,

FUNKIFYING THE CLAVE

AFRO-CUBANGROOVES
FORBASSAND DRUMS
by LincolnGoines
and RobbyAmeen

ANY UNAUTHORIZED USE OR COPYING OF THIS MATERIAL IN WHOLE OR IN PART IS PROHIBITED BY LAW
CD TRACKING INFORMATION
DRUM CD-FUll. BAND BASS CD-FUll. BAND
1 MAMBOFOR TAJRID 1 MAMBOFOR TAJRID
2 YO ME SONGO 2 YO ME SONGO
3 HOTEL NATIONAL 3 HOTEL NATIONAL
4 AFRO WALTZ 4 AFRO WALTZ
5 BLUECHA-CHA 5 BLUECHA-CHA
6 METALMOZAMBIQUE 6 METALMOZAMBIQUE
MINUS DRUMS MINUS BASS
7 MAMBOFOR TAJRID 7 MAMBOFOR TAJRID
8 YO ME SONGO 8 YO ME SONGO
9 . HOTEL NATIONAL 9 HOTEL NATIONAL
10 AFRO WALTZ 10 AFRO WALTZ
11 BLUE CHA-CHA . 11 BLUECHA-CHA
12 METAL MOZAMBIQUE 12 METALMOZAMBIQUE
CHAPfER 1 CHAPfER 1
13 EXAMPLE1 13 EXAMPLE1
14 EXAMPLE2 14 EXAMPLE2
15 EXAMPLE3 15 EXAMPLE3
16 EXAMPLE4 16 EXAMPLE4
CHAPTER 2 17 EXAMPLE5
18 EXAMPLE6
17 EXAMPLE1
19 EXAMPLE7
18 EXAMPLE2
20 EXAMPLE8
19 EXAMPLE3
20 EXAMPLE4 21 EXAMPLE9
21 EXAMPLE5 CHAPfER 2
22 EXAMPLE6 22 EXAMPLE1
23 EXAMPLE7 23 EXAMPLE2
24 EXAMPLE8 24 EXAMPLE3
25 EXAMPLE9 25 EXAMPLE4
26 EXAMPLE10 26 EXAMPLE5
27 EXAMPLE11 27 EXAMPLE6
28 EXAMPLE12 28 EXAMPLE7
29 EXAMPLE13 29 EXAMPLE8
CHAPfER 3 30 EXAMPLE9
31 EXAMPLE10
30 EXAMPLE1
31 EXAMPLE2 CHAPfER 3
32 EXAMPLE3 32 EXAMPLE1
33 EXAMPLE4 33 EXAMPLE2
34 EXAMPLE5 34 EXAMPLE3
35 EXAMPLE6 35 EXAMPLE4
36 EXAMPLE7 36 EXAMPLE5
CHAPfER 4 CHAPfER 4
37 EXAMPLE1 37 EXAMPLE1
39 EXAMPLE2 38 EXAMPLE2
38 EXAMPLE3 CHAPfER 5
CHAPfER 5 39 EXAMPLE1
40 EXAMPLE1 40 EXAMPLE2
41 EXAMPLE2 41 EXAMPLE3
42 EXAMPLE3 42 EXAMPLE4
43 EXAMPLE4 43 EXAMPLE5
46 EXAMPLE5 44 EXAMPLE6

EDITOR DANIEL THRESS

BOOK/COVER DESIGN JACK WALTRIP
MUSIC TRANSCRIPTIONS LINCOLN GOINES AND ROBBY AMEEN
MUSIC ENGRAVING JACK WALTRIP AND BOB SHERWIN
COVER PHOTOGRAPH$ RICARDO BETANCOURT
 co~
.
'- ...

:. '.. ...
..,
'-'..'
.

'. .'"--~'
'.
'-.
,"
,-
,.-
,'.

'~,~,' :..,
,"

. .'.

ACKNOWLEDGEMENTS 4 4 AFRO-CUBAN 6/8 28

DRUM EXAMPLES1-3 29-30
INTRODUCTION 4 BASSEXAMPLES 30-31
DRUM/BASS KEYS 5 5 CRA-CRA AND MOZAMBIQUE 32
CHA-CHA DRUM EXAMPLES1-3 32
1 CLAVE AND TUMBAO 6 CHA-CHA BASSEXAMPLES 33
CLAVE 6 MOZAMBIQUE DRUM EXAMPLES1-2 33-34
BASS EXAMPLES 1-6 6-7 MOZAMBIQUE BASSEXAMPLES 34-35
PERCUSSION RHYTHMS 7-8
SALSA-PERCUSSION CHART 9 NOTES ON THE TUNES 38
BASS EXAMPLES 7-9 10-11
DRUM ExAMPLES 1-4 12-13 CHARTS
"MAMBO FOR TAJRID" 42
2 SONGO 15 "YO ME SONGO" 46
DRUM EXAMPLES 1-13 15-17 "HOTEL NATIONAL" 49
BASS EXAMPLES 1-10 18-20 "AFRO WALTZ" 52
"BLUE CHA-CHA" 54
3GUAGUANCO 21 58
"METAL MOZAMBIQUE"
RUMBA PERCUSSION PARTS 21
DRUM EXAMPLES 1-7 21-25 DISCOGRAPHY 61
BASS EXAMPLES 1-5 26-27

CASSETIE

SIDE A: SIDE B:
SONGS-FUlL BAND SONGS-FULL BAND (CONTINUED)
MAMBOFOR TAJRID 2:45 AFRO WALTZ4:00
YO ME SONGO 2:56 BLUE CHA-CHA 3:48
HOTELNATIONAL 2:34 METALMOZAMBIQUE 2:22
BASSEXAMPLES 22.19 DRUM EXAMPLES 18:29
SONGSMINUS BASS 18:25 SONGS MINUS DRUMS 18:25

SONGS
MAMBOFOR TAJRID (2:38) BLUE CHA-CHA (3:48)
-OscarHernandez- -Lincoln Goines/RobbyAmeen/MikeStern/Oscar Hernandez-
Oscar Hernandez Piano/Synth Mike Stern Guitar
Lincoln Goines Bass Oscar Hernandez Piano
Robby Ameen Drums Lincoln Goines Bass
Robby Ameen Drums
YOMESONGO (2:54)
-LincolnGoines/RobbyAmeen/BillO'Connell- METALMOZAMBIQUE (2:18)
Bill O'Connell Piano -Lincoln Goines/RobbyAmeen/MikeStern-
Lincoln Goines Bass Mike Stern Guitar
Robby Ameen Drums Lincoln Goines Bass
Robby Ameen Drums
HOTELNATIONAL (2:30)
-LincolnGoines/RobbyAmeen/BillO'Connell- All bass and drum examples played by Lincoln Goines and
BillO'Connell Piano Robby Ameen.
Lincoln Goines Bass Recorded at M & I Recording, New York City, Feburary 7 and
Robby Ameen Drums 16, 1990.
Engineered by Richard Kaye.
AFROWALTZ(3:58)
-BillO'Connell-
Bill O'Connell Piano
Lincoln Goines Bass
Robby Ameen Drums
 .!'~
II

This book is largely a result of our professional and informal Marrero, Irio O'Farrill, Danilo Perez, Portinho, Marc Quinon~
interaction with the Latin musical communities of New York, Jose "Changuito" Quintana, John Riley, Abraham Rodrigue
Puerto Rico and Havana, Cuba. We would like to thank a few Bobby Rodriguez, Ruben Rodriguez, Joe Santiago, Rog~
individuals for their contributions: Frank Malabe, whose Squitero, Dave Valentin, Papo Vasquez, and Mike Vinas.
encourgement and influence provided the inspiration to write Special thanks to our wives, Souhad and Merle; to B
this book, and Ralph Irizarry, for being such a great s~:)Urceof O'Connell, Oscar Hernandez, Mike Stern and Richard Kaye a
information; Alex Acuna, Bobby Allende, Johnny Almendra, helping us with the music; Rob Wallis and Paul Siegel for takit
Arturo Baseneva, Louis Bauzo, Steve Berrios, Ignacio Berroa, on this project; Jim Petercsak for his input and advice. Jal
Ruben Blades, Eddie Bobe, Milton Cardona, Luis Conte, Sal Waltrip and Bob Sherwin for the hours spent with us worki,
Cuevas, Paquito D'Rivera, Ralphie De Jesus, Sammy Figueroa, on the transcriptions, and Dan Thress for his enthusiasm, ide4
Andy Gonzalez, Jerry Gonzalez, Robbie Gonzalez, Horacio "el and hard work.
Negro" Hernandez, Giovanni "Manenguito" Hidalgo, Ben "Tito"

We would like to dedicate this project to our parents

May and Lane Ameen and Warren and Wanda Goines.

