Marrero, Ernesto - Drumming the Latin-American Way
Short Description
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ISABELO ERNESTO
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)esi Arnaz (right) and Isabelo Ernesto Marrero
During the many yea1·s in which Isabelo Ernesto Manero performed so brilliantly with· my orchestra, I suggested that he work out a Drum Method that would help the student drummer develop a thorough knowledge of Latín-American rhythms. I am happy to see that this method has now been completed. It is my conviction that this publication will convey Marrero's art and unique ability to all those who are interested in learning or improving theü· drum technique, particularly in the Latín-American field in which Man·ero is an unsurpassed master. This publication fills a long existing need. My best wishes accompany it on its way to the public.
1 Desi Arnaz
CONTENTS Page VAQUETEO
V(ll¡ueteo mul Bass Drum
8
10
PAILA
14
COWBELL
16
TU M BAO
18
Paila, Tumbrw and Bass Dnun
19
Cowbell, Tumba,o and Bass Dnnn
20
Guaracha
24 24
Son-Montuno
27
Rumba
Afro
28 31
Conga
32
Ñatiígo
35
Samba
37
Tango
38
Calyp:;o
41
Jf ambo
42
Brea/es
43
DANCES AN D BREAKS
Claves
45 45 45
1\-f a rucas
46
Conga Drwn
46 46
gfiYTHM INSTRUMENTS
Bongoes
Cabaza
Chocallo Guiro Quija
47 47 47
APPENDIX Cowbell Hlzythms for Cha-C/w-Ciw
48
iltercngue Rlzythms
48 48
Plena Rhythms
PREFACE lt seems almost inevitable that the life of a musician should be a rich and colorful affa·ir. The career of 1sabela Ernesto M arrero more than substantiates th1~s theory. An outstanding drummer in the field of Latín-American and Ou,ban music, he looks back on a wealth of experiences that range from Puerto Rican music school to the prize rings of Chicago and N ew Orleans; from the U. S. merchant marine to the recording stud1'os oj Hollywood and New York. A t 20 he turned to serious drumming under the outstanding tutelage oj the best-known·drum teacher in the country, Edward B. Straight of Chicago. There, ajter three years of soUd preparation, he jo1~ned with Eddy South, Jirnmy Noon the clarinetist and the trumpeter Freddy Kepple of Dixieland fame. In the early Thirties when Lat1:n- American music .tirst slipped across the bo'tder to start its clhnb to world- wide popularity, Marrero switched to th1's "new" and exciting mus1'c, work1:ng with such name bands as those of Noro Morales, Machito and his Afro-Cu.bans, Jose Owrbelo, Carlos Malina and, jm· the last three years, Desi Arnaz. With Arnaz he appeared on Bob Hope's radio programs for a full season and woTked in six movies, and in his spaTe time he made record1'ngs with Emil Coleman and the great trumpete1· Ralph M endez. Looked upon as an authon'ty on Latín-American and particularly Cuban dr·umming, Man·ero has frequently been waylaid by young drumme1·s who want to be taught a few "licks" or learn the fine points of the intricate Lat?'n-A merican rhythms. Finally, urged by A rnaz and others who saw the need for an a.u thoritative book of instruch:on, he took up the pen and after six months presented his publishers with this carefully worked-out drum method. "Drumming the Lat?'n-American Way" isn't only a drum method. It is an illustrated dictionary of Latin-A merican musical terms, inst·r uments, rhythms, dances and breaks, of Luhich enth·e pages can be played as they are with any standard Latín-American dance numbers. For the exper1'enced drummer there are 1'mpoTtant h·i nts on coord1'nation, coloTing and "lead-úts", but even the newcomer can easüy follow the clea-r·, .'n'mple and precise explanations that make "Drumming the Latin-Amerü:an Way" a clas~ic among drum textbooks.
The Publishen;
ABBREVIATIONS
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PAILA
BASS DRUM
'{¡~~:o; timbal es = P. ~
bass drum
TIMBALES "
small timbal := S. T lar¡.:e timbal= L.T.
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J ~-, .-,. COWBELL. e
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or mutfle
SNARE DRUM
cowbell = C.B.
