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Salsa Percussion Fundamentals Dr Salsa Percussion FUNdamentals Dr. Nate Lee Michael Mixtacki Dr. Jesse Willis VERSE 1 - "Level 1a" - Vocal phrases with horn interjections j Clave C Œ œ œ Œ œ ‰ œ Œ œ Shown for reference, not always played ã + + + + Begin with basic martillo (+ = closed stroke), add Bongó œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 œ 1 ã C R L R L R L R L R L R L R L R L golpes and setups between vocal lines and horn hits Congas œ œ x œ œ œ œ œ œ œ x œ œ œ œ œ Basic tumbao with no variations ã C H T S T H T O O H T S T H T O T L L R L L L R R L L R L L L R L > > > > > > x x x x x x x x xj x Right hand cascara, Left hand fingers on hembra Timbales Å e Å e ã C ‰ ( x = mute), use fills to set up horn hits - . - . - . - . Maracas œ œ œ œ œ œ œ œ œ œ œ œ Basic pattern, with no variation, often played by ã C R R L R R L R R L R R L a singer VERSE 2 - "Level 1b" - Variation on verse 1, increased intensity Clave œ œ œ œj œ ã Œ Œ ‰ Œ + + ^ ^ œ 1 œ 1 œ 1 > x œ 1 œ 1 œ x > 1 Bongó œ œ More active golpes and variations ã R L R L R L R L R L R L R L R L Congas œ œ x œ œ œ œ œ œ œ x œ œ œ œ œ Basic tumbao with no variations ã H T S T H T O O H T S T H T O T L L R L L L R R L L R L L L R L > > > > > > x x x x x x x x x x x x x x x x Timbales Variations on 2-hand cascara are common ã R L R L R R L R R L R R L R L R - . - . - . - . Maracas œ œ œ œ œ œ œ œ œ œ œ œ Embellishments are common ã R R L R R L R R L R R L Example Bongó Golpes ^ ^ ^ ^ ^ ^ ^ > 1 > 1 œ 1 > x œ 1 œ 1 œ x > 1 1 > > 1 œ 1 > x œ 1 œ 1 œ x > 1 > xj> x > 1 1 1 x > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã R L R L R L R L R L R L R L R L L R R L R L R L R L R L R L R L ‰ R L R L R L R R L R L R R Example Cascara Variations > > > > > > > > > > > > > > > > > > x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x ã R L L R L R R L R R L L R R L R L R R L R L R R L R L R L R R L R L R L R L R L R L R L R L R L R L R l R l R L CORO/FLECHA - "Level 2" - Beginning of call and response, coro alternates with short horn solos j Clave Œ œ œ Œ œ ‰ œ Œ œ ãSolo interjections Bongó Tasteful interactions with singer and horn soloist, ã ’ ’ ’ ’ much like quinto improvisation in rumba guaguancó Congas œ œ x œ œ œ œ œ œ œ x œ œ œ œ œ Two open tones on both sides of clave ã H T S T H T O O H T S T H T O O L L R L L L R R L L R L L L R R Mambo Bell > > > > 1 1 1 1 1 1 1j 1 1 1 1 1 Abanico cues this section, left hand comp with stick Timbales ‰ ã Œ z Œ œ Œ z Œ œ on head ad lib (x = mute) ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ Güiro œ œ œ œ œ œ œ œ œ œ œ œ Güiro enters with mambo bell ã z . z . z . z . Example of Bongo Soloing (Back to golpes/martillo) ^ ^ ^ ^ ^ > > ^ ^ ^ 1 x 1 1 > 1 1 x 1 1 1 x > 1 > 1 1 x > 1 > 1 1 x 1 x > x œ 1 œ 1 œ 1 > x œ 1 œ 1 œ x > 1 œ œ œ œ œ œ œ œ œ œ ã R L R L R L R L R L R L R L R L R L R L R L R L R L R L ‰ R ‰ L R L R L R L R L R L R L R L