A GUIDE TO THE: LATIN JAZZ GUIDE, A PATH TO AUTHENTIC PERCUSSION AND ENSEMBLE PERFORMANCE BY JAMES DREIER

THIS BOOK CONTAINS EXCERPTS OF THE ORIGINAL AND IS FOR CLINIC USE ONLY – PLEASE RETURN THIS CLINIC COPY AT THE END OF THIS PRESENTATION

PLEASE GO TO WWW.LATINJAZZGUIDE.COM FOR MORE INFORAMTION AND RESOURCES Dedicated to Bill and Mary Ellen Dreier

Edited by Ronny Schif and Maggie Schmidt Production by Charylu Roberts & O.Ruby Productions www.SelfPublishMusicBooks.com Cover Art: Drew Morton Rhythm Section Score Editor: Steve Shanley Additional Contributions: Ed East James Dreier Portrait: Molly Long Photography Photos Courtesy of Latin Percussion

ISBN 978-1-4950-2897-7

Copyright © 2015 James Dreier All Rights Reserved Table of Contents

Foreword...... 6 About the Percussion Solutions and Rhythms Section Practice, Play-along Scores ...... 8

Section 1 t Te World of Latin Jazz and the Tree Spheres ...... 10 A Brief History of Latin Jazz ...... 11 Latin Rhythms/Style Chart ...... 13 Road Map to Style Interpretation ...... 14 Cuban, Clave-based Sphere ...... 17 Brazilian-based Sphere ...... 18 Caribbean-based Sub-Sphere...... 19 FAQ About Playing Latin Jazz ...... 20

Section 2 t Te Cuban, Clave-Based Sphere ...... 22 Family of Common Cuban Percussion Instruments ...... 23 Cuban Musical Characteristics ...... 24 FAQ About Playing Cuban, Clave-based Jazz ...... 29 Mambo Basic Info Chart ...... 31 Mambo Check List ...... 32 Basic Percussion Solutions Score ...... 33 Advanced Percussion Solutions Score...... 34 Rhythm Section Practice, Play-along Score ...... 35 Mambo Performance Tips...... 36 Brief Background ...... 39 Cha cha chá Basic Info Chart ...... 41 Cha Cha Chá Check List ...... 42 Basic Percussion Solutions Score ...... 43 Advanced Percussion Solutions Score...... 44 Rhythm Section Practice, Play-along Score ...... 45 Cha Cha Chá (Boogaloo) Performance Tips ...... 46 Brief Background ...... 49 Rumba Basic Info Chart ...... 51 Rumba Check List ...... 52 Basic Percussion Solutions Score ...... 53 Advanced Percussion Solutions Score...... 54 Rhythm Section Practice, Play-along Score ...... 55 Rumba Performance Tips ...... 56 Brief Background ...... 60 Afro-Cuban 6/8 (Bembe) Basic Info Chart ...... 62 Afro-Cuban 6/8 Check List...... 63 Basic Percussion Solutions Score ...... 64 LATIN JAZZ GUIDE

Advanced Percussion Solutions Score...... 65 Rhythm Section Practice, Play-along Score ...... 66 Afro-Cuban 6/8 (Bembe) Performance Tips ...... 67 Brief Background ...... 71 Songo Basic Info Chart ...... 73 Songo Check List ...... 74 Basic Percussion Solutions Score ...... 75 Advanced Percussion Solutions Score...... 76 Rhythm Section Practice, Play-along Score ...... 77 Songo Performance Tips ...... 78 Brief Background ...... 81 Boléro Basic Info Chart ...... 82 Boléro Check List ...... 83 Percussion Solutions Score ...... 84 Rhythm Section Practice, Play-along Score ...... 85 Boléro Performance Tips...... 86 Brief Background ...... 88

Section 3 t Te Brazilian-Based Sphere ...... 89 Family of Brazilian-Based Percussion Instruments ...... 90 Brazilian Musical Characteristics ...... 91 FAQ About Playing Brazilian-Based Jazz...... 95 Samba Basic Info Chart...... 96 Samba Check List ...... 97 Basic Percussion Solutions Score ...... 98 Advanced Percussion Solutions Score...... 99 Rhythm Section Practice, Play-along Score ...... 100 Samba Performance Tip ...... 101 Brief Background ...... 104 Bossa Nova Basic Info Chart...... 106 Bossa Nova Check List...... 107 Basic Percussion Solutions Score ...... 108 Advanced Percussion Solutions Score...... 109 Rhythm Section Practice, Play-along Score ...... 110 Bossa Nova Performance Tips ...... 111 Brief Background ...... 113 Baião Basic Info Chart...... 114 Baião Check List ...... 115 Percussion Solutions Score ...... 116 Rhythm Section Practice, Play-along Score ...... 117 Baião Performance Tips...... 118 Brief Background ...... 120 Partido Alto (Samba Partido Alto) Basic Info Chart ...... 122 Partido Alto Check List ...... 123 Basic Percussion Solutions Score ...... 124 Advanced Percussion Solutions Score...... 125 Rhythm Section Practice, Play-along Score ...... 126 Partido Alto Performance Tips...... 127 Brief Background ...... 129

Section 4 t Caribbean-Based Sub-Sphere ...... 130 Family of Common Caribbean-Based Percussion Instruments ...... 131 Caribbean Musical Characteristics ...... 132 FAQ About Playing Caribbean-Based Jazz ...... 134 Calypso/Soca Basic Info Chart ...... 135 Calypso/Soca Check List ...... 136 Basic Percussion Solutions Score ...... 137 Advanced Percussion Solutions Score...... 138 Rhythm Section Practice, Play-along Score ...... 139 Calypso/Soca Performance Tips...... 140 Brief Background ...... 142 Merengue Basic Info Chart ...... 143 Merengue Check List ...... 144 Basic Percussion Solutions Score ...... 145 Advanced Percussion Solutions Score...... 146 Rhythm Section Practice, Play-along Score ...... 147 Merengue Performance Tips...... 148 Brief Background ...... 151

Section 5 t More Direction, Resources and Tools ...... 152 Where’s the Clave? Finding the Proper Clave Type and Direction ...... 153 Set Up, Tuning and Maintenance of Latin Percussion Instruments (by Ed East) ...... 158 Appendix A: Family of Cuban, Clave Patterns ...... 161 Appendix B: Partial List of Important Latin and Latin Jazz Musicians and Groups...... 162 Appendix C: Glossary of Latin Jazz Terms ...... 165

See www.latinjazzguide.com for additional resources, information and exclusive customer content. LATIN JAZZ GUIDE Road Map to Style Interpretation

How do you fnd the proper Latin style when there is no specifc style indication on the part or score? Here are some steps to help you to identify style authenticity and consistency (where none may exist). For more information about some of the terms and information given here, please refer to the corresponding “Charac- teristics” chapter for each style that is referenced. Te following examples are meant to show parts that might appear in published scores and are not necessarily meant to be examples of authentic style parts.

NOTE: This sequence works best with medium to up-tempo tunes. For slower tempo styles, refer to the individual “Basic Information Charts” presented in each style-chapter.

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Look at the Bass Part Check out the section of the chart where the bass is playing consistent time and analyze the part as shown in the example below. Example 1–1: Bass Part Excerpts A. F6 œ œ. œ œ. ? 4 F6œ. J œ œ. j œ œ. J œ œ. j œ b4 œ œ. J œ œ. J œ œ. J œ œ. J ? 4 F6œ. œ œ. j œ œ. œ œ. j œ Bass line A aboveJ suggests a Brazilian-basedœ œ approach (bossa nova,J samba) and is discussedœ œ further in b4 œ œ. J . J œ œ. J . J the? “Brazilian4 œ. Musical Characteristics”œ œ. chapter.j œ œ. œ œ. j œ J 7 J 7 B. b4 Cm6 J G œ œ. J Cm6 J G œ œ. J œ œ 7 œ œ 7 ? b 2 Cm6 J œ Gœ. Cm6 J œ Gœ. b b 2 œ. œ œ œ œ œ œ. œ œ œ œ œ Cm6 œ Gœ7 J Cm6 œ Gœ7 J ? b 2 œ J . œ œ œ œ J . œ œ œ b b 2 . œ œ J . œ œ J ? b 2 J œ œ. J œ œ. Bassb b line2G6 Bœ .above suggests a Cuban,F6 clave-basedœ œ approachœ F6œ (cha. cha chá, mambo)G6 and is discussedœ œ œfurther in the “Cuban, Clave-based Musical Characteristics”J chapter. J G6œ. œ F6. j F6. j G6œ. œ C.? 4 œ œ œ œ œ œ œ œ œ œ œ œ b4 J j j J ? 4 G6œ. œ œ œ F6œ. œ F6œ. œ G6œ. œ œ œ b4 J œ œ œ œ J ? 4 œ. œ œ. j œ œ. j œ œ. œ b4 œ œ œ œ œ œ œ œ J J Bass line C above suggests a Caribbean-based approach (calypso, soca) and is discussed further in the “Caribbean Sub-Sphere Musical Characteristics” chapter.

NOTE: Sometimes a chart will have mixed signals. For example, it might show a Brazilian bass line, but Cuban-based percussion parts. In this circum- stance, it is best to change the percussion parts to fit the rhythm section parts.

14 If there is strong enough evidence to point to a specifc style, then go to the appropriate “Sphere Home Page” and follow the information shown to determine the exact style, instrument selection, and other considerations. If the bass line is not conclusive enough, then continue to the next step.