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= B.D.
snare drum
= S.D.
low tone wire brush . ,.-_.>.\.~-' ~\ v...
strike head open
hi-gh tone
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CYMBAL cymbal = CYM.
;; lrike rim of drum = rs (rim shol)
left hand \'1¡ _1.1
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right hand - R.H.
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INTRODUCTION
Rhythm is the basic element of all Latín-American music. It is this rhythm which gives the music its special character, and it is the timbalero, (the drummer of the LatínAmerican band) who, as the backbone of the rhythm section, must establish the rhythmical fundament which sustains the rest of the orchestra.
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Having once established the beat, the timbalero is free to improvise intricate patterns of rhythm and sound that weave in and out of the rhythmic fabric of the orchestra. He has four instrumental components at his disposal: the timbales ( pitched high and low), the paila (metal si des of the timbales), the cowbell and the bass drum. These he m ay use singly and in combination to produce a variety of sounds which blend and contrast with the other musical instruments. Usually at least two of these components are in use; frequently a third is added. The bass drum mainly provides the down-beat as in North American music. Over this the t?:mbalero may play vaqueteo ( any rhythm played with both sticks on the heads ·,_ of the timbales) or rhythms on the paila or cowbell. With the latter two instruments a bass beat, tumbao (played on the timbales with the left hand), is usually added to enhance the sound pattern and strengthen the ever-important off-beat. How these various components are used in the many different Latín-American dances is demonstrated in this book. The examples gradually progress from the simplest vaqueteo exercises to complex combinations of bass drum, tumbao and paila ( or cowbell). Finally, the last section gives scores for en tire dances (rumbas, guarachas, sambas, etc.) as they are played in the orchestra. By carefully following the exercises in the order in which they appear, the student rapidly developes coordination, timing and a feeling for the Latín-American style, which will allow him to improvise freely without losing the beat or changing the character of the music. It is important always to remember that the drummer must hold the orchestra together with a strong but unobtrusive beat that blends, but never overrides the music itself.
VAQUETEO The word vaqueteo denotes any Latín-American rhythm produced by striking the heads of the timbales with the drum sticks. The timbales are tuned a fourth apart, the lower one approximately to C, the higher one approximately to F, to blend with the keys in which most of the dances are ordinarily played. Slight alterations of pitch can be produced by muffiíng the timbal head with the hand. In order to obtain a good high tone, the sticks should be light: about thirteen inches long and five sixteenths of an inch in diameter. The position of hands and sticks is as follows: The right hand goes over the stick holding it with the thumb, index and middle fingers in a position similar to that used in playing the snare or field drum. See illustration No. 1 below.
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The left hand goes over the other stick, which is held by the thumb and index finger and laid against the timbal head with the tip protruding beyond the rim, while the middle, ring and little fingers rest on the head to produce a muffied sound. These three fingers normally remain in the described position except when an open note is desired. In this case the whole hand is lifted and then immediately placed on the head again. See illustrations Nos. 2 and 3. Examples 1, 2 and 3 on the opposite page demonstrate the basic vaqueteos as they are played in rumbas, boleros, guar,achas and son-montunos.
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Vaqueteo is also played in the beguine, which has gained great popularity here in recent years, in afro music, which occupies a position in Latín-American music comparable to that of the blues in North American music, and in such dances as the conga and ñañ1'go, .whose more complex rhythms are set down in a later section of this book. Exam· pies 4 and 5 show vaqueteo as applied in the beguine and afro mmüc. 12767-40
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VAQUETEO AND BASS DRUM
6 The following section shows how vaqueteo is to be played with the orchestra. These examples should be practiced conscientiously to attain smooth and precise coordination between the two hands and the foot (bass drum). Always bear in mind that the bass drum must be played very lightly so that it won't interfere with the bass vio!.
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7 Below is an example similar to the one above with this difference: Here the first note of the last beat in each bar is played on the high timbal rather than cm the low one. This pattern should be used frequently, since the single high note breaks the monotony and enhances the accent which is particularly important in this 1·hythmic phrase.
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8 Notice that in the example below the accent is still on the first note of the last beat and is played on the low timbal, but that the first note of the third beat is now played on the high timbal. It is recommended to combine all of tltese examples by playing an even number of bars of one phrase followed by the same number of bars of another.