- ~. -
- - --
.. INTRQDUcnON
Funkifying the Clave: Afro-Cuban Grooves for Bass and Drums musical example. In the book you may want to write in specif
attempts to provide drummers and bass players with an under- tape cues corresponding to the counter on your cassette play!
standing of the application of Afro-Cuban rhythms to contempo- in the major sections of the book (or before each exercise) t
rary jazz, funk and rock. We decided that the project should be a help you reference the tape quickly.
joint bass and drum book because the key to understanding and The book begins by breaking down the two elements ma:
executing these types of feels comes from each player's aware- crucial to the understanding Latin music: clave and tumbal
ness of what the other is doing. In seeing how both parts work Chapter one will provide a historical background of Afro-Cuba
together, it is possible to develop a feel for the particular rhyth- music, in particular leading up to the music commonly known,
mic relationship that occurs in this type of music, thus enabling salsa. The emphasis will be on the traditional and essential rolt
you to "funkify" your own grooves. of the instruments, including the percussion section. The remail
The intangible element within this music often lies in its der of the book will explain five basic Afro-Cuban rhyth~
"swing," or the ability to play in between triplets and 8th-notes. songo, guaguanco, 6/8, cha-cha and mozambique. In addition t
This swing aspect of the music is apparent in all of its forms and showing these grooves in their purer forms, we will integral
applications, but is certainly most pronounced in the folkloric them into our own style.
context. It is the same distinction that occurs in jazz time with At the end of the book are six band tunes which incorporal
the ride cymbal beat and the part of the pulse the walking bass many of the musical possibilities discussed in each chapter. Ead
sits upon. As with jazz, there really is no substitute for listening tune has a two stave chart consisting of the bass and drum parj
and the reader should refer to the discography at the end of the In addition we have provided play-along versions of each soq
book to learn more about traditional and modern Afro-Cuban minus either bass or drums. An informal discussion of each soq
and salsa feels. appears at the end of the book.
To help interpret the rhythms in this book, we have included It is not the intention of this book to provide the reader wit
a cassette tape of the musical examples. Before each example a the complete or definitive background in traditional Latin music
brief introduction is given, including an example number. These Rather, we are using the music as a departure point toware
audio cues are found inside the dark grey boxes above each developing some new feels without losing sight of the past.

Note: The music examples and text relating to bass ar

shaded in light grey to help differentiate them from tIJ
drum examples and text.

"For an in-depth study of traditional Afro-Cuban rhythms, including a glossary, (covering many of the terms used here) bibliogn
phy, and discography, refer to Afro-Cuban Rhythms for Drumset by Frank Malabe and Bob Weiner, also available fro,
Manhattan Music/DCI Video.

4
 III
..
I

DRUM AND CYMBAL SET-UP

el

ili
"01
r~
1. 22"x 16" bass drum
2 61/2"x 14" or 31/2" x 14" brass snare
{
/
/' '-...

L
./'
- -
ck 3.8" x 10" tom
'1~ 4.10" x 12" tom \
\
IS; 5.11" x 13" tom
6.16" x 16" tom " D \ ""\

A.14"AA regular hi-hats

B.15"AA thin crash /I \
C.12"HH thin splash ./ / { \
D.20"AA Sound Control Ride
E.13"AA hi-hats ' IF I
F. 20"AA Chinese
G.16"HH thin crash / E \\ I
H.Mambo bell
I. Cha-cha bell
I \ _/ ""- I
J. woodblock \ ~~
K.Mambo bell G i
1. Crasher
/
""-
-- /'

.J DRUMKEY
CYMBALS DRUMS COWBEllS, ETC.
;c, Toms

a. b. d. e. f. g. h. i. j.
o

i>(\
).
Bass J ~ J J
n
.s! Cross-stick
's: a. Ride or hi-hat f. Mambo bell
il- b. Hi-hat w/foot g. Cha-cha bell
c. Right hand hi-hat (x-hat) h.Woodblock
d. Cymbal bell i. High pitch (stacatto tone)
'e e. Crash cymbal j. Low pitch (open tone)

TIMBALES CONGAS BONGOS

P F S 0 F T F 0

a. b. c.
P=Palm F=Fingers
a. Finger on head, muffled tone F=Fingers T=Thumb
b. Open tone w/fingers S=Slap O=Open
c. Side of other timbale O=Open

BASSKEY
T=Thumb H=Hammeredwith left hand
P=Pluck X=Mutedghost notes
Numbersundernotes are suggestedleft hand fmgerings.

5
 CHAPTER ONE: CIA VE AND TUMBAO
Just as the most crucial element of rock and funk playing is in the backbeat, Afro-Cuban music is all centered around the clave,
which incidentally, is Spanish for "key." The clave is an interchangeable two-bar rhythm to which all other rhythms must relate,
whether as "3:2" or "2:3."
."1 2
Rumba clave 3:2

, '0
)
Rumba clave 2:3

t I~.
This clave is often referred to as rumba clave. The son clave (also 3:2 or 2:3), doesn't displace the last 8th-note.
Son clave 3:2 Son clave 2:3

If in jazz or pop music you snap your fingers or clap on "2" and Generally speaking, these musicians combined African rhythmial
"4," in Latin music you clap clave. Lyrics and melody usually structures with European harmonies, although African melodid
determine how the music fits within the clave. In the course of and harmonic forms also played' a role in the black music of th
a song, the relationship of the music to the clave can occasion- New World, as, for example, in blues music. In Cuba and Puert'
ally change from 3:2 to 2:3 (or 2:3 to 3:2). This will generally Rico, this marriage led to a variety of musical styles and dances
occur by either adding or dropping a bar, so that the two-bar such as son, mambo, guajira, bomba, plena, cha-cha, rumba an
clave itself is never simply reversed. By listening to the music of many others which today make up what is coinmonly known aSI
the idiom, you will come to understand how to hear what side salsa.
of the clave a tune feels better on, and this will affect everything In salsa, the rhythm section consists of congas, timbales
the band plays, including the percussion section, bass and bongos, bass and piano. The heart of the ensemble is to b
piano, lead vocals and chorus, horn lines and accents, and final- found in the bass tumbao. A tumbao is a repeated figure (eithe
ly solo phrasing. Poorly phrased rhythms are referred to as cru- on conga or bass) which creates the groove. For the Cubans
cao, or crossed. the bass was a European instrument which could be used ta
During the 1930's, 40's and 50's, great Latin band leaders' imitate the sound of a drum, playing a role which had previous' l

such as Israel "Cachao" Lopez, Arsenio Rodriguez, Machito, Tito ly been served by the marimbula, a large African thumb piano
Puente and Tito Rodriguez, along with many others, developed or a botija (bass notes blown through a bottle). The music h
p.n integration between African and European musical forms since been played on upright bass, electric, or typically in man
which had previously been for the most part segregated. salsa bands, an electric upright called a "baby bass."