NOTE: Remember, any two-bar pattern presented here can appear in the opposite 4UFQ

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Look at the Drum-Set Part direction — first bar second, second bar Look for any evidence of a style-specifc rhythm cell in first. Keep your eyes and ears open to the drum parts, as given in the example below: the direction of the clave or any two-bar rhythmic cell. Example 1–2: Drum Set Excerpts from Tree Diferent Styles

A. >> > > >> > > y yyyy y y yy y y y 2 œœ œ TT ‰ œœ œ ã22 œ y œ y y œ y y Œ y Œ y Œ y Drum set pattern A above has both a conga imitation — cross-stick and tom tom — as well as a cascara- like hi-hat pattern, which suggests a Cuban, clave-based approach.

B. > > > > > y y y y y y y y y y y 2 œ œ œ œ œ œ œ œ œ œ œ ã4 œ y œ œ y œ œ y œ œ y œ

Drum set pattern B above features the tell-tale Brazilian bass drum part found in bossa nova and samba, which suggests a Brazilian-based approach.

C.

yy y y yyy y 2 yyœ y œ y yyœ y œy ã22 yy˙ œ ˙y œy ˙ yyœ ˙ y œy ã22 ˙ ˙ ˙ ˙ Û. Û Û Û Û. Û Û Û ã J J Big Three Rhythm

Drum set pattern C above outlines the “Big Tree” rhythm (discussed in the “Caribbean Musical Character- istics” chapter) and therefore would suggest the Caribbean-based approach. If there is strong enough evidence to point to a specifc style, then go to the appropriate “Sphere Home Page” and follow the information given to determine the exact style, instrument selection and other consid- erations. If the drum-set part, along with the bass line, is not conclusive enough, then continue to the next step.

15 LATIN JAZZ GUIDE

4UFQ

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Look at the Other Rhythm Section Parts Piano Cm6 G7 Cm6 G7 Look at the piano and guitar compingj patterns.j Tjey may suggest a Cuban Montuno Patternj j, a Brazilianj Two-bar Patternb or a Caribbean “Bigj Tree” pattern as follows.. Tese termsj are all explainedj in detail in the “Characteris. j- tics” pagesb b 2 of eachœ style.œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ & 2 œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. Example I–3: œRhythm œSectionœ Excerpts œ œ œ œ œ

Piano Cm6 G7nœ Cm6 G7 nœ ? b 2 nœ j œ œ œ œ œ œ. j nœ jœ œ œ œ œ œ. j b b 2 œ œ œj Jj Jj Jj œj œ œ œj Jj Jj Jj œj bbb 2 œ œ œ œ œ nœ œ œ. œ œ œ œ œ œ nœ œ œ. œ & 2 œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ G6 F6 Eb9sus4 D9 # nœ j œ nœ j nœ jœ nœ j ? bb 22 Ûœ. œÛ œÛœ œÛ œ Ûœ. Û œÛ œ. Û œ Û.œ Ûœ œÛ œ œÛ œÛ œÛ ‰Ûœ Ûœ. Ûœ & b2 J J J J J J J J JJ A: Piano partG6 A above would suggestF6 a montuno pattern, thereforeEb9sus4 it would be a Cuban,D9 clave-based approach. 6 6 6 6 #D 9 C 9 D 9 Eb 9 2 Û. Û Û Û Û. Û Û Û Û. Û Û Û Û Û ‰ÛÛ Û & 2 J ã42 Û Û ≈J Û Û Û. ÛJÛ Û. Û Û J ≈ Û Û Û. Û Û Û. Piano Cm6 G7 Cm6 G7 B: j j j j j j j j j j Pianob 62 or guitar comping patternsœ 6 œsimilar toœ theœ. one shown6 in B above, suggestœ a variationœ6 ofœ theœ. Two-bar b bD 9 œ œ œ C 9 nœ œD 9œ œ œ Eb 9 nœ œ Brazilian& 2Rhythmœ andœ œ thereforeœ œ aœ Brazilian-basedœ œ œ œ approach.. œ œ œ œ œ œ œ œ œ œ œ. œ 2 Û Û ≈ Û Û Û. Û Û Û. Û Û ≈ Û Û Û. Û Û Û. ã4 NOTE: nœ Brazilianj œ styles suchnœ as samba and bossaj novan œare ofenjœ written in cutn œtime j ? bb 2 (2/2œ meter)œ œ œin publishedœ œ chartsœ to œmakeœ. them œeasierœ to readœ œ usingœ œ eighthœ notesœ and œ œ. œ b quarter notes. BrazilianJ musiciansJ Jusually prefer 2/4 or 4/4 meter. J J J C: G6 F6 Eb9sus4 D9 # 2 Û. Û Û Û Û. Û Û Û Û. Û Û Û Û Û ‰ÛÛ Û & 2 J J J J Comping patterns in the rhythm section that outline the “Big Tree” rhythm, as shown in C above, suggests a Caribbean approach.

6 6 6 6 AfDer9 following these suggestedC 9 steps and using the informationD 9 and reference materialEb 9 presented here, a specifc Latin jazz style should be found. Go to the appropriate “Sphere Home Page” and follow the infor- mationã42 ÛpresentedÛ to≈ determineÛ Û theÛ .exact style,Û Û instrumentÛ. selectionÛ Û and≈ otherÛ considerations.Û Û. Û Û Û. If the style is Cuban, clave-based, refer to the “Where’s the Clave” chapter and follow the steps to help determine clave direction.

NOTE: When in doubt, go to calypso. Experience dictates that when a chart is written in a generic “Latin” style, the bass line will ofen be closer to a Caribbean style, and therefore calypso will make an otherwise divergent chart have some continuity and authenticity.

16 Cuban, Clave-Based Sphere Cuba, Puerto Rico*

$PNNPO
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$VCBO
$MBWF#BTFE
+B[[ CUBAN: .BNCP [MAHM-bo] $IB
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DIÃ 3VNCB [ROOM-bah] 4POHP "GSP$VCBO
#FNCF
[bem-BEH] #PMFSP [bo-LEH-(r)oh]

PUERTO RICAN: *#PNCB [BOHM-bah] *1MFOB [PLEH-nah] .VTJDBM
3FGFSFODF Musicians Playing ! Clave-Based Music Song Title (Style)

Ray Barretto “El Watusi” (boogaloo) $VCBO
$MBWF#BTFE

Maurio Bauzá “Mambo Inn” (mambo) 1FSDVTTJPO
*OTUSVNFOUT
Celia Cruz “Bemba Colora” (rumba- PRIMARY DRUMS: cha cha chá) Congas or tumbadoras Dizzy Gillespie “Manteca” (jazz mambo) Timbales [tim-BAL-hes] Francisco “Machito” “Blen Blen Blen” (mambo) Bongo Grillo Drum set Eddie Palmieri “Vamonos Pa’L Monte” (guaracha- mambo) HAND HELD: Claves [CLA-veh] Tito Puente “Oye Como Va” (cha cha chá) “Ran Kan Kan” (mambo) Maracas Cowbells or campanas Poncho Sanchez “Morning” (bolero) Shekere [CHE-ke-ray] Arturo Sandoval “A Night in Tunisia” (rumba-jazz) Güiro [WEE-rho] Ramón “Mongo” “Afro Blue” (Afro 6/8) Santamaría * = Presented in the companion website Cal Tjader “Soul Sauce” (cha cha chá)

*Showing the most common styles found in Latin Jazz (see page 22)

17 LATIN JAZZ GUIDE Brazilian Based Sphere

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#SB[JMJBO#BTFE
+B[[ 4BNCB (multiple varieties) #PTTB
/PWB #BJÈP [by-YAWN] 1BSUJEP
"MUP .BSBDBUV [ma-ra-ka-TU] 'SFWP [FRAY-vo] $IPSP [SHO-ro] !

#SB[JMJBO

1FSDVTTJPO
*OTUSVNFOUT
PRIMARY DRUMS: 4VSEP [SUR-du]: A family of large, tubular, low sounding drums strapped over one shoulder (samba batucada). Played with one mallet and hand .VTJDBM
3FGFSFODF %SVN
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Musicians Playing HAND HELD: Brazilian Music Song Title (Style) "HPHÓ [ah-go-GO]: Two diferently Astrud Gilberto “Meditation” (bossa nova) pitched bells attached by a João Gilberto “So Danço Samba” (jazz samba) curved metal grip Gilberto Gil “How Insensitive” (bossa nova) 5SJBOHVMP Large triangle for baião (BO[Ã [gung-zah]: Shakers that can Stan Getz “Te Girl from Ipanema” (bossa nova) be cylinder or substituted with Joe Henderson “Once I Loved” (bossa nova) egg shakers (not maracas) Antonio Carlos Jobim “Corcovado/ Quiet (bossa nova) 1BOEFJSP [pan-DAY-roh]: Similar Nights of Quiet Stars” to single-head tambourine, but Milton Nascimento “Os escravos De Jo” (contemporary with diferent cymbal types that afoxé) face each other Sergio Mendes “Magalenha” (samba Bahia) 5BNCPSJN [tam-bo-REEM]: Small Airto Moreira “Tombo” (jazz samba one-sided drum played with a in 7/4) multi-pronged beater Hermeto Pascoal “Aquela Coisa” (jazz baião) "QJUP [AH-pea-toh]: Samba whistle Horace Silver “Song for My Father” (jazz bossa nova)

*Showing the most common styles found in Latin Jazz (see page 89)

18 Caribbean Based Sub-Sphere Trinidad, Dominican Republic, Tobago, Virgin Islands*

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$BSJCCFBO#BTFE
+B[[ $BMZQTP and 4PDB [SOH-kah] (Trinidad, Tobago, West Indies islands) .FSFOHVF [meh-RHEN-gey] (Dominican Republic) ! $BSJCCFBO#BTFE