12767-40
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9 This example is almost identical with N o. 8 except that only the third and fourth bass drum beats are played, the accent falling on the fourth beat. This is a very effective pattern, which must, however, be carefully coordinated to avoid crossing the beat.
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BEGUINE
10 The beguine, a dance similar to the bolero, comes origina1ly from Martinique. Note that the accents are somewhat different from ordinary vaqueteo and that there is a decided syncopation in the bass drum which does not occur in other types of Latín-American mUSlC.
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AF'RO
11 The afro, brought to Cuba by the slaves, has a slow blues tempo that reveals the influence of the African jungle on Cuban music. It is always ac:companied by a montuno which will be described in a later section.
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After practicing the examples on the preceding pages one should be able to play the va.queteo fairly well. At this stage it is no· longer necessary to limit oneself to either the high or low timbal as the examples seem to indicate. Rather, these phrases should be combined, reversed, etc., so that the major number of beats are iri a pitch in accordance with the register in which the orchestra is playing. When the melodic line of the orchestra is below middle register, the low timbal should domínate, while above middle register the high timbal should be more frequently used.
BREAKS
12 Breaks at the end óf an even-bar phrase are most effective on the timbales. They are used as transition from one melodic phrase to another.
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13 Below is another example of a very effective break. It is important to accentuate decidedly wherever accents are marked. Note the flam (grace note) u sed in the vaqueteo before the break.
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14 Study the break in Example 14. It begins on the low h"mbal and ends on the high , one so that the last note, which is played open for volume and is accented for effect, establishes a strong up-beat that leads into the next bar squarely and decisively.
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15 In the next example flams are used in the break. The fiam is in itself an accented effect. However, at this point it is advisable to make the accent both pronounced and loud to underline the fact that the timbales are the predominating instruments.
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PAILA The term paila has the same origin as the English word " pail", and refers to the metal sides of the timbales. The term paila in Cuban music indicates that the notes are to be played by striking the sides of the timbales to produce a metallic sound. Paila is at present considered the most modern style of playing rumba music. See illustration No. 4.
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16 The first and basic rhythm in paila is very simple, consisting merely of a succession of eighth notes. This pattern is repeated continuously. However, strict care must be taken to accent the first and third beats in each bar. 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
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18 The following is a combination of the two examples above. Note that the first bar is taken from Example 17 and the second from No. 16 with the same accents . R RLR L R L R L R L R L R L R L R RLR L R L R L R L R L H L R L
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CLAVE BEAT
You may have heard frequent mentían made of the importance of the cla ve beat in Latín-American music. The beat takes its name from the claves, two small sticks that are tapped against each other. " Clave" means "key", which is a most appropriate name for these sticks since they give the rhythmic pattern that must be followed by the melodic line and any other subsidiary rhythms in all rumba music. Any departure Íl'om the clave beat will distort and change the basic ¡·hythm. For the 1n·esent most of the examples will have accents that coincide with the clave beat. However, even wh en such accents are not indicated, it is extremely important for the ti?nbalero always to feel the cla ve beat and to relate all other patterns to it.
19 The following example demonstrates the basic claue phrase consisting of two bars with the following distribution of accents: first accent-lst bar, 1st note of the 1st beat second accent-lst bar, 2nd note of the 2nd bea t third accent -1st bar, 1st note of the 4th beat fourth accent-2nd bar, 1st note of the 2 nd beat ,. fifth accent-2nd bar, 1st note of the J rd beat
20 In simple mathematical terms this adds up to the following grouping, vvhich rhythmically elimina tes the bar-line within each phrase : % plus :_:~ plus ~.~ plus :!._ plus }<
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21 The example below also shows the full clave beat effect but with a different rhythmical division of the notes. It is wdl to practice these and other rhythmical figures in combination, being careful always to place the clave accents very exa~tly.
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COWBELL (GANGARRIA) The cowbell is a familiar instrument \\·hich needs no further clescription. For best results a bell either in G or C should be used. It is played \Yith the right hand, frequently in conjunction with syncopations or off-beats executed by the left hand on the large timbal. In order to avoid monotony, it is possible to create rhythmic effects and force certain accents by varying the tone of the cowbell. A low tone is procluced by striking the bell near the opening, a high sound by striking it near the base of the closed end. See illustrations 5 and 6.
