how special it really is) “This type oF playing the open tone docs not cece on a frequent besis but the timbaler, being affected by the montuno, the fue. the dancnts ec, ca show she effect by pl Dot more in the herabray al thew jing the groove. (Measles $-10 are good exam ples of this) Te may happen only one time dur- Fng.2 Song, after which the timbalere reverts Jack to playing a basic groove in the herabra. This musical example demonstrates how emo fon and excitement can attect Changuitos playing, as wall as your ner er a “The mixture of congas and timbales, the tumbao of the conga and the sobado in the hembra, is one of Cuban popular musie’s most inflgential and important sounds ard feels. is this mix, along with maracas, clave, and orfguiro, that really makes the amusic swing “This example ig of the basic chachaché accom- panied by & simple one drum merche in the conga. First you will hear the abenico. Pay attention to the important sounds and try to feaulate them, Please listen to CD irack 10.at is this word, mambo? Many famous Cuban musicians have been asi this question ond many music researchers have been trying to find out where it comes from, what it means, and more importenily, who invented the musical style called mantbo, Manuel Cuellar Vizeaino, a famous Afro-Cuban scholar, says chat he had never encoumtered the word in any books, Then famous musieians of his dey (Antonio ‘Arcano, for example) could not explain the birth of the name, Vizcaino sayy that Feraando Ortir talks about the word “mamba,a district in Equatorial Africa. Also he has found the ‘word “mombo” given to a slave ina certain Aftican cegion, Obdulio Morales says thet the ‘word originstes from a scream or yell which dancers shout during the hot sections of dance numbers 11 is also an expression used by those svho dance rumba columbia (one of the thr types af rumba) and it sigaifies duncing 2 and feeling forthe dance, Arsenio Rodriguez, the great Cuban tres (Cuban style guitar) player and composer, stat fd that the word mambo was African in origin, from the Congolese dialect. He claimed its roots ate in the conversation between yoealists where ane says 10 te thes “abre cuto gts mambo" or open your eors and listen to what nant to say” (a very macho thing to say). Arsenio is one of the musicians who is eredited. with cither iaventing or ereally popularizing the mambo, He also was one of the first bard leaders te add congas to 2 musical group. He said that he had to do something to unify the Jeeling of tension represemted in the African please, The resultant new dance veas called mambo, Another great Cuban composer, Dimaso. Pércz Prado, said taat “rmumbo" was a Cube word. When someone wanted to say that the situation 928 a good one, they woul say “cl mambo esta bien” Prado suid that musically he didn’t want t9 comment on who invented the dance, ust that “mambo” was a name, and that wast. ‘There are many that say that Daniaso Pérez Praco was the inventor of the mambo. He fined the characteristics of mambo as be very syncopated, The trampets carry the ielody, the bass accompanies, and this is cojn- bined with the bongees and tumbas (“coa- g28°). Prado did not mention timbeles as they ‘were not yet commonly used in Afro-Cuban dance bands of his era (late '30s and 40s). Anverestingly, Damaso Pérez Prado had to more Lo Mexico to invent the mambo, He claims in an interview that since he did no have the opportunity to play mambo in Cuba hie went to Mexico. 4 big difference between what Perce Prado hd fn the two counteies was thet he had wat: ten ell the arrangements in Mexico whereas) in Cuba only a bit womld he writen out. (Thete seems 19 have been a lot of freedom with the arrangements in Cuba!) This may have given thio more opportunities, in Mexico, to write ‘out more syncopated figures and more intri- cate arrangements, Dimaso Pérez Prado wrote his first mambos in 1949 in a record named Jose y Macamé.