The following traditional examples are written as they would be the conga tumbao. The attitude given this note by the bassis
seen in an actual Latin bass chart; however, note how in some will effect the swing of the entire band. To make the notes fa
of the audio examples the notes on the fourth beat are played and percussive, I usually use the lower, thicker strings [E,A,D
lilong and extended over the bar. This is done to match up with wherever possible.

I The pulse is felt in cut-time.

2:3

'i. 'i.

'i.

'i.

-...
 B~7

.
:!

2:3 C7 B~7
.
..

C7 B~7

.
.!.

_J,e.~".;t\Q~~
2:3 4x .lt~~l~:J
.
..

3:2 3:2 or 2:3

8x 8x
. .
..
..
.
.!.

One way to internalize the dave is to practice tapping it with the metronome (quarter-note = 76), then add the dave with your
your foot while playing a tumbao. This is a method used by foot and gradually blend in the tumbao. The trick is to get the
many Latinmusicians (most notably Bobby Rodriguez the great tumbao syncopated with the 2-side of the dave, in sequential
bassist with Tito Puente) and is an excellent independence order: foot-right hand, foot-right hand (note: on the 3-side of the
exercise which really helps lock in the groove. The emphasis dave, the foot and hand fall in unison).
here is on accuracy, not speed. Begin with a medium tempo on
Bass tumbao independence exercise

J = 76 Play - I
... --,r-
.
:!

Tap with foot

.!.
.!.
I I I r I I

Nowit is time to consider the basic rhythms the percussion section lays down in a typical salsa tune. First, there is the basic conga
tumbao(or masacote) played on one, two or more drums: (note the low drum on the 3-side of the dave)

Congatumbao 2:3 P F S F P F 0 0 P F S 0 0 F 0 0

L L R L L L R R L L R R R L R R

7
The hongo player's-or bongocero :'i-groove is the martiI/o, with alternating riffs conversing with the singer, which is known as
~rl'

the repique. Here is the basic martillo: .

Bongo martillo pattern

FFFTFFOT F F F T F F 0 T
2:3/3:2

RLRLRLRL RLRLRLRL

When the song reaches the montuno, or chorus (coro), the hongocero plays the large bongo bell and usually plays this pattern:
Bongo montuno bell part
2:3

After the coro, the tune generally goes into the mambo section, which is like a brass shout chorus, often followed by a horn or p
cuss ion solo. The bongocero will now play on his hell the rhythm the timhale player-or timbalero-was playing on the side of
drum during the verse.
The timbalero starts the tune (the verse) playing on the sides of the timbale-which is called playing paila, or cascara:

Timbale cascara pattern

2:3 >- >-

RH
LH
(w/o stick)

For the coro, the timbalero moves to his mambo bell and plays this bell-ride:
Timbale montuno bell ride
o o o 0 . 0 0
2:3

When the tune reaches the mambo section, the timbalero often and ending with another rimshot on "1" of the next bar. T
moves to the cymbal, once again playing the cascara pattern abanico is traditionally used to signal the introduction of a co
with left hand accents on the drums. Another important function bell pattern on the timbales. Interestingly enough, abanic
of the timbales is to announce the beginning of the montuno or means "fan," and the roll actually sounds a lot like a fan bein
other sections with an abanico, which is a rimshot followed by whisked open with a flick of the wrist.
a double-stroke roll of varying length (depending on the tempo)

2:3 >- >-

R R R

>- >-
3:2 I

.L..
!
. I
R R R

All of these percussion examples have so far been written in 2:3 the timbalero's left hand. It is important, however, to be famili
dave; for 3:2 dave, the measures are simply reversed. It should with the basic parts and to see how they can be applied to th
also be understood that these are very basic versions of the drumset. On the following page is a skeleton transcription
parts these instruments play. There are also many variations and the fundamental percussion section parts played during th
nuances always being added by each player, for example, with course of a typical salsa tune:
8
 2:3 »> > »
Timbales
RH
I I I I r1 I I I ~ r1 Play >

V LH
LLRLLLRR LLRLLLRL 1 R R
E PFSFPFOO PFSFPFOF
R
r-rT1 rTT1 r-rT1 rTT1 I Play
Congas
S RLRLRL
E I FFFTFF
. . . . . . Play To Bell
11""1 x! x! x! x! x! x! Ix! Ix! x! x! x! x! x! Ix! 1
Bongos
I L.J . I

0..00 ..00

e~
'hil
(:J) J JJTI~JJTI J n Play
M
o LLRLLLRR LLRR RLRR

N PFSFPFOO
rTT1 rIT1 r
PFSOI I I
OFOO
I I I '1 I Play
T
U
~ I 'I I 'I I I I 'I I I 'I n I Play
tE T T ~
> > > > > >
, .......

1 .- .- I'- .- "I .- I - I
Play
LH
With
M (stick)
.. A P F S F P F 0 0 P F S 0 0 F 0 0

'~~
':0; M
I

rTT1 r-rrI I

r I I 1 r I I 1 I Play
19 B
o ~ ~
1
Pay

> > > >

-> >
Play

V LLRLLLRR LLRLLLRL
E
R
PFSFPFOO
r-rT1 rTT1
P F S F
r-rT1 rnl Play
S RLRLRLRL
,r, FFFTFFOT
E FFFTFFOT
'e
Ifi
'e
nTl rTTl I nTl rTTll Play

9
Some notes on the parts:
Timbales
Verse-A common alternative to the left hand on the drum is to fill in the 8th-notes on the side of the other drum with the left
hand.
> > > > > >
2:3
RH I I I I I I I I I I

LH II

Montuno-A common left hand alternative is to play clave on a mounted woodblock (this can also be done on the verse).
Mambo-This is the section during which the left hand is most free, riffing between low and high notes on the low drum.

Congas
Verse-The single open tone on the 3-side of the clave is often a matter of taste; it can also be staggered every 4 or even 8 bars,
though remember it will always appear only on the 3-side.
Mambo-The congas are more likely to playa bit freer in the mambo, using a few fills.

Bongos
Verse-The martillo pattern is the frame of reference for the riffing that the bongocero plays during the verse, always returning to
and playing off of it.
Montuno-Often 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 of these rhythms can be condensed onto the drumset in a variety of ways, despite the fact that the drumset isn't a part of the
typical salsa setting. It is most important to consider the role of the bass drum within the context of the bass tumbaos when playing
Latin grooves. The drummer should rarely play on "1," because the essence of Latin swing comes from "4" being tied over to "I" of
the next measure. Quarter-notes played on the beat are reserved for the cowbell, paila or cymbal patterns; the bottom instruments
(bass, bass drum, congas, etc.) generally don't play on "1." The most common bass drum pattern is:

Bass drum pattern 2:313:2

.!
.!

Some common variations could be:

Bass drum variations 2:3

As for the bass, in keeping with the rhythmic foundation, chord changes are usually anticipated on the fourth beat of the preceding bar:

2:3 c B~7
4x
.
.
'i
. . .
!:
..

10
Noticehow the note "F" is used as a common tone to make the line move .smoothly. These ideas can be very useful for construct-
ing tumbao-like lines through a sequence of chords:
1liil!i1e6 .JlSS twnbao,p~ed O~ .lJblu~
2:3 B~7 E~7 Bb? ~
. . . .
'i
.
E~7 C-7 F7 B~7 07

. .

C-7 F7 D-7 07 C-7 F7

. . '" I I

. ..
'-' .

2:3 D7 0~7 A-7 D7

.
'i . ~.
.

0~7 E~~7 0~7 F-7 B~7

. .
'i . .
,...

A-7 D7 C#-7
'i. . .
. .