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22 The basic cowbell rhythm consists of four notes to the bar, played on the beat: low (tone) -high-low-high.
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The cowbell, like the paila, may also be played in a number of different ways, with syncopated phrases that give a lift to the rhythm and make it more interesting to listen and dance to. In the next example note that the first bar retains the four basic notes while on the second beat of the second bar there are two eighth notes both of which are played in the higher register.
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The following example begins to deal with accents. Observe that there are accents on the first and third beats of the first bar, on notes in the low register, and again on the third beat of the second bar, on a note in the high register. 12767-40
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25 This example is a most effective one. It has a very set rhythm that gives a lift to the orchestra. You will notice that the second bar has three stl·aight beats followecl by a syncopation on the fourth beat.
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~ 26 Here again we deal with the clave beat, this time given by the cowbell. The exercise should be practiced repeatedly until the player has tho1·oughly conditioned his ear to the beat.
27 In this example you will notice that there are more accents than are called for by the clave beat. However, the basic five accents are still present and should be made more pronounced than the additional ones.
28 Here not all the clave beats are retained, therefore the player must mentally follow the full five-beat clave pattern while playing the exercise as notated. This will train him to think in terms of the clave beat even when playing other accents.
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TUMBA O The turnbao is essentially a bass beat upon which other rhythmic patterns are built. Sometimes it is played on the beat, more frequently on the o.ff-beat. It 11_1ay be executed either with the fingertips of the left hand or, for more volume (in loud passages with a large orchestra), with the left stick on the heads of the t·imbales. Whenever the orchestra uses a conga drum, played by someone other than the regular drummer, this instrument also plays the tumbao. In simple phrases it supports the timbales with the same rhythm. However, many effects can be obtained by the use of counh ,·-tumbaos which, when sounded together, produce a fuller and rhythmically more intr i· :tV jJ aLtern. The examples given in this book deal only with tumbao on the o.ff-beat. However, once the student is fully familiar with the functions of the tu.mbao he may play on or off the beat at his own discretion.
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Below is an example of the simplest off-beat tu m bao with whole notes on the second and fourth beats of the bar.
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30 This is an example of tumbao in a more complex form: first a muffied note on the off-beat (second beat), and then two eighth notes on .the fom·th beat played open for more sound and resonance.
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31 The following is the exact opposite of Example 30. N otice that the eighth notes are now on the second beat and the quarter note is on the fonrth beat. In this case, however, the first two notes should be played on the small timbal and the open note on the fourth heat on the large t-imbal.
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19
PLAYING THE PAILA IN COMBINATION WITH THE TUMBAO AND THE BASS DRUM
The bass drum can be very offensive to the ear if it is not treated with delicacy. An incorrect, rough beat may result in monotonous, unmusical pounding. It is advisable to be extremely careful not to play too loudly and to use the drum gently. 1 have discovered this overusage of the bass drum to be the most prevalent mistake made by drummers who play Latín-American music.
32 In the example below, the top line is the paila part, the second line the tumbao on the timbales and the bottom line the part of the bass drum. N ote that the second beat is played only by the timbal, while the fourth beat is the strong or "swing" beat and is played not only by the timbal but is also accentuated by a light note on the bass drum. RH ••
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33 This example is similar to the preceding one with the exception of the pana which is played on all four beats of the bar. Also note that the first and third beats are accentuated on the paila while the fourth beat, played by the timbal and bass drum as well, carries a natural accent that does not need to be underlined. The volume of sound on this beat, obtained by playing the timbal open with the additional support of the bass drum, gives this note predominance over all other accented notes. RH •
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34 Here the rhythmic pattern requires a good deal of practice for the sake of coordination. Note that the second beat o:f the second ba1· in the pana line is composed of two eighth notes. These eighth notes, which must be played simultaneously with the tumbao on the timl>al, are follow ed immediately by an accented quarter note on both the paila and bass drum. l'\.. H •
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35 This example is mechanically quite intl'icate. The player should repeat it often until the sounds are well established in his ear, so that he can play the pattern by memory and at different speeds. Note that there is an increased number of eighth notes in the paila part and that there are two eighth notes in the tumbao on the fourth beat of every bar. r"'R .H.