“Mambo numero 3” end Mambo, que rico mambo” were two very | famous songe fom this recording, ‘Whereas the originators of many Cubaa musical styles are known, the creator of the ‘mambo seems to sill be in question, In order to play this musical style on tim= bles, you must know basic patterns. These patterns are the céscara pattern and cowbell patterns. As with most musical styles with Cuban roots, these patterns change with time ‘You will find some very typical patterns in this section and you will find more modem pet terns, For example, some of Changuitds cls: ceara patierns are definitely not “zeditional” but they swing, Also, and very important for you to learn, ate the two-bell patterns found later in this section, Bass drum is also added. “Mastering this section will help you be ready for the next salsa gig that comes your way! Mambo 27@ wakha Prefiminary Exercises “The chell of the drumsisa very im portaat Dine three bests the shell, or cdsca, with an sound, You have already heard hovr the shell open sound fram the hembra, played with the founds: crisp and dry. Later you will be asked fingers (or just the middle finger ofthe Left ta combined this isp attack with the your hand. You should be playing thew: edscara bf the hembra, Here isa beginning lesson in sounds on the shell af the igh drum (macho). making this combination, Fiest we will com: = Now inserted hetween two edsearaaitacks, isthe lef hand plying the hembra mailed with hand or fingers. “there are two other basic rwovements involving these three sounds, With exercise three you ae playing a dffecent combination involving the dry sound of the eiscara with the hembra mut fled with hand o° fingers 3 Be ee ae Pattern 4 has you playing an apen sound from the hembra between Un attacks from the shell ‘of the high drum (macho). iE “We've already practiced making the transi- macho, transitioning to the body of the tion from the accented macho to the mambo mambo bell with the same hand while the lef bell Here are some exercises fo got you aceus- hard plays the hembra muffled with bend or tomed to what che left hand plays on the her fingers. ‘ra. Exercise five begins with the accented iExercise six adds the open sound of the hembza. (Nowe: As with al of these patterns aa isthe hey.) 6 iy ise ye 4 Sri aria Sais Here is another combitmtion of mambo ‘The open sound of the low dunn is. bell and berabra. featured. Buercise eight adds the roulfled hembra, He 2— cle) oe 4 — Mambo 43a Wambo~The CAscara Changin Playing Cascora he césenra in ite many forms and warit= | tions isa of the mest lisic amd important paiterns for you to lear on timbales. GAseat it Spanish, mens shell lke the shell ofthe taba. This is where its phiyed, although there are times hen this pat tern i also played on a | Li Ty Jae Sasa gp dp td Dy tg tt oy ty pt Fo dh ed ee ee eee ee 20 =PESTER RO EEL ETE ee obo sl} 4 y ne Add the clave to the preceding bell pattern, a different manuer in the staff. This i3 dane for ‘The clave is played, in this exemple, on the ease of reading.) This paltorn and iis groove are chacha bell. (You will notice, as in orher exam well worth the time you rill spend learning it piles in the book, the bells have been written in Cane Pel Daeg pede Gb) lb ly Adding the Bass Drum Mambe Bel Adding the bass drum for that“anchored” ditional feeling. We feel i's most important to groove and feeling, plus the open tone in the learn this feeling hembra. This i great groove, with a very tra te eh Dp dy We be ab) Lt ateted ttl Cha-Chea Ball Mambo Bel Conga 85Bt a Inasic rhythins amid patterns. Most importantly, ae Cire tiitonie iin” egal ie rae a vtucThermotsettiese tice goimill bea awesimate te ond rhythms come from Aftica and Changuite tas ofthe CD and you'll be ready te upply this nee added new anu! exciting variations ta these knowledge to your own music ‘Preliminary Exercises Chacha bell avd hembra, both open aad these 6/# rhythm timbae applications. muffled with fingers o hand, are festured in candi a 2 a= Firat, let's look at a very besic 6/8 bell rhythm, played for us on the chache bell @ eae lo! 4 fle t a. a ‘| 86 § RhythmsCha-Cha Bel glad, Net, we add the elosed and open tones in the hembra, THe first wo measures are differ- ‘ent from the remaining 14 and ate basically tintekeepers until Che actual hembra patter develops, The hembra pattern beginning with meseures 7 and 8 aud continuing until the end Js an important pattern and should be consid cred the main “lesson” in this example, EER Changuito calls this the*bembe" clave or pattern, Notice that the bell pattern is different ‘Han the previons 6/3 examples, You yell also find some diffieult patterns in the ath, Sth, sures. Ax mentioned before, proximation of the playing, id duple meter which is so wet (ypes of music, Its been transcribed so as 0 be legi- bic. There are several important paiterns with- his sical example. Measures | znd 2 are very important. 