R L Example Abanico into Flecha > > > > > > > > > > > j > x x x x x x x x x x x x x x x x x x x x x x x x ^ > 1 1 1 1 1 ‰ 1 1 1 1 1 1 œ œ x œ@. x z œ z œ ã R L R L R R L R R L R R L R L R R L R L R R L R L L R ‰ LLRRLL R Œ Œ Œ CORO/PREGÓN - "Level 3" - Call and response, coro alternates with lead singer Clave œ œ œ œj œ ã Œ Œ ‰ Œ Play on mouth (low) and shoulder (high) of the bell, Bongó Bell œ œ >œ œ >œ œ >œ ã œ œ œ œ provides rhythmic drive with half note feel. 2-drum> Tumbao > > > œ œ x œ œ œ œ œ œ œ x œ œ œ Congas œ œ 2-drum pattern begins ã H T S T H T O O H T S O O T O O L L R L L L R R L L R R R L R R Mambo Bell > >1 >1 1 1 1 1 1j 1 1 >1 1 1 Timbales z z z z z‰ z z œ Abanico also cues this section, part remains the same . with minimal variation around vocals ã J J ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ Güiro œ œ œ œ œ œ œ œ œ œ œ œ Drive the band with lots of energy ã z . z . z . z . Mambo Bell Variations >1 >1 1 1 >1 1 1 >1 1 1 >1 >1 1 1 1 >1 1 1 >1 1 1 >1 >1 1 1 >1 1 1 1 >1 1 1 ã ‰ J ‰ J Œ ‰ J ‰ J ‰ J ‰ J MOÑA - "Level 4" - Repetitive rhythmic horn figures and improvisation Clave œ œ œ œj œ ãBellŒ Variations Œ ‰ Œ œ œ œ œ œ œ Bongó Bell œ œj œj ‰ œ ‰ Increased variations with elevated ensemble energy ã2-drum Variations J J Congas œ œ x œ œ œ x œ œ x x œ œ x œ œ Active 2-drum variations and improvisations that ã H T S T H T S O H S S O O S O O react with the energy of the ensemble R L R L L L R R L R L R R L R R Cymbal > > > j > > >j j x x x x x x x x x x Cascara pattern (and variations) on cymbal, Timbales œ z‰ œ ‰ z‰ ã Œ ‰ Œ Œ ‰ Œ ad lib with horn figures Machete J J ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ Güiro œ œ œ œ œ œ œ œ œ œ œ Optional Machete pattern ã . z . z . z . 2-Drum Conga Variations œ œ x œ œ œ œ œ œ x x œ œ x œ œ œ œ x œ œ œ œ œ œ x x œ œ œ œ œ œ œ x œ œ œ œ œ œ x x œ œ x œ œ ã H T S T H O T O H S S O O S O O H T S T H T O O H S S O H T O O H T S T H O O O Tc S S O O S O O R L R L L L R R L R L R R L R R R L R L L L R R L R L R L L R R R L R L L R R L R L R R R L R R Bongo Bell Variations œ œ œ œ œ œ œ œ œ œ œ j œ j œ j œ j ã œ œ ‰ J œ œ ‰ J ‰ J œ œ œ ‰ ‰ œ œ ‰ J ‰ J ‰ œ œ ‰ J ‰ œ ‰ J ‰ œ ‰ J ‰ œ PERFORMANCE "Maestro de Rumbero," written and recorded by the Spanish Harlem Orchestra Form: Intro Extended verse Flecha Coro/Pregón Mambo Conga Solo Moña Coro/Pregón Ending Educational Resources Recommended Artists A Master's Approach to Timbales, Jose Luis Quintana Ray Barretto ("Changuito") Celia Cruz The Art of Playing Timbales, Victor Rendon Johnny Pacheco Language of the Masters, Michael Spiro Spanish Harlem Orchestra Hector Lavoe Introduction to the Conga Drum , Michael Spiro Fania Record Label The Conga Drummers Guidebook, Michael Spiro Tito Allen The Ultimate Conguero, Giovanni Hidalgo Willie Colón Salsa Guidebook for Piano and Ensemble, Rebeca Mauleon Eddie Palmieri www.Congamasterclass.com Dr.
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