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PLAYING THE COWBELL IN COMBINATION WITH THE TUMBAO AND THE BASS DRUM The following examples are almost the same as those given for the paila. All the rules apply as before except that two different pitches are used to indicate which register of the cowbell is to be played.
36 In the example below, the cowbell is played m the low register only, with an 12767-40
21
accented note on the first and third beats of every bar. This is a basic rhythm to be used essentially for practice purposes. However, simple as it is, this rhythm may still be used for actual playing. It can be a very effective pattern, particularly suited to parts where the orchestral arrangement is otherwise congested. L R.H. 1
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37 , In this example the cowbell plays on all four beats, with the first and third beats accented and played in the low register. The second and foul'th beats are played in the high register and are unaccented, inasmuch as these notes tend to predominate simply because of their higher pitch. Thus, the aecents on the down-beats se1·ve less to emphasize these beats than to balance the naturally accented off-beats. R.H.
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38 In the followíng example the cowbell plays all four beats of the first bar just as in the preceding example. In the second bar two eighth notes are substituted for the single note on the second beat. Observe that both of these eighth notes are played in the high register. Throughout these exercises the fourth beat of the bar still has the most power since it is the only beat which is played by all three component instruments.
39 Note here that for the sake of lightness all the sets of eighth notes in the cowbell are played in the higher register to counteract the rhythmical cqmplexity they lend to the phrase. L
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40 In the following example the cowbell plays two set s of eighth notes on the second and fourth beats of the first bar and one set of eighth notes on the fourth beat of the second bar. However, the basic accents on the first and third beats remain. L
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12767-40
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41 In Example 41 the cowbell plays eight notes in every bar. Notice that the clave beat is present throughout each two-bar phrase. This is a very good exercise in coordination, with a beat and off-beat rhythm between the left hand and bass drum that must at the same time coincide with the clave accents on the cowbell. R.H.
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42 Hére is an example with much more variety where the rhythmic pattern of the cowbell changes every other bar. In the first bar the basic accents on the first and third beats are retained, while the accents in the second bar are successively on the first, second and third beats. Y ou will notice that the tumbao on the timbal has also changed from one quarter note to two open eighth notes on the fourth beat of the bar. R.H. 1
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All these examples should be practiced in turn by moving from one to the other without stopping. This sort of training will facilitate the frequent changes called for in actual dance arrangements. It is best to play eight bars of one phrase before moving to the next pattern.
12767-40
21-
DANCES AND BREAKS This section of the book, giving full drum scores as well as advanced and more complex rhythmic patterns, is in fact a synopsís of \Vhat has gone before. Here the many basic rhythms and instrumental combinations that have been dealt wíth previously are now set down in actual context. The scores outline the forms of various dances and give general indications for the use of instruments. Although it is best at the beginning to follow the arrangements as they are written, the instruments may be substituted and interchanged at will unless the explanations spedfically cal! for one particular instrument. Generally speaking, the functions of the drummer in this music are much the same as in North American music. Aside from providing the rhythmical basis for the entire orchestra, he may occasionally support one' or the other instrumental section, returning to the basic rhythm at the end of such a phrase. At times a drum filling will be indicated in the last two bars of an eight-bar phrase where he might take a break on the timbales, cowbell, paila or cymbals, either singly or in combination. Finally, he may improvise Íl'eely over the basic rhythm in a way that does not conflict with the phrasing and figures of other instruments. It is essential to remember that discreet playing always results in finer and better effects. Before taking up the various Latín-American dances it should be mentioned here that many of them have what is known as a montuno, an eight or sixteen bar phrase at the end of the principal theme that may be played for an indefinite length of time. In this section the pace of the whole orchestra is tightened up and the tempo increased, while inst ruments such as the trumpet or piano alternately improvise short solos around the theme. Eventually the principal section is repeated so that the whole makes a simple A-B-A form.
