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Cuban Drumming: Surviving and Thriving

Goals - What to Know. ClaveRhythm Section InstrumentsBasic RhythmsCuban ArrangementsCierres/Rhythmic VariationsBasic Solo ConceptsThe Next Step. . . . Clave. Derived from AfricaRumba vs. SonClave direction: 3-2 or 2-3?A constant in arrangementsThe basis of all rhythms (melody and accompani

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Cuban Drumming: Surviving and Thriving

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    1. Cuban Drumming: Surviving and Thriving Kurt Gartner, D.A. Professor of Percussion Kansas State University

    2. Goals - What to Know Clave Rhythm Section Instruments Basic Rhythms Cuban Arrangements Cierres/Rhythmic Variations Basic Solo Concepts The Next Step. . .

    3. Clave Derived from Africa Rumba vs. Son Clave direction: 3-2 or 2-3? A constant in arrangements The basis of all rhythms (melody and accompaniment)

    4. Bongó (Bongocero) Basic pattern: Martillo (Hammer) Derived from Cuban Son style Drums called macho and hembra Switch to Cencerro during Montuno

    5. Congas (Conguero) Basic pattern: Tumbao Derived from rumba style Use low drum to outline clave Typical tuning: G-C

    6. Timbales (Timbalero) Basic pattern: cáscara Derived from danzón style Switch to mambo bell for montuno Left hand options: cross-stick or clave (jam block) Abanico/fills

    7. Piano Basic pattern: guajeo Derived from violins (danzón), trés (son) Patterns also called montunos

    8. Bass (Bajo) Basic pattern: tumbao Derived from bass of danzón orchestras, botija of son groups Notes anticipate chord changes

    9. Horns Instruments derived from European traditions and North American jazz Performance style also from African vocal tradition, still relative to clave

    10. Instrument Patterns: The Bottom Line All patterns based on the two-bar clave pattern All patterns are definitely interlocked! All patterns based on clave (again for emphasis) Pattern variations generally dictated by the form of the tune. . .

    11. Components of a Cuban Arrangement Intro/cierre Verse Chorus Breakdown Montuno Mambo Descarga (just add water)

    12. Cierres Cierre is a break. The cierre may be played by one, many, or all players at once. The break may be in contrast or support of clave, but is related in some way. Cierres connect sections of arrangements and may offer an opportunity to “turn around” the clave pattern.

    13. Verse/chorus Bongó: Martillo Congas: Tumbao (one drum) Timbales: Cáscara

    14. Montuno Bongó: Cencerro Congas: Tumbao (two drums) Timbales: Mambo bell Possible call/response between soloist and coro Solos (singer, horns, etc.)

    15. Mambo Features newly arranged material Horns play counterpoint to rhythm section Still a hot sound, includes patterns of montuno section Often leads back to “out” verse or chorus

    16. Solo Ideas Space, the final frontier. . . Remember clave? Tension/repose to clave Tension/repose to “pedestrian” beat Hemiola/cross-bar phrasing Triplets

    17. Getting it Together Listen, listen listen!! (Check out descarga.com, amazon.com, etc.) Play, play, play!! (Check out Salsa Session, 3-2music.com, whitecliffsmedia.com, playalongs) Read, read, read!! (Check out Uribe, Mauleón, other books) Study in Cuba (it is possible)

    18. Study in Cuba Go there legally (travel for educational purposes is licensed through the U.S. Dept. of Treasury) Go on an organized trip (such as plazacuba.com) Go with an open mind (it’s their music from their culture!) Be prepared (notebook, tape recorder)

    19. Thanks, any questions? Kurt Gartner kgartner@ksu.edu www-personal.ksu.edu/~kgartner

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