1FSDVTTJPO
*OTUSVNFOUT
$BMZQTP4PDB PRIMARY DRUMS: Pan/Steel drums: Family of drums cut from steel barrels, mounted .VTJDBM
3FGFSFODF and played with small stick- Musicians Playing mallets Caribbean-Based Music Song Title (Style) Brake drums: Old car brake Harry Belafonte “Te Banana Boat cylinders played with stick or Song” (“Day-O”) (calypso) metal beaters (can substitute Burning Flames “Island Girl” (calypso) cowbells). Sonny Rollins “St. Tomas” (jazz calypso) Drum Set and Congas Olga Tañón “Muchacho Malo” (merengue) HAND HELD: Triangle Wilfrido Vargas “El Africano” (merengue) Shakers (not maracas) Johnny Ventura “Morena” (merengue) .FSFOHVF

PRIMARY DRUMS: Musicians Playing Caribbean-Infuenced Jazz Tambora [tam-BO-rah]: (can use conga as a substitute) Caribbean Jazz Project “Sadie’s Dance” HAND HELD: Yellowjackets “Rush Hour” Güira [WEE-rah]: Metal cylinder- Andy Narell “Shadow Play” like instrument that is scraped with a metal-pronged scraper (like a metal güiro) Cowbells (usually mounted)

*Showing the most common styles found in Latin Jazz (see page 130)

19 LATIN JAZZ GUIDE SECTIONSECTION22 The Cuban, Clave-Based Sphere

Mambo Cha cha chà Rumba Afro Cuban 6/8 (Bembe) Songo Bolero

22 Family of Common Cuban Percussion Instruments

Bongos

Timbales with mounted wood block and cowbells

Maracas

Shékere

Claves

Guiro Congas Photos provided courtesy of Latin Percussion® 23 LATIN JAZZ GUIDE Cuban Musical Characteristics Clave Cuban music, at its very core, is built over a 2-bar rhythmic structure called clave. Tis pattern acts like a rhythmic cantus frmus (fxed song) that supports and guides a variety of complex, syncopated and contra- puntal musical structures built on top of it. Te example below shows the two most common clave patterns. Example 2–1: 3:2 Son and Rumba Clave

Son Clave ã 2 Û. Û Û Û Œ Û ÛŒ J Rumba Clave ã 2 Û. Û Û. Û Œ Û ÛŒ J J

NOTE: The Afro-Cuban 6/8 (bembe) bell part is another important Cuban “clave” rhythm that is associated with the folkloric and religious traditions, but also found in rumba Columbia and many jazz applications. See the Afro-Cuban 6/8 chapter in this book, as well as the “Family of Cuban Clave Patterns” in the Appendix section for more information on this important rhythmic cell.

Son [sõne] clave r
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Son clave is named for its connection to the son musical style, one of the historic pillars of Cuban music. Originating in Cuba’s eastern countryside, but later a favorite in urban areas, son evolved into a classic Cuban mix, with African-derived but uniquely Cuban percussion instruments (bongos, claves and maracas) and rhythm sensibilities, Spanish/troubadour vocal tradition and European instru- ments (trumpet, guitar, upright bass). Te Cuban tres, a larger version of the American mandolin, was also an important part of the mix. Son has exerted a strong infuence on many later Cuban styles. r
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Te son clave pattern is slightly less syncopated than its rumba counterpart (as shown in the example above) and is, therefore, considered easier to play and dance to. Traditionally, it is the clave pattern found most ofen in standard jazz band literature and used in mambo, cha cha chá, and other common “salsa” styles.

Rumba [ROOM-bah] clave r
Origins: Rumba clave, along with the 6/8 bembe bell pattern, comes from the Cuban-folkloric tradition and specifcally from its namesake complex of rumba styles (see Rumba chapter in this book for more information). Another pillar of Cuban music, rumba originated as a secular expression of the Afro- Cuban population living in the urban areas and port cities. Tis heritage was refected in the instrumen- tation of the hand drums: congas and cajón (large boxes); along with the hand-held instruments: claves, shékere and the guagua (hallowed out bamboo piece played with sticks), and the ever-important vocals. r
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Te rumba clave pattern, with its one extra note of syncopation—the last beat on 3-side, is ofen considered more challenging to play and usually signals a unique musical vocabulary, which will be discussed further in the “Rumba Performance Tips” section.

24 Most scholars point to West African musical traditions as the origins of clave. Cuba’s extensive slave NOTE: Remember, “clave” can refer to either the Afro-Cuban instrument (two wood dowels trade that lasted through the 1870s, along with its struck together) or the 2-bar rhythm cell that unique geographical, social and political conditions, they play. See both the Family of Common created a musical heritage with strong West African Cuban Instruments and the Family of Cuban roots. Te clave rhythm emerged from these roots and Clave Patterns page in this book. would eventually spread far from Cuba’s shores.

But only in Cuba did the idea of clave emerge as a codifed, functional and structural tool for both musicians and dancers.

NOTE: The son clave pattern is a common and familiar rhythmic cell in American R&B, funk hip-hop and rock ’n’ roll music. It is the same as the “Bo Diddley” or “Iko Iko” beat found in New Orleans music and continues to be a widely-used rhythmic device outside of Latin music.

Montuno Many of the most well-known styles of Cuban music include a piano and/or guitar part, ofen referred to as montuno. Tis is an arpeggiated pattern that outlines the harmonic motion of the tune. Tese patterns can be simple or very complex. A typical montuno is presented below with its corresponding clave pattern . Example 2–2: Basic Montuno Pattern With Corresponding 2:3 Son Clave

2 Œ Û Û Œ Û. Û Û Û Œ Û ÛŒ Û. Û Û Û ã2 J J Piano Cm6 G7 Cm6 G7 j j j j j j j j j j bbb 2 œ œ œ œ œ nœ œ œ. œ œ œ œ œ œ nœ œ œ. œ & 2 œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ nœ nœ ? b 2 nœ j œ œ œ œ œ œ. j nœ jœ œ œ œ œ œ. j b b 2 œ œ œ J J J œ œ œ œ J J J œ

Te montuno pattern evolved from Cuban son and son montuno styles of music. Arpeggio-based patterns called guajéos NOTE: Montuno is a term that were played on a mandolin-type instrument with three sets of can also refer to a form-section of a classic mambo arrangement. double strings called a tres. Tese patterns were adapted to piano in the charanga and conjunto bands in the early 20th century Cuban dance halls. Today, montuno remains a signature sound of Cuban music.

25 LATIN JAZZ GUIDE

Tumbao Bass and congas play a pattern referred to as tumbao, which simply means the basic groove and/or pattern. Te bass tumbao follows a strong Cuban characteristic of landing on beat-four, anticipating the chord change by one beat, as shown in the example below. To Western ears, beat-four becomes a substitute for beat-one, and this can cause some confusion. Example 2–3: Bass Tumbao Pattern

Cm6 G 7 Cm6 G 7 œ œ œ œ ? b 2 . J œ œ. œ œ J œ œ. œ œ . b b 2 . œ. J œ œ. J œ .

NOTE: Playing this bass tumbao part can be very difficult for the inexperienced bass player. See Mambo Performance Tips chapter for a step-by-step learning method for this part.

Te conga tumbao pattern, when played as a two-bar pattern, shows the movement to the low conga drum on the 3-side of the clave, as shown in the example below. Example 2–4: Two-bar Tumbao Pattern for the Congas with 2:3 Son Clave

Son Clave 4 Œ Û ÛŒ Û. Û Û Û 4 J SSTT TT TT > > Congas 4 y y t y y y œ œ y y t œ œ y œ œ ã 4 S = slap T = open tone A Note About Cuban Harmony Te piano montuno and the bass tumbao refect a harmonic vocabulary that has strong roots in both Spanish/Mediterranean formal music as well as West African oral-music traditions. Tese same musical roots helped to inform a harmonic vocabulary with strong P4 or P5 root motion that was easily transmitted and remembered, yet highly functional and adaptable. Te example bellow shows a few typical progressions found in cha cha chá, mambo and other son clave-related styles. Example 2.6: Typical Cuban Chord Progressions Shown in Roman Numerals (Key of C) I IV V IV — (C, F, G, F) i7 V7 — (Cm7, G7) i7 v7 — (Cm7, Gm7) i7 iv7 — (Cm7, Fm7) I bVII IV — (C, Bb7, F) ii7 v7 — (Dm7, Gm7) ii7 v7 i7 — (Dm7, Gm7, Cm7) i7 iv7 V7 iv7 — (Cm7, Fm7, G7, Fm7)

26 Metal Calls Metal In Cuban dance styles such as mambo and cha cha chá, the percussionist will “call” one another, usually with the bongo bell (or a timbale fll), from a “dry” sofer sound, to a stronger “metal” sound. Tis provides dynamic contrast and momentum between form sections. Example 2–5: Dry Percussion sounds to Metal Percussion Sounds

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4PVOE
NPWFT
UP


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4PVOE
Sofer dynamics and lighter feel Stronger, louder sections with more energy 5JNCBMFESVN
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Cascara pattern on timbale shell Bell pattern (many variations) on or hi hat mambo-bell or bell of cymbal #POHP

Martillo pattern Large bongo bell part $POHBT

Basic tumbao pattern More active varied tumbao pattern

Tis scenario and all percussion patterns referenced above can be found in the “Percussion Solutions Scores” for mambo and cha cha chá in this book, and in many Latin drumming publications. Tis metal- calls-metal concept can also be easily heard in many of the listening examples given in the Background sections.