F-7 B~7 E~~7 C~-7

. . .
. . 'i'

11
 Here are some combinations of percussion section grooves played on drumset, beginning with the cascara pattern (right hand)
being played against the rumba dave (left hand) along with bass drum patterns 1 and 2. Practice with the hi-hat playing half-notes
and quarter-notes.
~nJ.e
.' 1.CiScati.rt<lHe1'tiwitn.tI1e rtmtba.cta'V~(j.
" , '~..,.. ". ',",""',',"', ,,". ..;." ".,"

2:3 Rumba c1ave

> > > > > > > > > > > >
4x
HH

The cascara pattern should be practiced on both sides of the dave using both rumba and son dave. Here for example is the son
dave against the 3:2 cascara pattern:
3:2 Son c1ave > > > > > >

.
..

The left hand can also pick up the conga pattern, though this sounds a bit dated to me:
Left hand conga pattern

2:3
or

Here is the cowbell ride pattern against the rumba dave played with cross-stick:
~ .. . '
. ...'... . ....
~...:J!iIJ ". "ZBe '.'aii"ei-jiwitb:o;dJ.e.~'...'
"._~_, """ ,'", "~:,., ."~ ..,'.,', ',". .,. ,

o o o o o o
2:3

8x

The snare can also be used in a dave-like manner, which funks things up considerably:
'ef$J(jA_t~~__ ...

> > > > >

2:3

8x
..

Practice all of the above rhythms with the hi-hat playing quarters and half-notes.

12
Just as the bass drum is rarely going to groove well playing downbeats, backbeats on "2" and "4" often .go against the grain of this
music. I have found that a single backbeat on the 2-side of the dave can work pretty well:

2:3 3:2

. .

Keepin mind that when we are talking about backbeats, since we are generally in cut-time, the backbeat is really:

Here is a groove for the drums, mostly playing dave, which fits into a basic Latin percussion section without getting in the way:
~4W~rock~q~~~~~~Ad~~v~!!2~.t
R
L LR L R L L R L L L L R L

L LR L L L

2
.
.

1~
 Jose "Changuito" Quintana

'"
'"
~
..r::::
l-
.!!!
c
n:I
o
Sal Cuevas
14
 181
-- a
-....- ... ............-
a
a ..

CHAPfER TWO: SONGO

Songo is a rhydunic form developed in the 1970's by the great into their set-ups, the songo rhythm fmally put the drumset on equal
Cuban percussionist Jose "Changuito" Quintana and bassist Juan footing with the other instruments. For the bass, songo represents a
Formellof the group Los Van Van. Songo represented a major break- much more free and open style of playing. Ultimately,songo reflects
through in Latin music by introducing the drumset into the standard the influence of rock and funk from the U.S., and that of other
percussion triumvirate of congas, timbales and bongos. While some Caribbean-based styles, on Cuban musicians. Example 1 shows the
timbaleplayers had been known to add a bass drum or even a snare basic songo rhythmon the drumset:

2:3

4x 4x
.!.lIl.!.
iTITi .
.!.

4x
.
..

Allof these songo rhythms should be practiced with the hi-hat playing half-notes and quarter-notes. The left hand can also be orchestrated
betweenthe snare,toms, open hi-hat chokes, left hand cowbell, etc., providingan endless number of variations:

aro'

2:3

4x
.
..

4x
.!.
.

