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CHAPTER V

Ties

Guitar

Bass

Chue

Bongos

Mdracas

Son

This is a highly simplified orample of the structure of the son and its indi-

vidual instrumental parts - as are all of the subsequent rhythm score enamples.

The purpose in presenting these mini-scores is to demonstrate the essentialelements of each rhythm.

Note that the mspartshown here is an example of enon-clarzapattern, as is

the guitar part. The bongo rnartilhshown is the suaight part; however, remem-

ber that the bongo is free to ad-lib throughout the rhphm, and the bongo playerwill also play the cowbell during the monfitnasection.

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Son-Montuno

Bass

Ckue

Bongos

This cxample of son-montu.no demonstrates the ensemble parts during a verseor other lower dynamic section; thc bongo playcr will move to the bell for themontuno*frron, and thc timbdes player may move to either the bellor thecymbd.

As with all of the oramples throughout the book, it is important to play all of

thesc o<ercises in both clauedtreqions.

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RHYTHMIC STYLES & STRUCTURES

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f l l 2ol

-CHAPTER V

Flute I

Flute 2

Violin I

Violin 2

Piano

Bass

Gtiiro

Timbs.

Danz6nR. Maule6n

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The daruinis an involved form with several sections. This is a ponion of the"B" secrion, or main melody, which features the flute(s), and contain s thebaqtu_teo paftern for the timbales. In the trad.itional charangainstrumenation therewas no conga; howwer, following its addition in the 1940,r,the congawouldplay only during the nnntuno or mambo section of the danain (rater to bu calredrhe cha-cha-chti).

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AfroRHYTHMIC STYLES & STRUCTURES

The afowas quite popular during the 1940's and 50's, particularly for theinterpretation of sacred music and lullabia in ensemble situations. It is fie-quendy played within rhe charangainstrumentation, at slow to moderate rem-

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CHAPTER V

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Cha-cha-chi I

As noted earlier, rhe cha-cha-cbdraniteAFom thc addition of an open \a.mpto the darain, containing scvcral elements of the raz. This scction was dmostdwap in the dominant of the tonic key of the daruhn

'When the cha-cha-chd

became iu own form, itwas not bound by tlis harmonic relationship; howorer,this II-V progression - and specific rhythmic pattern for the piano - would remainas onc of the most @mmon (and recognizable) aspects of the cha-cha-chd

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Cha-cha-cha2RHYTHMIC STYTES & STRUCTURES

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Violins

Bas

Cku

Giiiro

Conga

Tims.

The other most recognizable cha-cha-chdstrudure consists of the left hand/upbeat, right hand/pulse pattem for the piano.

l l l 2o5

-CHAPTEB V

MamboC. c-

Piano

Bass

Ckue

Tim. Bell

Bongo Bell

Congas

'Wlrat distinguishes one rhythmic sryle from another - such ̂ s son-rnonfiinl,

guaratha, mambo, etc.. - is often a matter of thc tempo. Mambo tends to bebrighter in tempo than the aforementioned styles.

This orample demonsuates the bell panems of the bongo and timbalcs play-ers, as wcll as the two-drum umbao of rhe congas. Also, note that the arpqgio of

the I-chord in the piano monfi4no is a type ofvariation.

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RHYTHIIIIC STYLES & STBUCTURES

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Wolins

Piano

fuss

Chue

Giiiro

Congas

The pachangawas enuemely popular during the early 1960's, most ofteninterpreted by charanga orchesuas. Often, all of the melodic instruments (bass,piano, suinp) may play the same, singlc-note figure over the caballo pattern ofthe congas, as is shown in this orample. Over this base, the flute is free to impro-vise, as is the lead vocalist during rhe coro/prry|z section.

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CHAPTER V

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Giiiro (6/8)(Ch6keres & Bell)

Bell

Kachimbo

Segundo (a)

Segundo (b)

Caja (a)

Cajd (b)

Tiaditional gtiirowas (and is) played using only chlheres and bell. Often, atumbadorais added, which improvises freely wer the rhythmic base. The chlhnesare also free to vary their parts - some more than others. The o<ample here

provides "a" and "b" pafterns for one particular part, as an example of a variationone may enperiment with.

The round noteheads represent the open tone produced on the gourd fromstriking the bonom, and the slashes refer to the shaking of the gourd in a diago-nal, up-and-down motion.

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Bass

Giiiro (6/8)(Ensemble)

kll(a)

BeA (b)

Piarc

Cynbal

Bongot

Congas (a)

C,ongas (b)

In ensernble scttinp, the timbdes player often plap the I of the three-side of

claue onthe low drum. [Again, these are very basic examples. Listening to several

versions is highly recommended for all rhythmic stylo].