5JNF
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5FNQP One of the particularly strong characteristics of Cuban music is the complete command of tempo, rhythm and time. Cuban musicians seem to combine the ability to build complex syncopations and counterpoint (in clave) over a unifed fundamental pulse, while maintaining an elastic time-feel. Tis keeps the music and the time fexible and dynamic, but never sloppy. Te strong tendency to increase tempo throughout a tune—a purposeful accelerando—comes from the rumba and folkloric traditions of Cuba. Tis gradual and controlled tempo change builds excitement and energy in the music. A good example of this is the tune “Sandunguera” by the Cuban super-group, Los Van Van. Tere are multiple recordings of the salsa classic, but each one features a gradual, organic and consistent accelerando that creates a sense of musical climax and brings vitality to the music.

NOTE: It is a real challenge to replicate the natural and controlled tempo acceleration found in some Cuban music, without sounding as if there is unintentional rushing. This is an excellent opportunity for musicians to work on and consider issues regarding tempo, feel and what qualifies as “good time.”

27 LATIN JAZZ GUIDE

Summary Te idea of a two-bar rhythmic cell is a West African musical characteristic that can be found in much of the diaspora. But only in Cuba did it manifest itself into a musical building block. All other musical elements, including melodic lines, percussion parts, tumbao and montuno patterns are all organized and directed by clave. It is important to remember that even though Brazilian music and other “Latin” styles do not share the concept of clave as a systematic, structural-tool, similar two-bar rhythmic cells do appear in other Latin music styles. For example, the “Two-Bar Brazilian Rhythm,” a common organizing cell discussed in the Brazilian Musical Characteristics chapter, has strong rhythmic similarities to Cuban clave and will demand many of the same performance practice considerations. But, Cuba is where clave both organizes the music and, as Bobby Sanabria states, helps to “excite the human organism for its maximum potential on the dance foor.” (Latin Music USA, PBS broadcast). Remember:
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NOTE: To have a more complete understanding of Cuban music, try learning some basic salsa dance steps; take some dance instruction or watch videos of people dancing to Cuban music. These activities will provide a more profound understanding of all the Cuban styles presented herein, and how clave functions for both musicians and dancers.

28 Cha Cha Chá CHA CHA CHÁ (and Boogaloo)

BASIC INFO CHART Sphere Cuban, clave-based Country of Origin Cuba Related Rhythmic Cell Son clave Typical Meter/Tempo Range 4/4: quarter note = 100 – 126 Reference Song (Artist) “Oye Como Va” (Tito Puente)

Percussion (added in this suggested 1. Congas 2. Guiro 3. Timbales 4. Bongos order, after drum set) See “Percussion Solutions” and “Rhythm Section Play Along” scores in this section

The Cha Cha Chá Sound In a very general sense, cha cha chá can be considered a slower version of mambo, with direct similarities and important diferences. )PX
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NOTE: Boogaloo will be discussed in the cha cha chá “Performance Tips” section.

41 LATIN JAZZ GUIDE

Cha Cha Chá Checklist

☐ Tis tune really is a cha cha chá or boogaloo from the Cuban, Clave-based Sphere, from score/part indications, bass part, piano montuno parts, etc., (see p. 14).

☐ Original versions of this tune and/or similar reference tunes are available to all musicians in the ensemble (see p. 50).

☐ Te clave direction (3:2 or 2:3) has been checked to see if the music shifs from one side of the clave to the other, within the arrangement (see p. 153).

☐ All musicians in the ensemble understand the clave pattern being used, can clap it and know how it afects their own parts (see p. 46).

☐ Only Cuban instruments are being used in the percussion section (see p. 23).

☐ All tunable Latin percussion instruments are tuned and set up properly (see p. 158).

☐ Te percussionists know the basics of playing authentic parts correctly and in clave (see pp. 43–44).

☐ Te bass player is able to play the part with correct rhythm and feel (see p. 47).

☐ Piano/guitar players can play cha cha chá and montuno patterns, when used, in the proper clave “direction” and with the correct rhythm (see p. 47).

Notes x

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43 Percussion Solutions Score LATIN JAZZ GUIDE Cha cha chá: Advanced Advanced PercussionCuban, Clav e-basedSolutions Score Presented$IB here
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inDIÃ 2:3 son clave Cuban, Clave-based (presented here in 2:3 son clave)

Suggested drum set part with no extra percussion

Small cowbell or bell of cym > > Drum Set y Å y Å y Å œy œ y Å y Å y Å œy œ (no extra perc.) 4 T T T T T T ã 4 œ œ. œ ŒÓ J Ó Suggested parts with percussion added (in order)

Hi-hat > > > > > > Drum Set y Å y Å y Å y Å y Å y Å y Å y Å (dry sound) 4 T T T T T T T T ã 4 œ Œ ÓÓœ. œ Bell of J cym Drum Set ∆ ∆ ∆ ∆ ∆ ∆ ‰ ∆ ∆ ∆ ∆∆∆ variation 4 œ (metal sound) & 4 ¿œ ¿ ¿¿œ ¿¿œ ¿œ ¿œ

P___F S F __ P___F T T P___F S T T F T T Congas (two drum) 4 x x 3 x x x œ œ x x 3 x œ œ ã 4 œ œ LL RRLLL R LL RRRRRL

Guiro 4 ã 4 œœ~~~~~~~ ^ œ^ œœ~~~~~^ œ^ œœ~~~~~~~~~^ œ^ œœ~~~~~^ œ^ or Both sticks on shell (alt. stroke) Timbales 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ã 4 3 3

Timbale variation 4 ã 4 ∆∆Å∆ œ∆ ∆ Å∆ ∆ œ∆ R L R L etc… Maracas 4 ã 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

44 Rhythm Section Practice Play-Along Score Cha Cha Chá Cha cha chá Rhythm Section Practice,Cuban Clave-Based Play-Along Score $IB
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DIà Cuban, Clave-based q = 112 Em7 A9 (A9) Guitar # # 2 . Û Û‰Û Û Œ‰Û Û Û. & 2 . J J J Em7 A9 # & # 2 . œ œ Œ œ œ Œ œ œ Piano œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ ? ## 2 . ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ Em7 A9 Bass œ œ œ œ œ œ œ ? ## 2 . œ. J ‰ œ œ 2:3 Son Clave J Rhythm Cell Reference 2 . Œ Û ÛŒ Û. Û Û Û ã 2 J Em7 A9 (A9) Gtr. # & # Û Û‰Û Û Œ‰Û Û Û. . Em7 J A9 J J # & # œ œ Œ œ œ Œ œ œ . Pno. œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ ? ## ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ . Em7 A9 Bass œ œ œ œ œ œ ? # œ. J œ . # ‰ J . Clv. Œ Û ÛŒ Û. Û Û Û . ã J NOTE: s 4HISPIANOPARTISUSEDTYPICALLYASONEOFSEVERALCOMPINGPATTERNS0IANOCANALSOCOMPSIMILARTOTHE rhythm in the guitar part above. s !SALWAYS THECLAVECANBEASSHOWNHERE OR These score parts represent typical (but not exclusive) rhythm section parts for this style, and can be played with the corresponding “Percussion Solutions Scores” for practice purposes. See www.latinjazzguide.com for video play-along clips and more information.

45 LATIN JAZZ GUIDE Cha Cha Chá Performance Tips

NOTE: Please review the “Cuban Musical Characteristics” chapter; as much of the infor- mation provided there pertains directly to cha cha chá.

Cha cha chá = Son Clave

One of the similarities between mambo and cha cha chá is the use of son clave for both styles. Once again, son clave is shown in the example below, and once again, a reminder that the melodic phrase can start on either the “3” or “2” side.

Example 2–12: 3:2 Son Clave

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Playing a successful cha cha chá is very similar to playing a medium-slow, Basie-style swing tune that seems to stay just under the boiling point, but has occasional bursts of musical energy. Both require a heightened sense of time, articulation, control and attention to detail. Te musical results are the same, as well: creating an exciting, cool, nuanced sound that lives deep in the rhythmic pocket.

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%SJWF Te prevailing rhythmic characteristic of cha cha chá is the quarter note drive coming from the percussion section. More specifcally from the timbales (or drum set), as well as the güiro. Te primary sound that carries the quarter note pulse is the smaller, higher pitched cowbell. A cross stick on the snare drum can have the same efect if the bell sound is not available. Te example below shows the drum set covering the quarter note with a cross stick.

Example 2–13: Basic Drum Set Part for Cha Cha Chá Accenting the Quarter Note

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in two-bar phrases, due to the slower tempo and the available rhythmic space.

46 Cha Cha Chá

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montuno patterns that are more common in mambo. Rhythm section players can either play a syncopated part as shown in the piano part in the score below, or as strong clave-based rhythmic part similar to the familiar intro- duction to the tune “Oye Como Va,” as shown in the guitar part below. If the tune requires more of a standard jazz approach, the comping instruments may play a more jazz-based comping style suitable for any mid-tempo jazz tune. Below is a mini-score excerpt from the “Cha Cha Chá Rhythm Section Practice, Play-along Score” given in this section of the book. It should be noted that the piano part shown is not typically played through an entire cha cha chá, but only where the tune needs some extra drive.

Example 2–14: Cha Cha Chá Rhythm Section Parts

Em7 A9 (A9) Guitar ## 2 . Û Û‰Û Û Œ‰Û Û Û. & 2 . J J J Em7 A9 # 2 & # 2 . œ œ Œ œ œ Œ œ œ Piano œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ ? ## 2 . ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ Em7 A9

Bass œ œ œ ? # 2 . œ. œ œ œ œ œ œ # 2 . J ‰ J

Em7 A9 (A9) Guitar # # Û Û‰Û Û Œ‰Û Û Û. . & J J J Em7 A9 # & # œ œ Œ œ œ Œ œ œ . Piano œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ ? ## ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ . Em7 A9 Bass œ œ œ œ œ œ ? # œ. J œ . # ‰ J .