4x
.!.
.
Similarly, the right hand need not stay locked into the quarter-notes on a single bell, but can add some notes or move around to a
higher bell: A.
~~~'$ ~rlij1!~vanaifon;Jt~~la1!f~ntco!!l!!~l m
rh
2:3
.. = cha-cha bell I
.!.
8

I
-s'

Another right hand pattern, which I heard Joel Rosenblatt use with Michel Camilio, is played between the right hand hi-hat and the
bell. I then added "sweeps" with the left foot on the hi-hat, to create the sound of the songo guiro pattern:
~9Q:f.p~1illTere's!. ~ngo IVOOvewhere the two hi-bats play tile guirop~ttertJ ,..the I~ footPJaYi6iiW~.WitJJ,.e_l I
> > > >
2:3
~i
4x
.!.
8
I
0_8 0_8 0_8 0_8 0_8 0_8 0_8
~Je1'Mow a slc!.werversiOl1of the guiJ."o
hi-bat (same as 2nd part of Example 6)
(Naturally,the bass drum variationsgiven in chapter one are completelycompatiblewith all of these rhythms.)
When I first started playing songo behind different groups, I sion breakdowns, or soloing). I then decided to move most of the
always found that unless I stuck to the left hand cross-stick type left hand to the hi-hat while hitting the snare on a kind of songo
groove, the above variations often sounded too busy or cluttered backbeat. This created a much funkier and more versatile groove:
(they worked better when limited to select parts of a tune, percus-

~1e..:.~!i'ere'safunkierverslol1 of ihesongowith the leftbandon iher~.ltat;with 3Clli!e~ts~~~

R LLRL L RLLLRLR
2:3 L >
> -0 o
4x
.!.
8

>
4x
.!.
8

~le~";8is'j2:!e.!:!e.!S1011_<!f!:ba.t:SC!~so (same as Example 8)

16 )1
 instrument which the songo influenced are the congas. The pattern changed dramatically from the basic two drum
Another
to
masacote, a much more expanded and melodic rhythm. Here is a stripped-down version of this conga pattern played between
the toms on the drumset:

Dple 10N~-a~ii~~ t!re ~ngO-C2~s.a'p~n..!o

the ~!i~ms _'

2:3
> o
4x

.!
.

R
L R L R L L R L L

Meanwhile, doing away with the cowbell altogether, it is possible to simply ride on the hi-hat, incorporating the songo backbeat
and creating this funk groove. This example is shown with two snare drum variations.

IiiiP.pre1!.n1i1S]t~groi>!e WlUdi~~~ratesthe son3<r.b~~!: ~

Note that different toms may be substituted on the fourth beat of the 2nd bar.
R
L R L RRLLR L R L R L R L L
">- >
2:3

4x

.!
.
- - - I .
R
L R > > >

4x
rill =--- I -, iTi

Finally,one can ride on the cymbal, playing the songo pattern mostly on the snare drum with certain accents, creating a ride-out effect.
mID"'pref3-J.f~'!.a ,!i~~ou.!.S()ngo pattern played up on the qrmbat with various b$s clrumj>at,!et"f!S_'
> > >
2:3

2
.

> >

> > > > >

>

R L L
R
allofthese examples have been given in 2:3 clave, they can also be played in 3:2 clave, as always, by begining with the sec-
While
ondmeasure. .._
In songo, while the tumbao for the bass remains intact or implied, other inflections can be added. Here are a few examples 01
some possibilities for songo bass: I
J=~~'~
...~. .: ...e:J.~9~,...i
.. .. -. -, -.- _. .-

2:3

.
..
2nd x
-- ..-
1st x

.
'i

3:2
.
..

"--"' (r) 2nd x

...
'i.

~~:3~Jb,.~~ 1!!!!..J
This pattern invitesthe bassist to occasionallyfill in the space provided by the last two bars. I
3:2 Rumba clave
CLl 07

'i. . !.
.!.
-

07 G7

.
:!

07 G7
. . .
~ ...

CLl 07 G7 pLl
.. . . . . ..
.
P H T H

CLl 07 G7

.. . . pLl p'me
---.....

18
t>f Thisnext tumbao has a calypso influence.
~ 3:~1l.U01Da~e
3:2 A7 D7 C7 07
.4x .
.
.!.

Thebass lines of Andy Gonzalez (Eddie Palmieri, Libre, Fort Apache Band) are definitive examples of how pure folkloric elements
canbe used to create funky modem lines.
_S~~~bissl@<C:
3:2 son clave

4x G7
. .
:!

Sinceallrhythmicand melodic figures in Latin music are drum ori- Cuevas. These lines are essentially "double lines:" tumbao on the
ented,as a bassistI found it very benefidal to sit down and learn bottom and fragmented piano (montuno) or conga patterns (or the
somepatterns on the drumset and congas--not only songo, but bassist's own personal funk phrasing) on the top.
mostof the other rhythms covered in this book as well, so I at While the initial attack should be sharp and percussive, the
leasthad a basic idea of how they are played. This helped me to tumbao notes should ring over into each other in a legato fash-
hearhow the patterns were pitched and to build pennutated lines ion-keep the left hand relaxed and spread over the notes to be
accordingly. played. Keep the emphasis on the tumbao, and don't let the syn-
Here are some examples of how the slap technique can be copations throw off the groove. Make the lines smooth but aggres-
usedto furtherembellish a bass tumbao and build intensity in the sive. Examples 6 and 7 begin with eight bars of basic tumbao:
rhythmsection.This is a style developed by Latin session great Sal

~baO. "JAbl1)1~~~hillaVaji'a:f
2:3
.
:!

T P T T P T P T P T P T

T P T P simile

1. 2.
P T P T T P T P T

...
 ...
~...~
2:3 . ~a~CUevas I
i. G
th
"-' c<
in
cc
p T P T P P T P T

i.
H

i.

1. 2.

i.

Sa

;.

In the following examples the tumbao notes are circled. Tr

~
"',' . " .:"
, '.- - ,-
.........
--....~,- '. -'," - '), ,,' -,'" ."
alternating
p7 / pattern G7
p7 G7
2:3 1st x
T P T P T P P T P P TI PTP TP
.
i

1 3 4 3 1 3 3 4 3 1 2nd x 3 4 3 Fir
an
~
p7 G7 p7 G7
3:2 P T P T
. .
i
;
I
alternating
~--'_~~'I /" pattern
1st x
3:2 p7 G7 p7 G7
7x
i. ~. ~.

2 3 2 4
2 "
20
 - - --- - --- - --- ___ - .:I

CHAPfER THREE: GUAGUANCO

Guaguancois properly defined in Afro-Cuban music as one of paUto (stick pattern), vocals and sometimes bass and even tres
the three "rumba" forms-yambu, guaguanco, and rumba (guitar). At the forefront are the dancers, either performing
columbia. Yambu is played at slower tempos and basically indivdually or as couples. The highest pitched conga (the quinto)
involvesthe same parts as the guaguanco, while the rumba is constantly riffing (the repique), also taking his cues from the
columbiais played at fast tempos, with a stricter triplet feel. dancer. A typical song begins with the clave and palito, followed
The traditional rumba group includes three congas, clave, by the drums, verse, chorus, quinto solo, chorus and out.

Hereare the basic patterns of the percussion ensemble. The clave will be rumba clave:

3:2

PaIito 3:2

R L L R L L R L R L L

SaIidor or low conga 3:2/2:3 P F F F o implied

r-3-, r-3-,

L L R L R

Ires golpes or middle drum S S P S P S 0 S 0 S P S

3:2

R L R L R L R L R L R L

Finally,the quinto solos over the whole ensemble, often weaving in and out of the implied quarter-note triplet and 8th-note (or triplet
and16th-note)feels of the other drums.

a_. .ono: .co conga patterns as pJayesl on. the dtumset, with the ~ve i!! ~

3:2 > >

8x
.
..

R L L R L R L R L R L L
L

[lDftpIe 2 This is a slower ~ion oftbat ~cC!.: (same 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 guaguan
tumhaos:
> >
(not included on the tape)
3:2

R L L R L R L R L R L L
L

The snare drum is basically playing th~ slaps of the tres golpes part, but the left hand can also riff around and play some quinl
licks, while the basic guaguanco voices are already being covered:

~p1i3-N"<iw"'1'ii~tOT~ ~meguaguancoon .the drums, orchestrating the lefthantfarounil die1ift,r'

,PO.-adicalJ:y.NofeQ1eflqoru.un$Jbst1tnte,onthe3;sl(,le.ofthe
_ __ _ _ ... NM_ _.., ... . clave. ... -
3:2

LH CB.

L L

L
L L R L L L

L R R L R L

L
L L R L

22
incq Thisnext example works pretty well hehind quieter sections of a tune, or during percussion, piano and hass solos.
Example4 Here's a guaguanco pattern which incorporates the left hand on the cross-sti~te the bass drum variations

3:2

intq

Onceagain, by re-orchestrating the sound sources by moving the left hand over to the hi-hat, with the right hand on the snare
drum,a much funkier sound can be realized:

R L L R L L L R L R L L
> o
3:2
8x
.
.

23
 At this point, the rhythm starts to resemble a Bo Diddley/New Orleans second line style, where the pulse is more clave than backbe

o ..gtAOve;''WIfh-s()mevarml.i'OnsoJTtlie"bass...di'U1n.W:

L R L R R
3:2
L L L L °

R L
R L R R L °
I

R L
> o L L R L R L >0

o L R L R L R R

~ICt 7 H~Ct'$ atastel:V«$ioD, Oft!'!i!J.d!.<r~~~!1co I

R R L R R R RL L
3:2 > o o

24
At this point, the rhythm starts to resemble a Bo Diddley/New Orleans second line style, where the pulse is more clave than backbe

L L L L L R L R R o
3:2

R L
R L R R L 0

R L
> o L L R L R L >0

o L R L R L R R

R R L R R R RL L
3:2 > o o

24
(beal

~I R L R L
>0

L
o

---I
--I
---I
---I
---I

o >0

R L R L
»

R L
o

~ 25
The role of the bass functioning as a drum part is most evident in the ftrst example, note the melodic similarity to the tres golpes of
the guaguanco. This is a style of playing developed by Cachao, the guaguanco. This line is commonly used both in unison with,
who in addition to playing with a full band, also recorded with just and as a call-and-response to, the tres golpes.
congas and vocals, along with the guitarist Arsenio Rodriguez. In

2:3/3:2
4x
.
..
.
.!.

Cachao is a master at riffIng around on the bass 'within the context of the dave, in much the same way as the quinto follows the lead
vocalist or the movements of the dancers in traditional rumba:

2:3
. 4x
..
Fine
.
..

2:3
C7 Bb7

. 4x
..
Tacet 1st x
("*")
.
..

Like the drums, the bass can also get into the "80 DiddleylNew Orleans" groove by outlining the 3:2 clave in the following manner:

3:2
4x p T P
.
.. .
!:

Here are some lines that combine elements of guaguanco, New Orleans second line style, and funk.

3:2 4x
... - ...
.
(E string) 1
-
T H T P
4
-
T H T
1 4
P - -
T H T
1 1
T P T P T H T P T H T T P

.
..

1
T P T P T P T P T P -
THTHTH --
26
 .
T simile p T H T T P
1 1

T P T H T H

.. T

-&
1 1 THTHTH

.:!)
.(c.o
c
E
,g
Q)
c...

o
..0
~
J:
>-
oJ>

o
a::I
'<-
o
>-
oJ>
Q)
t
::3
o
U

TitoPuente Andy Gonzalez

27
 a

CHAPTERFOUR: AFRO-CUBAN 6/8

The Afro-Cuban 6/8 rhythm is probably the most versatile of all are similar to the many different approaches Tony Williams and
Afro-Cuban grooves inasmuch as it can lend itself to the widest Ron Carter used in playing Wayne Shorter's "Footprints" with
varieties of time feels-one can play funk, rock, shuffle or Miles Davis.
straight-ahead jazz time over the same pulse. The possibilities

The basic 6/8 Afro-Cuban rhythm is:

6 clave
8

If the dotted quarter becomes the quarter-note in 4/4 time, it creates a half-time jazz or a shuffle feel:

3 3 3 3

Similarly, with the dotted quarter becoming quarter-notes, you can play 8th-notes over the pulse, creating a double-time swing feel:

Meanwhile, the 8th-notes of the 6/8 can become 3/4 quarter-notes, creating a jazz-waltz feel:

28
]
Thesefeels make up the most common ways you can play 6/8; now we will detail some grooves for the drums:

.d pampk 1 H~iS a 6/8 groove, b1cotpOratmg the bask b78 cowbell tbytbm
h
:> :> :> :>

. . . . . (41 . . . . . (.

:> :> :> o

:> :> :> :> :>

,..,. . . . . . . . . . ,.
.. , .. ..
,. )(

:> :> :>

')c J J J (')c ')c ')c ')c J J ')c

, .. ..

:> :> :> :>

')c ... ... J JJ ... ... ... ... J J (')c

,
I
L..I .. ..

1Q
 > >

,.., '>o! '>o! J J ...

.
L .
> >
> > o

'Jc 'Jc J J 'Jc J J ...

,. I.
L..I . . II

Keep in mind that there are many variations of this groove, which One interesting pattern comes from a bass drum/hi-hat combina.
can involve all sorts of changes, such as using different bass drum tion suggested by David Garibaldi's playing, which can be used
patterns, adding toms, bringing out ghost notes, or even freeing underneath all of these patterns:
yourself up from a backbeat pulse on "I" of each second bar.

~
TI

~ ~

Keeping this pattern going with the feet, here is a tom idea which echoes a more folkloric conga pattern. Note its melodic similarity to'
the guaguanco:

"D,PIi"3 lieie"s another6!S p3Uernwhicb inC()~~tes.2theton1S.m, ''a~~lI.:IoriC;contex.t.-~. U$in.a!iUli~

~ktck¥ldth~hi"hatoff?avid~a!<Ji. _f

8x

Bass:
As with all the other Afro-Cuban rhythmic forms shown in this polyrhythmic in nature and can be heard and felt in many differ-
book, the 6/8 bass tumbao takes those elements from the drums ent ways. When playing them I usually feel the time moving in
that best connect rhythm and harmony. These lines are very dotted quarters and make the notes long and even.

T
T
v V -- ~
~ T

'i. .
!:

30
 -'

.. I"'" . I ..
, I r r - r I - r r

. . .
Ila- . . !:
'ed

'i.

to T T P T P T P T P T P T T P T P

~r-
in

31
 CHAPTER FIVE: CHA-CHA AND MOZAMBIQUE
I-
CRA-CRA
This chapter will focus on two other common grooves within
the Afro-Cuban tradition.
on, as it is one of the only basic rhythms that lends itself readil~1
to a backbeat on "2" and "4," with the incorporation of the bas
.
The cha-cha groove is most easily recognized by tempo, and sometimes bass drum on the downbeat. Anyone who ha$
which is generally medium-slow to medium (M.M. 88-132). ever listened to Santana's version of the Tito Puente standard
More than any other Latin style, it may be the easiest to rock out "Oye Como Va" knows what we mean.

Here is a basic cha-cha groove on the drums:

ac
IiIIIiIiiiiiIl

2:3 o o o o

o o 8 o 0 8 o 0 8 o o o 0 8 8 o 0
2:3

8 o -.. 8 o 8 8 o -.. 8 o 8 8
0-.. 0-..8 -.. -.. 0-.. 0-..8 M(
Mo
Ga(
Here are some possibilities for the more driving parts of the tune: He]
~~!,..~:!I~~m~oJ.a.~~i~i9i!,~~_~$J!a~~oa~.~~.!~.'()Jl'veiiii.~.stJ.ate~~
o o
2:3
4x
!.
8

One

cha bell.

Small cha-cha bell

2:3/3:2
groc
Within the Latin context, the cha-cha is best characterized by the constant quarter-notes the timbale player plays on the small cha.,bar
.
LH on drum

Remember, the cha-cha can also be played in 3:2 dave. °Als

32
 Thebasstumbaos in the cha-cha often resemble the tumbaos of Chapter 1 played at a slower tempo. A good example of this is
foundin the guajira groove (Chapter 1, Example 6). Slap songo lines can also work well at the cha-cha tempo.
Hereare some examples:

"

~
\l.s
-d
.
..

T PTT PTT PTT

.. J -J J J J J
.
..
1
,-
3 1
- ,
3
,
4
"" ,"" '-"" . ....

T P T T P T T P T T T P T T P T T P T T

.
'i .
..

4x . . .
. . :!

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
Latingrooves,such as the drum part on Paul Simon's"LateIn The Evening."-
Gadd's

Hereis the basic mozambique played on timbales

2:3

LH stick on drum

Onceagain,we see the heavy accent on the "and" of "2" in the 3-part of the dave. Here is a funky version of the mozambique that
groovesnicelyover a broad spectrum of tempos. Part of the funk comes from the bass drum playing both "I" and "2" of the first
~ha-I bar of the clave:

R L R L
2:3 » > 0

8x
.
.!.

.
Alsosee Steve's instructional videos "Up Close" and "In Session," available from DCI Music Video.
33
 ~t.~c

> > > > >

2:3

.2
his 111

>

.2 .

> > > > > RRLL > > > > >

... .. .. .. .. .. ... lITt ... J ')

celt
inccl
an
". ". ". ". }'.

> > > > >

Like the drums, the bass line for the mozambique often starts on the downbeat of the 2:3 clave. Also characteristic is the rhythm
pattern of the fIrst bar and the 7th of the chord on the 8th-note preceeding the second bar.

~'1Ca~ p~ 3_TradifiC)naI
2:3 - ~que1Iiie
. 4x
.
"i

. .

(hainpIe 4 Jfbi$ ISa m~ variatiC)Don them~iqUe -. "Luis's Groove"

2:3 4x

. .

34
- ----
 :e I "Irio's Tumbao"

2:3

...

'Thisnextlinematches up with the mozambique timbale pattern:

lPunk-Mozambique

2:3
4x

...

T T T P T P P T T T T P T P T

cha-chaand mozambique grooves the downbeat will

Incertain Orleans-guaguanco grooves, where the downbeat of the 3-side
beincorporated,
whether on the 2-side or the 3-side of the dave. of the dave is played.
~yand large, we have only seen this to occur in the New

thmil

.
..

.
..

35
,-

a
III n
II

III

, .'t

\." III ,- lt;e

f'J, """"
.l I I III
II
II
I
I
I
.
!
iii ) '"
'"

I
I
I
_ .a .~
N
~
u...
Q)
0.0
o
Q)
lJ
'0
>-
<J>
Q)
~
::J
o
U
Bill O'Connell

'Robby
2"T
 NOTES ON THE TUNES
"Mambo For Tajrid"

Oscar Hernandez wrote this for us as an example of a typical salsa structure of verse (melody), montuno (coro), mambo, verseam ~