RHYTHMIC STYLES & STRUCTURES

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CHAPTER V

r20(Percusslon)

Chue

Palitos

TLmba

Rumba is a very complor form, and contains three styles: yamhi, guaguancdand colambia. The nuances of the polyrhphm, variation possibilities, juxtaposi-

tion of meter and improvisation are impossible to notate, and are best left to one's

ear. There is also the matter of regional interpretation - such as Havana and

Matanzas styles - bringing about even more complexiry. Nonetheless, it is impor-

tant to reagnizr the significan ce of rumba! impact on Cuban popular music.

In the above transcription, note the relationship oFthe segundn (middle dtut)

to the cLueirs melody (or open tones) occurs on the wo-side of ckue. This is

thought to be the "proper" or "correct" way to play guganc6. Howa,er, should

one stumble accross an early recording of gmguancf (such as mid 1950's), onemay hear the segundowith the three-side of claue. In as far as this author's investi-

gations into this phenomenon, no concrete er<planation has be given for the

change.

The quintodoes not have a specific pattern, and improvises throughout.However, there is a highly-developed method to playing quinto, which requires

thorough knowledge of the sffucture of the song form, and an ability to match

the dancer's movements. The best o<ample of this anywhere in the world existswith Cuba's los Mufiequitos de Matanzas.

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RHYTH[IIC STYLES & STRUCTURES

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Timbs.

Piano

Bass

Congas

Bongos

In ensemble situations, rhe timbalno may pby both the ckue and pahnspatterns (on woodblock and sides, respectively). The timbalno may also play the

paknspettern on the bell, and the melodyof the tumba&. segundoon the tim-bales. The conga and bongo players have several options, including: 1) thecnngwrl plap the tumbaand segundo patterns while the bongocero plays quinto on

the bongos, or 2) rhe bongocero plays the tumband segundo (on congas) and the

congrcro plays quinto on a third drum.

9A-6

CHAPTER Y

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Bomba

Tiaditionally, the bombaconsists ofone-bar pafferns, and is thereFore nor "in

clave". The cud pattern maybe thought of as a typeof claue, and may be plapdon a bell, woodblock or ckuesthemselves. As noted earlier, a salsa arrangement ofe bombawould require phrasing - such as in the melody - suuctured around theckae.

There are numerous styles of bomba and many rypes ofnriations. Therequinto improvises throughout - much like thc quinnin Cuban rumba Notefie piano monfitno's^cront on beat 4 of each ms$ure - tlis is typi.al of montunosplayed for bomba

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Bass

Plena

Piano

Tin. klk

Bng. Bdl

Conga

Giilcharo

Plena is traditionally played on pandnetas (sec Chap. I[), but is easily adaptedto any ensemble. In thc above transcription, the congas have mken on the rolesof two pandzreuparts. ln this way, the bongo player may either play the bongobell panern shown, or the giiicharo.

Often, the basslinc is not syncopated, as shown above. The piano pan shownis not specific to the pbra, but is perfecdy accepable.

RHYTHTIIC STYLES & STRUCTURES

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CHAPTER V

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Conga (a)

Congas (b)

Low Tim

Mozambique

As noted earlier, the mozambiqucis originalty a percussivc style. Thereforc, thepiano and bas parts are not specific to the rhythm.

Of the conga paru shown, the first pattern ("a") is more common in ensemblesituations, while the sccond paftern ("b") is closer to the original style, oftenplayed in percusive ensembles.

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214 i l l

Bass

Piano

Ckuc

Gtiira

Conga

Tumba

As noted in Chap. M there are several piano and bass patterns for merenguewhich may be used dternately, depending upon the song form. For orample, thebass nmbao may alternate benveen the half note panern above, and a syncopatedlinc. Also, the piano may dternate beween the ryncopated pattern above, asteady eighth note pattern, or a simplified patrern (refer to Chap. M).

The umbadorahx freedom ro vary the umborapanern, and may be featuredin a solo during a "breakdown", where all except the percussion insrruments dropout.

RHYTHMIC STYLES & STRUCTURES

f l l 2ts

CHAPTEB V

Claue

Bombo

Conga

kll

(Conga de Comparga)

Although some may refer to this style as "comparsa", this tcrm actually refcrsto thc group which interprets thc conga rhFhm, and not thc rhythm itself. Inan ensemble sening, the various patterns may be divided beween the timbales,(playrng the bell and bombo), the congas, (*ith one person pl"yrrg the salidarand,congaparts, one on rhe rebajador ^ndanother person playrng the quinto), and therest of the group playrng hand pcrcussion such ̂s sarte/tes, bells and shakers.

A trap drummer may actually cover all of the basic parts, as is illustrated inChapter IV in exam ple 4.70, p 98.

2t6 Il

RHYTHIIIIC STYLES & STRUCTURES

Songo

H T S T O O O O H O S O O O O

Songo is avery free-style form incorporating many rhythmic styles, and lendsitself to many intcrpreations and possible variations. Thae patterns shown hereserve as a strcamlincd orample ofwhat usually is much more compler<.

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