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5SBEJUJPO Like mambo, cha cha chá is ofen performed as a vocal-based style. Even though there are many examples of an instrumental approach, performing a cha cha chá with vocal parts (usually in Spanish), including the lead voice and coro response, can result in a more profound musical experience for both the musician and audience.

47 LATIN JAZZ GUIDE

Boogaloo Performance Tips

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#BDLCFBU Te infectious beat and relatively simple parts to boogaloo make it an appealing style for both musicians and listeners. Tink of boogaloo as cha cha chá, but with a stronger backbeat from the drum set player and more of a rock feel from the rhythm section. A basic, boogaloo drum set pattern is shown in the example below. Example 2–15: Boogaloo Drum Set Part > > > > y Å œy Å y Å œy Å y Å œy Å y Å œy Å ã44 œ œ œ œ œ

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-ZSJDT Boogaloo is a crossover style that incorporates English with some Spanish (usually very simple Spanish parts). Tis is a great style for non-Spanish speakers who are looking to add vocals to a performance. What it lacks in musical sophistication, it makes up for in energy and appeal.

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All Latin jazz styles have a strong groove element, but boogaloo is unique in its simplicity and reliance of feel to generate musical interest and energy. It really is as much a rock style as it is a Latin one. Tis does not mean abandoning principles of subtlety or musical nuance, but an approach that is focused on a danceable, groove-oriented feel and less on sophisticated elements of harmony, melody or dense syncopation (as in jazz rumba styles).

NOTE: Simple and basic parts do not negate the usual degree of “feel” difficulty in either cha cha chá or boogaloo. Finding and playing this music with the proper “feel” can be challenging, as it is for almost all of the styles listed in this book. Listening, then going back to listen again is the most helpful tool in finding the proper feel. See the listening examples given in the “Cha Cha Chá/Boogaloo Performance Tips” section of this chapter for suggestions.

48 Cha Cha Chá Cha Cha Chá Brief Background Cha cha chá (or cha cha) is one of the more familiar rhythms to emerge from Cuba’s rich musical history. Like many other popular styles, cha cha chá, evolved from earlier Cuban styles and eventually fueled a dance craze in the 1950s and ’60s that spread to North America and beyond. Te medium tempo and accessible rhythms gives this style instant appeal for dancers, listeners and musicians. Te actual heritage of cha cha chá can be traced back to danzón, an early Cuban style with strong Euro- pean infuences. Tis all-instrumental style featured strings, woodwinds, and a percussion section that included only the güiro and a small set of timpani, which eventually evolved into what is now known as timbales. Cha cha chá developed as an ending section to danzón, which turned up the heat a bit and gave it a more rhythmic—or African—push. Eventually, this section became a style of its own.

NOTE: As is the case with many of the styles presented here, there are common namesake styles that exist in the books of the classic “dance band” repertoire. Although the names are the same or similar (rumba or rhumba), they usually bear little resemblance to the Cuban original. In the case of cha cha chá, however, the dance-band version at least retains the basic tempo and a semblance of the original feel.

Boogaloo Brief Background Boogaloo is an American hybrid of cha cha chá and early ’60s rock that came out of the Puerto Rican culture in New York City. Boogaloo soon spread via the power of popular music: radio, TV and its corresponding dance, and was an early Latin crossover sensation. With the same tempo as cha cha chá, but with a stronger rock- and soul-inspired backbeat, boogaloo is considered an early crossover style in the formative years of rock ’n’ roll. It became the vehicle for successful hits by artists such as Mongo Santamaria, Ray Barretto and Joe Cuba. Reference the “Listening Examples” below for some examples of this unique style.

NOTE: Boogaloo had far-reaching influences. It inspired not only American artists but also musicians from around the world, including The Beatles and their producer George Martin. The sound of boogaloo is indelibly incorporated into the roots of rock ’n’ roll music.

49 LATIN JAZZ GUIDE

Cha Cha Chá and Boogaloo Listening Examples

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“Oye Como Va” Tito Puente 20th Century Masters, Te Best of Tito Universal Music / 2005

“Slowvisor” Eddie Palmieri Palmas / Nonesuch Records /1994

“Algo Nuevo” Ray Barretto RicanStruction Codigo Music, LLC / 1979

“Amor Verdandero” Afro Cuban All Stars A Toda Cuba Le Gusta Nonesuch Records / 1997

“Soul Sauce” Cal Tjader Soul Sauce—Cal Tjader (’60s style small group) Verve / 1964

“Comelon Hustle” Charlie Palmieri Impulsos Musical Productions, Inc. / 1975

“Cha Cha Cha Para Mi Mark Levine & the Latin Serengeti Alma” (contemporary Tinge Lef Coast Clave Records / 2001 small group jazz)

“Copla No. 4” Bebo Valdés Bebo De Cuba Calle 54 Records / 2005 #00("-00

“Bang Bang” Joe Cuba Joe Cuba: Greatest Hits Codigo Music / 2010

“El Watusi” Ray Barretto Te Essential Ray Barretto / Codigo Music / 2010

“Micaela” Pete Rodriguez Fania Signature Vol. III – Boogaloo Fania / 2007

“Boogaloo Blues” Johnny Colon Fania Signature Vol. III – Boogaloo Fania / 2007

50 SECTIONSECTION33 The Brazilian-Based Sphere

Samba Bossa Nova Baião Partido Alto

89 LATIN JAZZ GUIDE Family of Common Brazilian Percussion Instruments

Tamborim Caixa

Apito (whistle)

Ganzá (shakers) Surdos

Agogô bells

Pandeiro Repinique

90 Brazilian Musical Characteristics Two Dominant Styles Samba and its gentler and lighter companion style bossa nova are the two most common styles in Brazilian (Brasilian) jazz and the ones most likely to appear on the jazz musician’s set list. It is important to point out that there are many musical styles in Brazil (see the www.latinjazzguide.com for resources on these styles), yet the lyrical beauty and Afro-Brazilian rhythms of samba and bossa nova have historically dominated Brazil’s musical exports.

NOTE: Brazilian music is not structured over the clave-pattern, even though many Brazilian rhythms can be analyzed as being “in” clave. The main difference is that even though the same Afro-centric rhythmic roots influence both musical traditions, Brazilian music does not use clave as a structural device. Also, the instrument clave, is not indigenous to Brazil, so it should not be included in any standard Brazilian musical context. Remember: Clave = Cuba.

In “2” with a Sixteenth Note Focus Like most music that lives under the “Latin” moniker, Brazilian music is almost always felt over two funda- mental pulse-beats. But unlike most other Latin music, it is composed, transmitted and conceptualized by Brazilians in sixteenth notes, usually in 2/4 or 4/4 meter. According to the many Brazilian musicians with whom I have discussed this, perceiving and interpreting sixteenth notes helps to promote a more accurate, authentic feel. Publishers may gravitate to cut time (2/2) using eight-notes, as it is considered easier to read. However, Brazilians will even write slow tempo bossa novas using sixteenth notes. In addition, the sixteenth notes are ofen articulated with an accent on the second “e-” or the fourth “a-” sixteenth note as shown in the example below: Example 3–1: Common Brazilian Sixteenth-Note Articulation

1 e + a 2 e + a 1 e + a 2 e + a > > > > 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 > > > > ã 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

NOTE: When played correctly, the above examples help to produce the lilt often found in Brazilian sixteenth-note phrasing. It is helpful to think of playing a set of egg-shakers, held straight out from the chest, and played in unison, in a rounded back and forth motion. The natural movement of the arms, assuming correct technique, will help promote this staggered sixteenth-note feel.

91 LATIN JAZZ GUIDE Common Brazilian Rhythmic Cells Te “Brazilian Mother Cell” A central rhythmic cell at the heart of Brazilian music is what composer and author Antonio Adolfo calls the “Brazilian Mother Cell” (Brazilian Music Workshop, Advance Music Pub., 1993). Tis rhythm is ofen played on the tamborim in Samba settings, and is interpreted somewhere between the written fgure below and eight- note triplets. Te example below shows the phrase, along with the fnger mute that is used when playing the tamborim.

Example 3–2: Brazilian Mother Cell with Finger Mute Indicated xx > > ã42 œ œ œ œ œ œ Finger mute

NOTE: All musicians interested in playing this music should learn both the Brazilian Mother Cell and the Two-bar Brazilian Rhythm on a tamborim.

This instrument is small, easy to use and sold in most music stores. Playing these rhythms on tamboirm, or just clapping the rhythms while stepping in “2,” will facilitate a more meaningful understanding of Brazilian musical phrasing.