out. Besides being a well-established salsa pianist and arranger, Oscar is also known for bringing a more progressive style to sa~ 1
writing, most notably in his arrangements for Ruben Blades. I
Drums:
The drum grooves demonstrate some possibilities on the kit ride, while in the mambo things get a little looser with thelen
within the idiom, while not playing songo. The verse is straight hand playing against a cascara-like pattern on the cymbal.1k
cascara with the rumba dave, which seems to swing a lot better fills during the band breaks almost become part of the breaks,]
at this tempo and without percussion. The [[] section of the little like filling while playing a groove. The key here is notto
verse goes to the son dave with the backbeat on the 2-side of fill around the figures, but rather within them.
the dave. The montuno (synth solo) uses the basic timbale bell

Bass:
This tune begins with a 4-bar tumbao. The added 9th in this fig- I just lay on a straight tumbao. A typical device for the mamoo
ure gives it a jazz flavor. Section [[] is a breakdown feature for indudes a strong unison line with the other instruments, ~
the bass-try to feel the dave when phrasing your own fills. demonstrated here at section . ~
Oscar's synth solo at [Q] is the traditional montuno section-here

Example Breakdown (from Chapter 1)

Drums Bass
The intro is example 1 played on the cymbal bell. [Q] is based on Example 1
is also example 1
B is example 4
~
D (Montuno solo) is example 2

"Yo Me Songo"
This tune came about as a group effort with Bill O'Connell. We wanted to show a songo style which the three of us havedevcl.
oped over the years as a rhythm section for Dave Valentin.

Drums:
The drums begin at ~ with the basic songo cross-stick pattern, a straight backbeat as the bass line gets played in its entirelj.
the bass drum catching some of the movements within the bass This line is really funk, but it's still in dave, and still feels lilt
tumbao. The second time around, the right hand hi-hat is added songo. By catching parts of the line with the kick and a hi.ht
to the bell, spicing it up without getting in the way. At [[] , a groove, you can still add the backbeat with the right kind~
funkier sound starts to be implied and the extra snare hits are bass line without sounding like you just started playing "2"ani
~yed in unison with some of the bass slaps. The breakdown at "4" to make a Latin groove sound funky. The groove th~
19 starts with the songo backbeat, riding on the hi-hat, and moves back to the songo backbeat over the piano montum
dropping the quarters-notes on the bell, which finally leads into which goes into the ride-out songo for Bill's solo.

Bass:
In the ~ section, the bass plays a simple melody that matches a line which is developed into a funkier line at [ill as the turt
up with Robby's bass drum. I wanted to show here how the builds. I wanted to demonstrate here how the bass can play!
bass can carry a melody while still playing a tumbao. [i] is a line that stays with the dave and keeps the spirit of songo whf
slap songo. Note that in the 17th bar of this section, I alter the the band goes from Latin to funk and back again.
line to make a hit with the snare. In the breakdown I introduce

Example Breakdown (from Chapter 2)

Drums Bass:
A First time is from Example 1 II] is an elaboration of example 1.
A Second time uses the right hand of Example 6 Sections [[] and [II are similar to Example 8; in the tune,~
B Derived from Example 8 last 8th-note from the 2-side is tied over to the 1st note onIi!
C Example 12 3-side.
F Piano solo is derived from Example 13
38
 'Hotel National" (guaguanca)
11this tune we wanted ta link up the mare traditianal guaguanca with the funk guaguanca, sa we maved' back and farth between
~etwa feels.

~:
la ~e right hand hi-hat sets up the clave the first time through ~ piana sala there's mare 'Of a black chard mantuna-like feel
~enadds the canga parts an the tams the secand time through. gaing an. I felt this needed a slight change, sa I went ta the
Jeanwhile, the clave is still implied with the right hand ghasting cymbal ta 'Open it up. Finally, we ga back ta the 'Original
~ the snare during the funk sectians. Far the secand half 'Ofthe guaguanca, with sweeps an the hi-hat the last time around.

la ~s
, this tune the bass plays falklaric-style lines stretched aut ta fit guaguanca funk lines. I play fills in the bars befare sectians rn
te melady while still keeping in clave. These are alternated with and IE] that anticipate the funk feels and smaath the transitians.

~ple Breakdown (from Chapter 3)

ms Bass
is a slawer versian 'OfExample 4 is derived from example 2 begining an the 3-side
1 ~ and [I] are based an Examples 1 and 2 B is like the 2nd part 'OfExample 5
~ and ~ are based an Examples 5-7 C is similar ta Example 3

ID
E
is the 1st part 'OfExample 5
is like Example 1

AA-o Waltz"
bis tune, written by Bill O"Cannell, is a gaad vehicle far explaring the variaus time feels which can be superimpased aver the
fro-Cuban 6/8 groave, particularly in the jazz and blues vein. Bill is an exciting improviser and we hape yau enjay playing with
1mas much as we da.

jrums:
pee yau get past the 6/8 groove, yau can begin ta think about these feel changes are nat always planned in advance; cancentrate
~atever time feel is caming next sa that the transitians will feel an making yaurself camfartable maving back and farth between
them, depending an what the salaist is daing.
fmfartable and the sectians will flaw inta each ather. Naturally,
s:
e pulse in bath the "jazz faur" and shuffle maves in quarter- a slightly different attitude between the 6/8 heads and the jazz
tes. I distinguish between the twa feels by using mare acci- waltz tag-in the waltz I put a little bit 'Offarward matian and
ntals and chard mavement in the jazz sectian, while in the baunce an the pulse, while in the 6/8 I facus mare an the mid-
uffle I stick mastly ta a pentatanic approach. Similarly, there is dle 'Ofthe beat.

.ple Breakdown (from Chapter 4)

ms
t time through the chart is a versian 'OfExample 2

s
es Example 1 (lst variatian far 6/8 heads)
Example 2 far shuffle sectian

I.Squartet tune shaws haw a cha-cha feel can be applied ta a medium rack groave. We came up with a chard progressian and
e and Oscar warked up a melady ta fit the maad.

e left hand is basically playing clave throughaut the tune; played in unisan with the bass. Finally, when I ga up ta the
ether as cross-stick (far the head and piana sala), 'Orsnare cymbal, the clave gaes inta a straight rack backbeat far a while.
m (far the guitar sala). The bell pattern is used ta give a lift The half-time and the straight backbeats are twa camman ways
secand time thraugh the head and piana sala. The guitar 'Of racking aut an a cha-cha graave, but playing the whale 'Or
a starts aut as half-time rock, mixing single backbeats with part 'Ofthe clave an the snare can alsa saund pretty strang far a
'0 hits an the 2-side 'Of the clave. The dauble-time licks are different approach.
39
Bass:
These are typical lines that develop into a funk-rock style at especially when going from a pizz to a slap line. Notethe
Mike's solo. On these slower kinds of grooves, I concentrate on double time hits with Robby in bars 9 and 13 of the guitar solo.
strong, even notes to help keep the tempo from picking up,

Example Breakdown (from Chapter 4)

Drums
Intro and 1st [AJ is Example 1
2nd A and 2nd ~
is Example 2
2nd half of guitar solo in [] is Example 3

Bass
[AJ derived from Example 2
Mike's solo is similar rhythmically to Example 1 (funk variations)

"Metal Mozambique"

We came up with a strong funk feel derived from the mozambique rhythm and decided to just rock out on it. We wanted to show
how a Latin-oriented groove could be brought into a rock power trio format. The tune illustrates that not everyone has to be play.
ing or even thinking Latin all the time to still make it work. Mike Stern was the perfect choice for rounding out the trio withhis