80 are the aforementioned syncopated palteens Listen to the CD an absorb the feel ofthe patters. They ae essen- nite asa player nel to Coban TRhyihms 8Peer eT Pattern conte cr aa i Poel ee — h = teat est BB pihyihns‘Another §: Bell Pattern This is another cowbell pettern Changuito ass for plylngin & | owcopa Pal ga ea Th eS yo: eles Ad bo), Tak pet, Th, biG Fal ee oo ee ‘ Te as co hole eleiel yo i plea 5 i yy ad sets Dee = Bo) bao, ok FRhyiins &9Addinig the open and closed to hembra yiolds this result. All the niques we have discussed in the b womig io, Cli, ), Fy, Oi Dobe == aera zea =| Ce ea 3 See 1 Ao, A f pe ee eae == : 30 §RhythmsTIMBA SONGO LAYE C= isa very inventive musician be practiced very slowly and carefully. Repeat and this groove is one of his finest. cach short phrase as many times as necessary Following are some proliminary exeicis- to develop the technique for playing the pai- es to help get yout going with this groove, teen, This will insure the usefulness of the ‘These exercises, as with all exercises found in exercise. the opening sections of each chapter, need to Combine chacha hell, the sounds from both mouth and body of the bell, and cross stick in le 1B a 5 1 Cha Cho Bell ‘Add the open hembra, played with stick be ee ee Another pavienn tisiag the apen sound of dhe hembra. Timba songo laye 97The Bell Pattern | | ere isthe bell pattern for this extremely the CD, please pay attention to howe this pat~ fankgy chytlm. Note how the bell very clearly tern is phrasex: pushing and pulling, all the states the rumba clave. And, when you lisica to tensionfreleese creating » great groove, pee ee ee 8 “The han not playing bell plays rose stick musi remain im the bell while this pattern ie fon the hembra, Here is the patern, The accent acing played in the hembra 5 ‘Adding an open soundiin the hembra, bit less here, so were using a staccato mask played wit the eck. The accent has hecome a ing insicad of an accent marking a cage te ila ee led ee a] 1 | ‘92 Timba Songo Layé‘nother open tone pattern in the hembra very typical to “afrocubanismo Listen to the gives this speciel groove another reason © CD. "hy and fee it Yor yourself Imitae it Swing! Measure 918 special way of phrasing because itis being pleyed by a master, cdouie py ef Ty a i (ent SS eS (ey po a ee aS ee Poo ie 1 oy A ay = = & & op | t ’ 2 Timiba Songo laye 93“eteaighter” vwriiten to sefleet the subtle difference, (othe GD! cha-cha dal yo-t—tpt pose ee ee es ret a ess osa Sta pe op a4 fe De eal ee ats Jee ee Ee a eee Se ee yee Getter aide; octet Sao se 94 Timba Songo Layé Dyity yt ted J | 1 Ey el ea‘oy and why should we practice inde Hess on timbales! We veal Ison taught, or wantec! to Fearn at Sone point, the fine art of independence, 113 a Urumuming trademark. This is a method, devel ‘oped by Charguito, which is based cn feel not oles, foots not exercises playing cdscara, clave, 6/8 panterns while soloing with the other limb. “The solos are based en plirases that make Doautiful musical sense. Howe to do itt You now the dll, Break the pattern down to their Javes! common denominator sticking pat- terns, Start slowly, one small increment ata ime, until the whole: phicase flows from your Tats and bear. This section provides some independence ideas which will assist you in developing your skills asa tia blero and perc nlient ina to ably perform on his or Jadependen drummer's abil her instrament, Changuito has developed this sivle into an amazing tour de Force of percus sion shill and musical mastery: Independence is ng. This artistry combines the anusical 1g of disparate ehythms and rhythntic phras TINDEPENDENCE EXERCISES structures, molding them into a mind-boge pling creative exploration, Anyone whe hus experienced this syle of perlormance cannot help but be moved and challenged as @ per= former as well as a listener, I is as performers that we must exainine these phrases, first to develop a sense of the independence, then to delve deeper and stork fon the physical act, But when these are through, our goa! is 9 play music, using the independence as a springboaed from which to jump into saters charted by a few dating vir~ tuosos, li Afro-Cuban music, Changuito is the ‘captain of the crew, Changuite uses these ideas as tre solo, ideas, tx his many workshops around the world, Changzito at times performs as « solo pereu ‘This is where these ideas come te hile. They cm work in a group setting they shine when used in solos. An idea from Changuiio is to sing the solo line while pkayiag the main rhythm, in these ceases clther eascara or § clave ‘Cascara in One Hand/ Solo Pattern in the Other Hand You may ctioose t0 do these musical exer- ccses with either hand playing vither par, fas ther enbancing your inclependence.) Changuito employs many difletent solo phrases in the leit hard while the right hand jrlays eascara om bell, Presented ze several pat= Lerns, each oC sbich will present unique chal lenges. (Please review “How to Practice this Book” for practice ideas.) Mast important 10 tie process is the phrasing, This can ouly be achieved after thorough practice of the techni- 2, 0 slowly, methodically, and you will eventually tne these plarases and develop your own. ‘eal aspects of the exercise, Hake your t Independence Exercises 95Tease \ “Tis frst musical Independence exercise i¢ __ musical patter in the other hand. We have based on the relationship between the cdscara broken down the pattern into small inete- patter in one hand and another syncopated, ments, making teaser to study and perform Pattern 1 features a short gwo-note phrase counterpoilit te the edscara pattern. tne p Jp dy yd ji dy mate 1 Al eles ee ITA He ey = = z zi = pee oe See) gy wosiatped TdT AL Ee Tals | ERE = oi = =] l: Pattern 3 pg ee ay ey ee yy 1 4 roniped 1 Ta G7 Liao. He a a4 4 — 96 Independence ExercisesPatter 4 is played on the drums and is slovly making itself known. Play musically joe ee ie ui) eb vempe LT. iit a oy p= Say Pattern 5, Adding more to the pattern completes musical idea, ee es ee pea oS Jf, Ga TE ly rc a ae a saa Saas Mambo Bell Pattern 6, Here isthe the completed musical idea in its performance form, fee a dy J 4 yet Pal te fd, Bical AT SSS Eee | Mambo tell Independence Ereroses 97eae ses ‘Mero Bell ga) Pe = = Texted re eres ‘98 Independence ExerdsesMambo Bell independence Exercise 3 should not be last fn the theory. Ther wrondettul feeling imparted by this, sal and inspiri 1¢ CD before you begin to bas developed some amazing i . ending with a rest), but the beauty po ee dl ae 1,4) Lt a a ao ae 14, ee S ea aod ee fei eee Bea, Be Iie T 1 dee ee independence Exercises 9Waele asa ee kot Meri Bell = — pe Ce Pdeeol, lea a ee aoe SS ee 700 Independance Exercisesaan taser Mn dander aed) : Q ee ee ee oe ol L ee pee pee u ! ae 1 a Ld i ee Hos bop Ss = Tndenendence Exercises 107elok Se ee Por aE aa [ee 4 ¥ al 1 TTA 2 : i, i = addi ffl ey TS NE ae {his ist exorcise demonstrates relatively hasic independence idea platy 2 Eo ly dT, 1) > TO2_ Independence ExercisesThis second exercise is « bit more ittense and melodie than the previous pattern, aoe oe eels At Ta, continues on next page Independence Exercises 103; Sa Sed eS 1, MT ay +f) Oo ee 1 ee] A eg 4 fs uh Dy ena 4 i Iv DS I A sf 70a Independence Exercises(elites es ris played ia solo would be lofty goal for even the most sels tthe seasoned of pecans Len listen. then th which this Iisten some more. This is really a work of art. “continues on next page Independence Exercises 705independence Solo 2 (continued) Tay lear 5 oe So ee tO ae # Sa == — 706 Independence Exercisesieee wen ere) |e ie a, Db yay i Independence Exerases 707