Two-bar Brazilian Rhythm Another common rhythm, used not only in percussion parts but also in rhythm section comping, is what this author calls the “Two-bar Brazilian Rhythm”—for lack of a better term. It is derived from the partido alto rhythm (discussed later in this chapter) and has strong clave-like characteristics. Te Two-bar Brazilian Rhythm follows the same up-beat/downbeat rule as well as the phrasing- on-beat-ONE rule discussed in the “Where’s the Clave?” chapter in the Appendix of this book. One measure functions like the “2 side” of the clave, with a downbeat played on beat-one; while the other measure func- tions like the “3 side” of the clave, with an up-beat played on beat-one. Also like clave, this two-bar rhythm fgure can be phrased in either direction, as shown in the example below: Example 3–3: Te Two-bar Brazilian Rhythm Shown in Both Directions

“2 side” DOWN beat on beat ONE “3 side” UP beat on beat ONE

2 Û Û ≈ Û Û ≈ ÛÛ. Û ã4 J OR

“3 side” UP beat on beat ONE “2 side” DOWN beat on beat ONE

2 ≈ ÛÛ. Û Û Û ≈ Û Û ã4 J

92 Te following example (modifed to 2/4 meter for consistency) is a melodic excerpt of a well-known bossa nova melody. Even though a Brazilian composer did not write this tune, it lines up nicely with the Brazilian Two-bar Rhythm scenario and is ofen phrased this way. Example 3–4: Standard Jazz Bossa Melody Lined Up with Brazilian Two-bar Rhythm

1 234 œ. œ. bb 2 j œ œ œ œ œ. œ œ ˙ & b 4 œ J œ

ã 42 ‰ Û Û ≈ Û Û ≈ Û. Û Û Û Û ≈ Û Û ≈ Û. Û Û

Note the downbeat on the measures 1 and 3, and the of-beat melody note on measures 2 and 4. Of course, there are just as many examples of an of-beat melody starting on the other side of the two-bar phrase and, in fact, many Brazilians would consider this as the more common setting. Whatever the organization of the two-bar phrase, it is critical that all the musicians understand how it is lining up—much the same way as when considering clave direction in Cuban music—and perform the music accordingly.

Melodic Prominence/Harmonic Riches In Brazil, the song—the melody—remains the dominant focus of both the music and the performance. And even though this is a broad generality that can be said for many musical styles, melodic focus must be recog- nized here as a primary focus. Perhaps this is due to the rich Portuguese and European vocal traditions that blended with the other peoples and cultures of colonial Brazil. Below is an excerpt of a beautiful melody written by Brazilian pianist, composer and educator Rafael dos Santos that exemplifes this trait: Example 3–5: Excerpt of Melody for “Debora,” by Rafael dos Santos

DEBORA Rafael dos Santos b œ œ œ œ œ œ œ b bb 2 ™ ‰ ≈ œ œ œ œ œ œ nœ œ œ œ nœ œ & 4 ™ R œ nœ œ œ œ œ b nœ nœ nœ nœ bœ œ &b bb ‰ ≈ R œ œ œ Œ

œ œ œ œ ˙ œ œ œ œ œ œ œ œ bb b ‰ ≈ œ ‰ ≈ œ ≈ œ œ & b R R

œ œ œ œ œ bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ™ & 3 3 J ™ © Santos Music 93 LATIN JAZZ GUIDE

Accompanying the lyrical nature of Brazilian jazz music is a sophisticated and rich harmonic vocabu- lary, heavily infuenced by the “changes” found in American jazz. Tese chord changes ofen take surprising turns that may defy the standard ii-7 to V7 progressions of more conventional jazz standards. Brazilian chord changes, as shown in the example below, provide challenging harmonic fodder for improvisers and composers alike: Example 3–6: Excerpt of Chord Changes for “Debora” by Rafael dos Santos

Fm7 Fm/Eb Dbmaj7 B7 E7 Am7

&42 ’’ ’’ ’’ ’’ ’’

Am7/G Fmaj7 Bbm7 Eb7 Ab7 Bb/Ab Gm7

& ’’ ’’ ’’ ’’ ’’ ’’

C7b9 Fm7 Ebm7 Ab7 Dbm7 Gm7b5 C7

& ’’ ’’ ’’ ’’ ’’ © Santos Music

Summary Brazilian jazz, dominated by but not relegated to samba and bossa nova, is unique in the Latin jazz family. A lyrical focus, rich harmonic substance and Afro-Brazilian rhythms propel its tropical sound. Te Mother Cell and the Two-bar Brazilian Rhythm, though not clave per se, provide unique rhythmic structures and vocabu- laries that help organize the music and identify it as Brazilian.

94 LATIN JAZZ GUIDE SAMBA

BASIC INFO CHART

Sphere Brazilian Sphere Country of Origin Brazil Related Rhythmic Cell Two-bar Brazilian Rhythm Typical Meter/Tempo Range 2/2 in Published Chart: half note = 60 – 152 2/4 or 4/4 if Brazilian Origination: quarter note= 60 -152 Reference Song (Artist) “Samba de Orfeu” (Luiz Bonfá or Stan Getz)

Percussion (added in this 1. Ago-gó bells 2. Surdo (or stand-alone foor tom) suggested order, afer drum set) 3. Shakers 4. Tamborim. See “Percussion Solutions” and “Rhythm Section Play Along” scores in this section

The Samba Sound Te samba sound is considered the signature sound of Brazilian popular music. Tis includes all the charac- teristics listed in the “Brazilian Musical Characteristics” pages, plus an active rhythmic soundscape, special- ized percussion instruments and: r
'SFRVFOU
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in the “Brazilian Musical Characteristics” section. Example 3–7: Two-Bar Brazilian Rhythm

2 Û Û ≈ Û Û ≈ ÛÛ. Û ã4 J

NOTE: Remember, like clave, musical phrases can begin on either side of the Two-bar2 Å Brazilian Rhythm.œ Å œ ã4 > >

r
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PO
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CPUI
JO
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the surdoã42 part.Û Even Ûjazz sambas≈ willÛ hint at Ûthis accent≈ scheme.ÛÛ. Û Example 3–8: Basic Surdo Part for Samba, Emphasizing Beat 2 J

2 Å œ Å œ ã4 > >

96 Samba

Samba Checklist

☐ Tis tune really is a samba and from the Brazilian-based Sphere, from score/part indications, bass part, comping rhythms, etc., (see p. 14).

☐ Original versions of this tune and/or similar reference tunes have been made available to all mu- sicians in the ensemble (see p. 105).

☐ Te Two-bar Brazilian Rhythm direction has been determined and all the musicians understand the importance of synchronizing with it (see p. 92).

☐ Only Brazilian instruments are being used in the percussion section (see p. 90).

☐ Te percussionists know the basics of playing authentic parts correctly (see pp. 98–99)

☐ Te bass player is able to play the bass part with correct rhythm and feel (see p. 102).

☐ Guitar/piano/vibes player can play the Two-bar Brazilian Rhythm patterns in the proper direc- tion and with the correct rhythm, feel and sound (see p. 103).

Notes x

97 LATIN JAZZ GUIDE Percussion Solutions Score Basic Percussion SolutionsSamba: Basic Score o 4BNCB Bazilian-Based Brazilian-based

+
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"" RLRLRLRL RRL L RLRL Hi-hat > > > > > > > > y y y y y y y y y y y y y y y y Drum Set 2 ã 4 Œ œ Œ œ RLRLRLRL RRL L RLRL Hi-hat Drum Set variation 2 œ ¿ œ ¿ ¿ ¿ ¿ œ ¿ œ ¿ œ ¿ ¿ ¿ ¿ & 4 Œ œ Œ œ

Agogô bells 5 5 5 5 ã 42 5. . 5 5. . 5

R = mallet Surdo or stand-alone 2 floor tom ã 4 Åmute w/left œ Å œ hand > >

Cylinder or egg shakers ã 42 >œ œ œ >œ >œ œ œ >œ >œ œ œ >œ >œ œ œ >œ

Pandeiro, + + ° + + ° Tamborim 2 or Tamborine ã 4 œ œ œ ≈ œ œ œ

98 Percussion Solutions Score Samba Advanced PercussionSamba: Advanced Solutions Score Bazilian4BNCB -Based Brazilian-based

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Ride cym.> > > > > y y y y y y y y y y y Drum Set 2 œ œ œ œ œ œ œ œ œ œ œ ã 4 œ y œ œ y œ œ y œ œ y œ > > -
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Hi-hat > > > > > > > > > y y y y y y y y y Drum Set 2 e e e e e e e ã 4 œ. œ œ. œ œ. œ œ. œ

> >j Drum Set ¿ ¿ ¿ ¿ ¿ . ¿ ¿ variation 2 ¥ ¥ ≈ ¥ ¥ ≈ ¥ . ¥ ¥ & 4 œ ¿ œ œ ¿ œ œ ¿ œ œ ¿ œ

Agogó bells œ œ œ œ œ œ ã 42 œ œ œ œ œ œ R = mallet RLR RLRL Surdo or > > stand-alone 2 floor tom Å œ. Å Å. Å œ. Å ãmute 4w/left hand Cylinder or egg shakers ã 42 >œ œ œ >œ >œ œ œ >œ >œ œ œ >œ >œ œ œ >œ

* Pandeiro, +++ + Tamborim 2 °° °°° or Tamborine ã 4 >œ >œ œ œ >œ ≈ >œ œ ≈ œ œ

* Pandeiro can also play a sixteenth note, thumb-finger-palm-finger pattern similar to the Cylinder/egg shaker part above.

99 LATIN JAZZ GUIDE Rhythm Section Practice,Samb Play-Alonga Score 4BNCBBrazilian Based Brazilian-based

q = 112

Cmaj9 Abm11 Db9(#11) Cmaj9 Db7(#9) j j Guitar bœ bœ œ œ œ œ œ œ 2 . œ œ ≈ œ œ ≈ œ . œ œ œ œ ≈ œ œ ≈ œ . œ œ . & 4 œ œ œ bœ bœ bœ œ œ œ œ bœ bœ . œ œ œ œ œ bœ bœ . œ œ œ Cmaj9 Abm11 Db9(#11) Cmaj9 Db7(#9) j j 2 . œ œ œ bœ œ bœ œ ≈ œ bœ œ. bœ . & 4 . œ œ ≈ œ b œ œ nb œ œ ‰ œ œ bb œ œ. bb œ . Piano œ œ œ bœ œ œ œ œ œ œ bœ œ bœ œ œ œ bœ œ. bœ ? 2 . œ œ œ b œ œ œ œ nœ ≈ œ œ œ. œ . 4 . ≈ ‰ J J . Cmaj9 Abm11 Db9(#11) Cmaj9 Db7(#9) . . bœ Bass 2 œ ≈ œ >œ bœ ≈ œ > œ. œ > œ > ? 4 . bœ œ ≈ œ bœ .