1 1
GUARACHA The guaracha is the most popular of the Cuban social dances. It is faster than the bolero, which makes it more suitable for dancing, and slower than the exhibition rumba, being thereby less tiring. lt has a lot of drive and must be played with "push" and character. Many of the rhythmic patterns used in slower dances are also played in guarachas. However, the stepping up in tempo makes these pattems ;:;ound more effective. Among the following examples you will find fui! pages of music which may be applied as they stand to almost any g'uaracha. They show a variety of rhythms and changes from one instrumental component to anothe1·, a ffording continuity without becoming monotonous.
43 In Example 43 on the opposite page the first four bars are played on the paila with aceents on the first and third beats. Thi s is a smooth and settled way of playing for easy, relaxed dancing. After four bars of the same rhythm it is advisable to take a break so that the dnnnming cloes not become boring to the listener. However, so that the change from the simple rhythm to the break will not be too abrupt, two bars of a more complex rhythm m·e in serted which serve as "leacl-in" to the break. In this instance the accents are the same as in the fi.rst four ba rs, but the first beat of each bar is now divided into one eighth and two sixteenths instead of two eighths. In the seventh bar the break begins which serves as complement to the phrase just completed by the rest of the orchestra. To achieve eontrast the timbales are substituted for the paüa, the notes being played brilliantly hand-to-hand. The last four notes, the fil·st of which is a íiam, are played on the 12767-40
t 1
2 ,)-
rim of the small timbal. After the break the montuno sets in. In this case it is an eight-bar phrase played by the cowbell. Observe that the only departure from the one-note-to-the-bar pattern occurs in the fifth bar where the second beat is composed of two eighth notes. Note also that the tumbao in the left hand goes into action as soon as the nwntuno begins. PAII,A
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44 This is another example of the guaracha with a break and a montuno on the cowbell. Again we begin with a regular gu,aracha rhythm which continues until two bars befare the break. In the basic rhythm each beat is divided into one eighth ami two sixteenth notes with the accents on the first and third beats of the bar. For the sake of conL·ast, the rhythm in the next two bars is simplified. There is an accented quarter note on the fourth beat of the last bar which again serves as "lead-in" for the break. Note that this accented quarter on the fourth beat occurs also in the two bars of the break, giving a feeling of continuity to the passage. Note also that through the free use of rim shots the break gets the character of a drum solo although the remaining r hythm instruments continue to play throughout the break. In the montuno we again reinforce the rhythm section by bringing the tumbao into action and switching from the paila to the cowbell. The two-bar ph1·ase which is repeated throughout the mont'uno has a symmeti'ic first bar and a second bar consisting of two accented quarter notes on the first and second bea ts foll owed by four unaccented eighths. To balance the unaccented second half of the bar the cowbell is l'einforced on the fourth , beat by an accented beat on the timbal. PAILA
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SON-MONTUNO The son-montuno has a more leisurely tempo than the guaracha and picks up speed only when the montuno itself is reached. Because of this slow tempo the arrangements are ordinarily made so as to bring out melodic and contrapuntal effects in the orchestra. It is therefore best for the drummer to stay in the background as much as possible, using a conservative, well-balanced and unobtrusive beat which provides a rhythmic background on which the orchestl·a rides. For body of sound this rhythmic background is usually played on the heads of the timbales as shown in Example 45.
45 Notice that there are few marked accents since each open note is in itself naturally accented. In the montuno the tempo is increased and the cowbell comes into play with a bright and obvious entry. Here again the tumbao on the large timbal is used to emphasize and balance the syncopations on the cowbell.
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12767-40
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ÑAÑJGO The nan1go is a ritual dance which also originated in Africa. To this day it is danced at Cuban festivals and carnivals in its o1·iginal form. It is a very colorful dance, ,. every step and rhythm of which has its tl'aditional meaning. It is written in six-eighth time and played allegro.
58 In this example have the r1aii.igo in its plainest fo1·m, with the bass drum carrying two beats to every bar against six beats of the ti1nbales. The entire top line is played on the low timbales.
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59 This example introduces changes of pitch. Notice that the second note of every beat is played on the high túnbal.