powerful soloing style and instinct for bringing out the essence of the groove.

Drums:
Throughout this tune, the drums and bass are almost always in the snare. The solo section [f]
is sort of a pared-down version
unison. The little changes within the groove at ~are played of the original groove, with the toms playing a more typical
together, and the line at ~
called for straight rock quarters on mozambique part.
Bass
These lines are tightly locked in with the drum patterns. I use
the slapping technique all the way through to get a hard defini-
tion to match Mike's and Robby's intensity.

Example Breakdown (from Chapter 5)

Drums:
The II] groove is an elaboration on Example 1

Bass
The II] section uses Example 6

CLOSING
The reader should realize that there are a multitude of Latin and possibilities as to where these rhythms can go. Ultimate~,
rhythms in the Afro-Cuban tradition, not to mention those of you should feel free to take them somewhere new, discovering
Brazil, Haiti, The Dominican Republic, and many other South new grooves that work well in your own musical situation.This
American and Caribbean countries. Also, we have not touched is the best way to keep the music growing: by understanding
upon the bata drums, whose Afro-Cuban rhythmic forms could and maintaining the integrity of its roots, while at the same time
make up a lifetime of study. doing away with preconceptions, allowing the music to reach
In closing, we hope that we have provided a means of cap- more and more people.
turing the attitude of some common Afro-Cuban grooves, and
shown how they can complement some of today's contemporary
music styles. What have been presented here are just some ideas

40
 CHARTS

,.

This page intentionally left blank.

41
 MAMBO FOR TAJRID
2:3 @ Oscar Hernandez
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42
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44
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45
 YO ME SONGO
@ Lincoln Goines
Robby Ameen
Bill O'Connell

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46
 Montuno
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48
 HOTEL NATIONAL
@ Uncoln Goines
Robby Ameen
Bill O'Connell
3:2

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50
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51
 AFRO WALTZ
@ Bill O'Connell

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52
 C-7 E-7
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5:\
 BLUE CRA-CRA
@ Lincoln Goines
Robby Ameen
Mike Stern
Oscar Hernandez

2:3 A7
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1st x only>
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54
 [!] PianoA7 solo "/. "/. "/.
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55
 r
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56
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.
 METAL MOZAMBIQUE @ Uncoln Goines
Robby Ameen
G7
Mike Stern
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58
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59
 .. I
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I. I .I Fine

60
 DISCOGRAPHY
Albums are referenced according to their general chapter relevance as follows:
I-Gave and Tumbao; 2-Songo; 3-Guaguanco; 4-Afro-Cuban 6/8; 5-Cha-Cha and Mozambique.

Afro Cuba Afro Cuba (chapters 2,4) Egrem

Barretto, Ray Que Viva La Musica 0,5) Fania

Reconstruction 0,5 with Sal Cuevas) Fania

Batacumbele Con Un Poco de Songo (2,3,5) Tierrazo

En Aque/los Tiempos (2) Tierrazo
Live at the University of Puerto Rico (2) Tierrazo

Blades, Ruben and Seis del Solar Live (all chapters) Electra/Asylum
Blades, Ruben and Willie Colon Siembra (1 with Sal Cuevas) Fania

Cachao Ey su Ritmo Caliente Cuban jam Sessions in Miniature-Descargas(1) Panart

Camilo, Michel Michel Camilo 0,2) Columbia

Coltrane, John Live at Birdland (4) Impulse

D'Rivera, Paquito Why NotO,2,3) Columbia

Gonzalez, Jerry & Fort Apache Band Obatala (all chapters with Andy Gonzalez) Enja
Ya YoMe Cure (3,4 with Andy Gonzalez) Pangaea

Irakere lrakere 0,2,4) Columbia

Los Van Van Que Pista 0,2 with ChangJito) Egrem

Anda Ven y Muevete 0,2) Egrem

Machito Afro-Cuban jazz (1) Verve

Meters, The Struttin' (3) Charley

Palmieri, Eddie The Sun of Latin Music 0,3,5) Coco

Sentido 0,5 with Andy Gonzalez) Coco

Patato and Totico Patato y Tottco RVC

(3, with Cachao and Arsenio Rodreguez)
Puente, Tito Dance Mania 0,5 with Bobby Rodriguez) RCA International
Goza Mi TimbaI0,2) Concord

Rodriguez, Tito Tito,Tito, Tito 0 with Cachao) West Side Latino

Rubalcaba, Gonzalo Giraldilla (all chapters) Messidor

Live in Havana (2) Messidor
Grupo Proyecto de Gonzalo Rubalcaba (2) Areito

Santamaria, Mongo Greatest Hits 0,4,5) Fantasy

Tjader, Cal Sonia Libre 0) Verve

Totico Y sus Rumberos Totico Y sus Rumberos (3 with Andy Gonzalez) Montuno

Valentin, Dave Kalahari (2,5) GRP

Live at the Blue Note (all chapters)

/-
UNCOLN GOINES
SELECTED DISCOGRAPHY

Gato Barbieri Para Los Amigos Doctor jazz

Bob Berg In The Shadow Denon
Back Roads Denon
Michel Camilo Michel Camilo CBS
Scott Cossu Switch hack Windham Hill
Paquito D'Rivera Why Not CBS
Celebration CBS I
Eliane Elias A Long Story Manhattan/Blue Note
I

Dizzy Gillespie New Faces GRP

Dave Grusin Out Of the Shadows Arista
Night Line GRP
VicJuris Horizon Drive Muse
Ryo Kawasaki Little Tree CBS/Sony
Live CBS/Sony
Tania Maria Come With Me Concord jazz
Made In New York Manhattan
Vince Mendoza Start Here Fun House
Bob Mintzer Art of the Big Band DMP
Urhan Contours DMP
Incredihle journey DMP
Spectrum DMP
Bob Moses Visit With the Great Spirit Gramavision
Bill O'Connell Love For Sale jazz City CPonyCanyon)
Emily Remler just Freinds Vol. I and II justice
Mark Soskin Overjoyed jazz City CPonyCanyon)
Marvin Stamm Bop Boy Music Masters
Leni Stern Secrets Enja
Closer to the Light Enja
Ten Songs Lipstick
Mike Stern Odds or Evens Atlantic
Dave Valentin Dave Valentin/Herbie Mann Flute Summit GRP
Musical Portraits GRP
Live at the Blue Note GRP
GRP
GRP
GRP
GRP
GRP

.....
:;
o
u
c:
ro
Q)
co
o
"E
ro Lincoln Goines endorses ESP basses
u
C2
and R. Cocco handmade bass strings
ROBBY AMEEN

SELECTED DISCOGRAPHY

Ruben Blades Caminando Sony International

Live Elektra
Nothing But the Truth Elektra
Agua de Luna Elektra
Escenas Elektra
Crossover Dreams Elektra
David Byrne Rei Momo Warner Brothers
Conjure Cab CallolL'ayStands infor the Moon American Clave
Scott Cossu Switchback Windham Hill
Dizzy Gillespie New Faces GRP
Endless~y Impulse
Paul Haines Darn it! American Clave
Kip Hanrahan Tenderness Pangaea
Days and Nights of Blue Luck Inverted Pangaea
Kirsty MacColl Electric Landlady Virgin
Bill O'Connell Love For Sale Jazz City (Pony Canyon)
Eddie Palmieri Sueno Intuition
Daniel Ponce Change te Llama Island
Hilton Ruiz Strut RCA!Novus
Seis Del Solar Decision Messidor
Steve Swallow Swallow Watt/ECM
Dave Valentin Musical P011raits GRP
Two Am igos GRP
Live at the Bille Note GRP
Mind Time GRP
Light Struck GRP
jungle Garden GRP
Kalahari GRP
A GRP Christmas GRP

Robby Ameen endorses Pearl drums, Sabian cymbals, Vater

sticks, Peter Engelhart Metal Percussion, and Latin Percusssion.
 ALSO AVAILABLE FROM MANHAnAN MUSIC
Afro-Cuban Rhythms for Drumset-Frank Malabe and Bob Weiner
Brazilian Rhythms for Drumset-Duduka Do Fonseca and Bob Weiner
Advanced Concepts-Kim Plainfield
Modern ElectricBass (revised edition)-Jaco Pastorius
Electric Bass (DCIVideo Transcription Series)-John Patitucd

-.I

~.
i
f
"i

Fora complete catalog of instructional videos and

book/audio packages call 1-800-628-1528
 ALSO AVAILABLE FROM MANHAnAN MUSIC
Afro-Cuban Rhythms for Drumse.-Frank Malabe and Bob Weiner
Brazilian Rhythms for Drumse'-Duduka Do Fonseca and Bob Weiner
Advanced Concepts-Kim Plainfield
Modern ElectricBass (revised edition)-Jaco Pastorius
Electric Bass (DCIVideo Transcription Series)-John Patitucci

Fora complete catalog of instructional videos and

book/audio packages call 1-800-628-1528
 ISBN 0-7692-2020-7

III ~ml
9 780769 220208

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