2 bar Brazilian Rhythm Rhythm Cell Reference 2 4 . Û Û ≈ Û Û ≈ ÛÛ. Û Û Û ≈ Û Û ≈ ÛÛ. Û . ã J J

NOTE: s 0IANOANDGUITARPARTSCANPLAYTOGETHER BUTVARIATIONSSHOULDBEUSEDTO avoid unison comping. NOTES:s )F NOGUITARISAVAILABLE PIANOSHOULDCOMPUSINGTHEGUITARPARTRHYTHM - Guitar is the primary comping instrument for Samba. - Pianos and !S ALWAYS guitar partsTHEh"RAZILIAN can play  BARtog RHYTHMvCANBEPLAYEDASSHOWNHERE OR reversed, with the second bar first. These score parts represent typical (but not exclusive) rhythm section parts for this style, and can be played with the corresponding “Percussion Solutions Scores” for practice purposes. See www.latinjazzguide.com for video play-along clips and more information.

100 Samba Samba Performance Tips Brazilian Rhythmic Cells Te Brazilian Two-bar Rhythm and the Mother Cell rhythm, discussed in “Brazilian Music Characteristics” in this book, are both important aspects of the samba sound. Percussion and rhythm section players can use these ideas for comping, and soloists can use them as rhythmic templates for phrasing. If the entire ensemble applies these rhythm cells, musical potential is greatly increased.

NOTE: Since samba contains virtually all of the musical characteristics described in the “Brazilian Musical Characteristics” section in this book, a review of that chapter is advised.

For reference, the Two-bar Brazilian Rhythm (identical to the partido alto rhythm) is shown again in the example below. Like the Cuban clave to which it is related, it can appear in both directions. Example 3–9: Two-bar Brazilian Rhythm Shown in Both Directions

2 ≈ ÛÛ. Û Û Û ≈ Û Û ã4 J

2 Û Û ≈ Û Û ≈ ÛÛ. Û ã4 J It is very important to determine the direction of the Two-bar Brazilian Rhythm on any given Brazilian tune. If the composition is authentic, the melody and/or the comping patterns in the chart or recording will help determine the proper direction. Once the basic structure and direction is determined, make sure all musicians in the ensemble are synchronized.

NOTE: The Two-bar Brazilian Rhythm can be played with many variations and is not rigidly applied by Brazilian musicians. However, the basic rhythmic shape, with the off-beat starting one measure and a down-beat the other, is fundamental Brazilian characteristic and can be found in other Latin music.

Adding Percussion Don’t assume that just the “Latin” or “samba” indication on the music means the more percussion the merrier. It is a common musical trap to add too much and/or the wrong type of auxiliary percussion. Ofen, a well-played shaker or triangle is all that is needed, especially if the samba is on the jazzier side or if it is a smaller ensemble. Refer to the “Percussion Solutions Scores” for samba to see suggested percussion and the order to add them.

NOTE: It bears repeating that percussion instruments are not “toys” in spite of that unfor- tunate nickname, and they should be given out thoughtfully to musicians who can play the parts well. Percussion never is static; it will either enhance or diminish the music, depending on who is playing and what they are playing.

101 LATIN JAZZ GUIDE

Enhance the Accent on Beat-Two Tere are various ways to enhance the second-beat accent in samba to achieve a more authentic feel. "EKVTU
UIF
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1BSU Te samba bass part is ofen written similarly to a standard bossa nova part and is one of the most recogniz- able musical characteristics of this style. Even though Brazilians prefer to think in terms of sixteenth notes in 2/4 or 4/4 meter, samba is typically published in 2/2 (“cut time”) or 4/4 meter as shown in the example below: Example 3–10: Typical Samba Written Bass Part in 4/4

Cmaj7 Abm9 Db9(#11) bœ œ. Bass œ œ. bœ bœ. œ ? 4 œ. J J J J Tis bass part can be changed to simulate the surdo sound, so that the second half note (beat 2 in 2/2 meter) falls to a lower pitch. Te example below shows the revised bass part with a muted pickup note to help articulate the lower pitch: Example 3–11: Bass Simulating the Half Note Surdo Part Indicated by Arrows

Cmaj7 Abm9 Db9(#11) . Bass œ ¿ ˙ bœ. ¿ ? 4 J J bœ œ "EE
B
4VSEP
UP
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.JY Adding a surdo sound to the percussion of the ensemble is as simple as moving the foor tom away from the drum set and adding a musician to play this part. Tis supports the strong beat-two feel and relieves the drum set player from this duty. A simple surdo part is shown in the example below and also shown in the “Percussion Solutions Scores” for samba in this section: Example3–12: Simple Surdo Part Tat Can Be Played on a Stand-Alone Floor Tom

2 Å œ Å œ ã4 > > 4JNQMJGZJOH
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1BSU Ofen, the written drum set part in samba jazz-band charts is too complicated and difcult to play. If the drum set player can play a simpler pattern that retains the essence of the style, the group can still achieve a solid samba sound. A basic samba drum set part is shown in the example below. When a surdo part and additional percussion instruments are added, as shown in the “Percussion Solution Scores,” a very successful samba sound can be realized. Example 3–13: Simple Drum Set Part for Samba

> > > > > > > > y y y y y y y y y y y y y y y y 2 œ œ ã4 Œ Œ 102 Samba

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4UZMF Almost universally, Brazilian guitarists use a unison fnger-picking style of comping, where all notes are played simultaneously and sometimes with a lower bass-note played in counterpoint. Te rhythms used for this style of comping are all derived from the Two-Bar Brazilian Rhythm. Tis style of playing can be heard easily by listening to any samba or bossa nova recording by Luiz Bonfá, Gilberto Gil, Charlie Byrd and others. Refer again to the “Listening Examples for Samba” given in the “Brief Background” section. Below is a suggested guitar comping/voicing for samba that is assigned frst to the guitar. Te piano player can also cover this part if the guitarist is busy soloing, or if there is no guitar. But the part was origi- nated for guitar and it is the instrument where this comping pattern sounds most authentic. Example 3–14: Suggested Guitar Comping Pattern for Samba

Cmaj7 Abm9 Db9(#11) Cmaj9 Db7(#9) j œ œ j 2 œ œ œ bœ bœ . œ œ œ œ œ œ œ . œ œ &4 œ œ ≈ œ b œ ≈ b œ . œ œ œ œ ≈ œ œ ≈ œ . œ œ œ œ œ bœ bœ . bœ œ œ œ œ bœ bœ . œ œ

In addition to the picking style, Brazilian guitarists also use chord voicings that utilize a variety of harmonic extensions. Tese voicings refect the richness and sophistication of Brazilian harmonic approach (“changes” in jazz terminology). Guitar occupies a special place in this music, and both the comping style and the voicings are critical to establishing that unique Brazilian sound.

NOTE: For good examples and instruction on playing Brazilian guitar styles, see Nelson Faria’s, The Brazilian Guitar Book (Sher Music Pub., 1995) and Inside the Brazilian Rhythm Section (Sher Music Pub., 2005) with co-author Cliff Korman.

Carnival Parade in the Sambadrome in Rio de Janeiro, Brazil

103 LATIN JAZZ GUIDE Brief Background Samba is a broad style-indicator that includes hundreds of sub-styles. In American jazz terminology, samba usually means a jazz samba, with roots in the carnival, parade music originating from the mostly black neighborhoods (favelas) of Rio de Janeiro. Tis mix of Colonial Catholic traditions and Afrocentric musical roots fuel carnival celebrations throughout Latin America as well as Mardi Gras in New Orleans. See photo on previous page. Tis carnival samba is called Batucadas de Samba and features a large contingent of percussion, cere- monial costumed fgures and spectacular foats that parade down the Sambadrome (Sambódormo), the avenue-stadium built in Rio to accommodate the massive parades. In essence, batucadas de samba is a very powerful, funky and syncopated march. Each year, long-established samba schools (escolas de samba) from various Rio neighborhoods spend many hours practicing, preparing and organizing their groups to compete for top prizes during carnival. Tis spectacle of drumming, color, dance, song and pageantry has helped make samba a major commercial and social focal point for Brazilians and an attraction for tourists from around the world. Even though jazz samba is a distant and much more subtle cousin of the batucadas de samba, they have some common characteristics. For this reason, it is a good idea to have a sense of the instruments, parts and overall sound of batucadas de samba, or as it is commonly called, samba batucada. Te example below shows a simple score for a typical samba batucada. Be advised that there are as many variations of samba and samba batucada as there are tropical birds in the Amazon forests. Example 3–15: Simple Samba Batucada

Agogô 2 œ œ œ œ œ bells ã 4 œ. . œ œ œ

Cuica 2 œ œ. ã 4 œ ≈ œ œ ≈ J œ œ > > > > > > Pandeiro 2 œ œ œ œ œ œ œ œ ã 4 œ œ œ œ œ œ œ œ

Snare Drum > > > > > > > > (Caixa) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 42 Tamborim œ œ œ œ ã 42 œ. ≈ œ ≈ œ œ > > > > > > > > Shakers œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (Chocalo) ã 42 Bass Drum (Surdo) 2 e œ e œ œ ã 4 > > > Samba can also be presented in a more popular style with typical rhythm section instrumentation (the guitar being a prominent voice) and with the all-important song. Most historians point to the 1917 hit song,

104 Samba

“Pelo Telefone” by singer Ernesto Santos as the frst popular-music samba in Brazil. Each year a new samba song is chosen as a Carnival theme song. Te winner is chosen far ahead of Carnival so the escolas de sambas and the entire country of Brazil, can learn it. Song, melody and lyrics are as important for samba as any other consideration. Various strains and varieties of samba have moved outward from Brazil for over one hundred years. Today, samba can be played by anything from a large percussion group, to an electric fusion band, to a single person singing and playing guitar. Te jazz samba that ofen appears in commercially published jazz charts for school jazz bands and played by small jazz groups in lounges and restaurants in Western countries can be far removed from the samba batucada and the hundreds of other samba varieties that exist and thrive in Brazil. But no matter what the approach, there is a universal appeal to the driving rhythms and the energetic and joyful sound that is authentic samba.