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60 Here the ñ,añigo is played on the cowbell. Note that the rhythm is no longer the same as that played by the timbales. The first beat consists of a quarter note followed by an eighth, while the second beat is the exact reverse with an eighth note followed by a quarter. The entire passage is played in the low register of the cowbell.
61 ,-
This example is more complex than the fo1·egoing one. Here the pattem of syncopation changes in every bar. While the second bar of each two-bar phrase carries on the rhythmic pattern of Example 60, the first bar introduces a new pattern which is a reversa! of the second bar.
1
62 Here again the ñañigo is played on the timbales, but only one note in each two-bar phrase is struck on the small timbal, this being the second note of the second beat in every second bar.
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63 This example introduces a third component instrument. The cowbell, played with the right hand, has syncopations which are made more effective by accents on the first and second beats of every bar, while the left hand plays an oft'-beat after every beat of the bar 1~767-10
and the bass drum continues with the straight beat.
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64 This example is very similar to the preceding one inasmuch as the left hand and bass drum are unchanged. You will notice, however, that the syncopations on the cowbell are in two-bar phrases and differ in each of the two bars. r"\i
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SAMBA
The ::;amba is the native dance of Brazil. It is played with wire brush (left hand) and mallet (right hand) on the snare drums with the snares off. The t1'mbales are almost never used in this dance except, like the tom-tom, for an odd beat here or there.
65 This example gives the bass drum pattern for all samba. music: two notes to the bar with an accent on the third beat. The top line shows the use of brush and mallet.
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66 Here is a more complex samba type. The ilrst bar con~;
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CALYPSO This dance is not ordinarily played for ballroom or night-club social dancing, but, since it is sometimes used by dance teams in exhibition numbers, an example is given here for reference only. Calypso originated in Trinidad. Like the Cuban dances it also can trace its descent directly from the rhythms of the African jungle.
71 The bass drum plays a two-to-the-bar beat with no particular accents. All effects are brought out by syncopations on the timbales. Observe that nearly all the notes are played on the low timbal and that the rhythmic pattern does not remain the same in each four-bar group.
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12
M AMBO
The most recent development in Latín-American dance music is the mambo, best described as "a marriage of American swing and Latín-American rhythm". This cómbination of rhythm and style may be applied to an entire dance number or to sections of such dances as the guaracha or the slow rumba. Because its style of playing is much closer to North American music than is ordinarily the case, it is easily understood and performed by· musicians in this country and as a result has already gained a good deal of popularity.
72
The example below gives a drum score for the rumba "Mama Inez" showing the use of mambo rhythm in the latter half of the piece. Note that mambo rhythm differs from rumba inasmuch as the accent is on the second instead of the first beat.
INTRO.
mu(lerato
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Following are four examples of mambo rhythm as such. L
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BREAKS On the next page you will find a number of examples that may be used whenever the arrangement calls for a break. Always play breaks close to the rims of the timbales to bring out tone and volume for effective contr·ast.
77 N otice that this break folluws a melodic line of its own with a varying distribution of notes in every bar that sets no particular pattern.
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78 In this break we establish a rhythmic phrase in the first bar that is carried over and repeated at the beginning of the second bar. Notice that rolls are used at the end of the second and third bars.
rs O RL
rs O RL
rs O RL
rs O RL
rs ---------------------------- O ~RLRLR~RLRLRLRLR
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79 Here all the notes of the first and second ba1·s, one of which is a repetition of the other, are played as rim shots. In the last two bars the d1·ummer returns to the heads
rs
ooo oo - ooo o
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80 This is a very effective break, but gTeat cm·e must be taken not to confuse the rest of the orchestra. N oti ce that ftams a1·e u sed and that the break itself begins with a 1·est.
rs----------------------------------------------------- O LLRLRLR R L - L R l R LR - L R LR R L
LR
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81 Here again \Ve use rim "hot~, bu t only to int1 ·oduee the break. This break must again be played ve1·y ¡H·ecisely in 01·de1· not to confuse the othe1· players, es pecially in the third bar which is initiated by an eighth rest.
rs---------0
OO O OO - O O R R L - L R
R L RL R L R R L
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82 In this break 1·iln shots are used only to anticípate the following quarter notes 1n67--IO
45
which are played on the heads. Observe that every rim shot has the value of an eighth.