Samba (Jazz) Listening Examples

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%"5& “Lamento no Morro” Vinicius de Moraes Vinicius de Moraes Alex / 1970 “Beiral” Viva Brasil Festa / Orchard / 2004 “Samba de Orfeu” Stan Getz Te Very Best of Latin Jazz EML / 2007 “A Felicidade (Adieu Tristesse)” Stan Getz with João and Samba and Bossa Nova (live, good mix of batucada with Astrud Gilberto and YOYO USA / remastered 2006 jazz samba) Antonio Carlos Jobim “Sambadouro” Sérgio Mendes Brasileiro / Elektra / 1992 “Só Danço Samba” Stan Getz/João Gilberto Getz/Gilberto Verve / 1963 “Timoneiro” Paulinho da Viola Bebadosamba / BMG / 1996 “Batuca No Chao” Martinho da Vila Brazil Classics 2: O Samba Luaka Bop / 2000

“Maturi” Hermeto Pascoal Hermeto Pascoal: Ao Vivo – Remasterizado WEA International Inc./2001 “Spain” Chick Corea, Return to For- Light as a Feather (fusion jazz samba) ever Verve / 1972

“Train Samba” J.J. Johnson Complete ’60s Big Band (big band jazz samba) Recordings Lone Hill Jazz / 2007 “Yatra Ta” Tania Maria Piquant Concord 25th (electric ’70s fusion) Anniversary Collection Piquant / Concord / 2006 “Bateria” Batuque Samba Squad (samba batucada) Independent / 2006

105 LATIN JAZZ GUIDE

SECTIONSECTION55 More Direction, Resources and Tools

Where’s the Clave? Finding the Proper Clave Type and Direction

Set Up, Tuning and Maintenance of Latin Percussion Instruments

Appendix A: Family of Cuban Clave Patterns

Appendix B: Partial List of Important Latin Jazz Musicians

Appendix C: Glossary of Latin Jazz Terms

152 LATIN JAZZ GUIDE Set Up, Tuning and Maintenance of Latin Percussion Instruments t (By ED EAST)

A successful experience performing any style of music begins with the selection of a quality instrument. Visit the companion website: www.latinjazzguide.com for recommended instruments and music retailers. Conga Drums When playing two or more conga drums, custom- arily the high drum is centered in front of you and the lowest drum is placed to your right. When playing 2 drums, the lower sounding drum is always placed to the right of the (right handed) drummer. However, many diferent 3 drum set ups can be used, depending on the performer and the context.

Mid High Low

Conga drums are the most commonly used instruments X in the performance of Latin Jazz.

Tuning Conga drum tuning varies greatly from performer to performer and is dependent on the instrument itself. Nonetheless, you can hardly go wrong by listening to recordings of outstanding “congueros” [cohn.guhr.ohs] (conga players) and copying the way they tune their instruments. Alternatively, you can try tuning the drums to their best resonant pitch. As a rule of thumb, tune them a perfect fourth apart. You don’t have to tune the lugs in a diametrical pattern, as is the case with most contemporary drums.Low Check for equalHigh tension on each lug by placing a fnger on the center of the drum and striking the perimeter of the drumhead. Listen for pitch diferences and tighten or loosen the corresponding lugs in order to achieve the same pitch all the way X around the drumhead. Remember, when playing a set of two or more drums make sure the lowest drum is to your right and the high drum is centered.

Maintenance Te amount of maintenance your congas and bongos require will depend on the kind of weather to which they will be exposed and on the kind of drumhead you choose. Synthetic drumheads don’t require much attention. However, extreme heat can melt some brands of synthetic drumheads. Heat and dryness can, and will, tighten calfskin (or any animal hide) drumheads to the point of breakage, depending on how taut they already were. Cold temperatures and humidity will slacken the calfskin drumheads and detune them. When performing under humid conditions, you will need to check the drums’ tuning ofen and continue tightening the drumheads in order to keep them tuned. Make sure to loosen the rawhide drumheads afer every perfor- mance, particularly if your drums will be exposed to extreme temperature/humidity changes. Te lugs should be oiled at least once a year. Some manufacturers suggest that you oil them more frequently. Certain manufacturers of wooden congas and bongos suggest that, before putting on a new drumhead, you should sand the rim of the drum making sure that it is smooth and free of rough spots. Tis will allow for smoother tuning and will prevent damaging the new drumhead.

158 With use, drumheads will become dirty and their sound will deaden. For synthetic heads, follow the manu- facturer’s cleaning instructions. For animal hide heads, some manufacturers recommend using a mixture of warm water and saddle soap to clean the head. Others suggest replacing the head. Bongos

Tuning As with the congas, listening to recordings of great bands and the way their bongos are tuned is the best way to sharpen your ears. Te most common tuning has the smaller drum (on the lef) tuned very tightly and sounding almost like the bottom of a small, empty tin can. Many performers will substitute animal hide heads with x-ray flm in order to achieve that sound. Te larger drum (on the right) is tuned up to a point of least-possible-resonance.

Maintenance Te amount of maintenance your bongos will require will depend on the kind of weather to which they are exposed and on the kind of drumheads you choose. Synthetic drumheads don’t require much attention. However, extreme heat can melt some brands of synthetic drumheads. Heat and dryness can, and will tighten calfskin (or any animal hide) drumheads to the point of breakage, depending on how taut they already were. Cold temperatures and humidity will slacken the calfskin drumheads and detune them. When performing under humid conditions, you will need to check the drums’ tunings ofen and continue tightening the drum- heads in order to keep them tuned. Make sure to loosen the calfskin drumheads afer every performance, particularly if your drums will be exposed to extreme temperature/humidity changes. Te lugs should be oiled at least once a year. Some manufacturers suggest that you oil them more frequently. Some manufacturers of wooden bongos suggest that, before putting on a new drumhead, you should sand the rim of the drums making sure that they smooth and free of rough spots. Tis will allow for smoother tuning and will prevent damaging the new drumhead. With use, drumheads will become dirty and their sound will deaden. For synthetic heads, follow the manu- facturer’s instructions. For animal hide heads, some manufacturers recommend suggest using a mixture of warm water and saddle soap to clean the head. Others suggest replacing the head.

159 LATIN JAZZ GUIDE Cowbells, Ago-gó

Care Rust and abuse are the main factors that afect these instruments negatively. Making sure that they are not stored in humid environments and wiping them of afer each use will take care of the rust. Storing them with care and remembering that these are, indeed, musical instruments will help prevent abuse. Güiros and Shékeres

Care Unless they are made of strong synthetic materials, breakage and abuse are the main factors that afect these Mid High Low delicate instruments negatively. Güiros can be easily repaired with any all-purpose glue or with wood glue. Timbales X

Customarily, the low drum is placed to your lef and the high drum to your right.

Low High

X

Tuning In tuning the timbales, it’s suggested to use the same principle—perfect fourth as a starting point—as noted for the congas earlier. Listen to recordings and try to duplicate the tuning that sounds best to you or that which best applies to the music. Te high drum should produce a crisp, higher pitch “crack” when playing a rim shot. However as you listen, take care to note that some artists, notably the great, Tito Puente, made recordings using a three- (or more) timbales setup. Tese setups deviate from the standard, two-timbales setup. Tis may cause confusion as you listen to recordings looking for a satisfactory tuning for your timbales. When tuning the timbales, use a diametric tuning system (low drum on the lef, high drum on the right).

Care Rust and abuse are the main factors that afect the timbales negatively. Depending on the climate and the playing conditions, make sure you lubricate the lugs once a year, at least. Always check for loose tuning nuts before playing.

160 Appendix A: Family of CubanFamily Clave Patternsof Cu

* Forward Son Clave (3:2) ã 2 Û. Û Û Û Œ Û ÛŒ J

Reverse Son * Clave (2:3) ã 2 Œ Û ÛŒ Û. Û Û Û J

Forward Rumba * Clave (3:2) ã 2 Û. Û Û. Û Œ Û ÛŒ J J

* Reverse Rumba Clave (2:3) ã 2 Œ Û ÛŒ Û. Û Û. Û J J

Matanzas * Rumba Yambu 2 Clave (3:2) ã 2 Û. Û Û. Û Û Û ÛŒ J J

Play accented notes only = 6/8 clave

Forward Afro 6/8 * Bembe Bell (3:2) ã 86 Û ‰Û‰ÛÛ ‰ ÛÛ‰Û > > > > > Reverse Afro 6/8 * Bembe Bell (2:3) 6 ã 8 ‰ ÛÛ‰Û Û ‰Û‰ÛÛ > > > > >

* = Bombo Note

161