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¡ 11
RHYTHM INSTRUMENTS
BONGO ES ... These are two small drums usually made from thP same piece of wood, a tree trunk that has been hollowed out, tapered and polished. One is smaller than the other and produces a higher tone. They are fastened together and held between the knees. The index finger of the right hand is used to initiate the beat, while the thumb and index finger of the left hand play the complement. Example 83 gives the basic bongo rhythm called martillo. See illustrations N os. 7 and 8.
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CLAVES We have already dealt with the importance of the clave beat. The beat is given by the two clave sticks one of which rests on the palm and fingertips of the left hand, so that the hand forms a cup beneath it to increase sonori_ty, while the other is held in the right hand like a drum stick and is struck against the first. Example 84 shows the cla ve beat. See illustration No. 9.
84
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46
MARACAS (Shakers) These are two small gourds to which handles have been attached and which are filled with seeds. The lower one is played with the right hand, the higher one with the left. See illustration N o. 10.
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111.10
~; dJJJ¿JJJ1¿ Jj J j 3¡~ Jj J~ Jj J1¿ j j J~ Jj ll CONGA DRUM The conga drum is sometimes also called tumbadora or tumba. It is made in different sizes according to the depth of sound preferred. The drum is generally about three feet high having a head approximately ten inches in diameter. The left hand lies fiat against the head and the right hand is cupped. All four beats are played, but the first three are mdrled by leaving the hands on the head, while the fourth beat is played open to bring out the accent on the up-beat. See illustration No. 11. lll. 11
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CABAZA The cabaza, used mostly in Brazilian music, is a large dried calabash with a loose net of beads around its body. It is held by the stem with the right hand, so that its head rests on the palm of the left, and is played by half-rotating the cabaza with a twisting movement of the wrists on every beat of the bar. The third beat is always accented. See illustration N o. 12. 12767-40
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fe J j J¿Jj l¡J j j j ¿JJl¡J JJJl j J-J¡J j J] ¿JJ~ j
CHOCALLO
This is a closed metal cylinder filled with seeds, which makes a high swishing sound when it is shaken. The chocallo is also used mainly in Brazilian music such as sambas, maxixes and Brazilian marches. I t is held in one hand for soft passages and with both hands ( one at either end) for faster and louder numbers. Eight notes are
111. 13
played in each bar, with a heavy accent on the third beat as beforc. See illustration N o. 13.
GUIRO The guiro is a gourd which resembles a large dried squash with ribbed ,.cuts along its body. lt is held with the thumb and one or more fingers of the ·J.eft hand which are stuck into the sound holes at the back of the instrument. Metal prongs or a hard stick are rubbed over the ribs with the right hand to produce the desired sound. 8ee illustration No. 14. /ll.J4
n ¿n¡¿ d t n,t d5n,g n ¿t:ll QUIJA The quija is a donkey's jawbone that has been cleaned and painted. It Í8 held with the left hand near the front teeth, the index finger between the two sides of the j a w and the large open ends extending upward. One side of the quija is hit with the right fist near the top of the jaw so that it strikes against the other side. In slow numbers it is played on the first and third beats of the bar and in fast numbers on the fourth beat only. See illustration No. 15.
Ill. 15
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APPENDIX
90
COWBELL RHYTHMS POR CHA-CHA-CHA CDL
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t t ! ! i an nn, nnan:,, L
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1
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The examples of cowbell rhythms for cha-cha-cba as shown in Excrcise 90 are basic cha-cbtl patterns, which could be improvised on, using your own discretion. However KEEP 1N MIND THE IMPORT ANT ACCENT MARKINGS.
,.
91
MERENGUE RHYTHMS
A dance which orígínated from the Dominican Republic. The merengue examples should be played as wrítten, keeping in mind the rim shots and accents on the open beats. If no timbales are available, a snare drum (with snares off) may be substituted.
92
PLENA RHYTHMS
A dance which originated from Puerto Rico, timbales is the preferred instrument for this type of rhythm. However this rhythm can be played on a snare drum (with snares off). The accent on the fourth beat is most important in this type of rhythm.
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