MIGUEL ‘ANGA’ DIAZ ANGA MANIA! MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN EDITED BY DAN THRESS PHOTOS © ROBERT MANN
Published by Music in Motion Films Ltd PO Box 1775, Columbus, OH 43216 USA tel. 212 358 3877 fax. 212 591 6301 www.musicinmotionfilms.com [email protected] © 1999 Music in Motion Films Ltd International copyright secured. Any copying of this material in whole or in part without the express written permission of Music in Motion Films Ltd is a violation of copyright law. KEY FIVE-DRUM SETUP FOUR-DRUM SETUP
Tone of conga drums from the highest to the lowest
1 2 3 4 5 bell: mouth area bell: neck area o + Timbongoro
raise tone with elbow
0 = play an open tone P = play a bass like sound with the palm of the hand B = play a bass sound in the center of the drum with the palm of the hand S = play a slap T = tips, play with the tips or fingers of hand M = play a muffle sound by pressing against the skin of the drum with the hand ST = play with stick in hand (T) = ghost note or light tap with fingers F = raise tone using the fingers, refer to video
ANGA’S TUNING
D# F#
G# A# C#
Drums 1, 2, and 3 are the same size Drums 4 and 5 are the same size
2 MARCHA WITH FIVE CONGAS
As stated by Anga, Niño Alfonso with Irakere was the first with Irakere, Niño’s style became a part of Anga. There to incorporate five congas. When Anga started playing ar e five sounds that convert into a harmonic tumbao.
P O P S T P T O O P T S O O S O O O T S T P T O O P T S O O S O O
L R L R L L L R R L L R L L L R R L L R L L L R R L L R L L L R R MARCHA WITH FIVE CONGAS—VARIATIONS
Play the basic ride between each example. 2-3 clave
1 O T S T S S O T S S O T S S O T S O O S O O
01:50
L L R L R L R L R L R L R L R L R L L L R R
(T) 2 O T S T O O O O O O O O O S S O O S O O 02:18
L L R L R L R R L R R L R L R L L L R R
(S) 3 O T S T P T O oO (T) T S O O S O O
02:40
L L R L L L R r L R L R L L L R R
4 O T S T P T S (T) sS sS (T) (P) O O S O O
02:49
L L R L L L R L r L r L R R L L L R R
5 O T SS O T S SO T SSO T P T S O O S O O
03:18
L L R L R L R L R L L R L R L L R L L L R R
3 MARCHA—MELODIC VARIATIONS
1 O T S T P T O O P T S S O O O O 03:51
L L R L L L R R L L R R L R L R
(T) O O O T S T T O T T S S O O O O
R L R L R L R L R L R R L R L R
2 O T S T P T O O P T S T O O O O 04:30
L L R L L L R R L L R R L R L R
ghost note O O O (T) O T S O P T S T O O O O
R L R L R L R R L L R R L R L R open slaps 3 3 3 O T S (T) S S S S S S T S S S S S S O O S O O 05:07
L L R L R L R L R L L R L R L R L L L L R R
4 O T S T P T S O T T S O O S O O 05:28
L L R L L L R L R L R L L L R R
4 16-bar melodic pattern
5 O T S T P T O O P T S O O S O O O O O O O O O 05:30
L L R L L L R R L L R L L L R R L R R R R L R
O T S T P T S O P T S (T) O O O O O O O O O O O
L L R L L L R R L L R R L R L R R L R R L L R
3 3 O T S T P T S O P T S (T) O O O O O O
L L R L L L R R L L R R L R L R R L
raise pitch with fingers; refer to video 3 3 3 O O O O O O O F F F F O O
R R R L R R R R R R R R R
O O O (T) O T T S T O T O T
L R R R L R L R L R L R L
O P S T P T S sS T T S O O S O O
R L R L L L R r L R L R L L L R R
(P) 6 O T O P T S T T O P T S T T S O O S O O 06:10
L L R L L R R L R L L R R L R L L L R R
5 MARCHA—MELODIC VARIATIONS
7 O T O S SS OS S S O T S O T P S O O S O O 06:35
L L R L R L R L R L R L R L R L R L L L R R
O T O S SS OS S S O T ( T ) O T P S O O S O O
L L R L R L R L R L R R R L R L R L L L R R
O T O S SS OS S S O S O O T P S O O S O O
L L R L R L R L R L R R L L R L R L L L R R
3 3 O O (O) O O O S S O P T S O O S O O
L R R L R R L R R L L R L L L R R
8 3 3 3 3 3 3 3 O O O O O S O O T T T S P T S O O S O O O O O O O S O O P O 07:08
R R L L R L R R L R L R L L R L L L R R R R L L R L R R L R
3 3 3 P T S O O S O S O O O O O S O O P O P T S O O S O S
L L R L L L R R R R L L R L R R L R L L R L L L R R
3 3 3 O O O O O O O O P O P T S O O S O S
L L R R R L R R L R L L R L L L R R
6 APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT
This is a demonstration of the basic tumbao or marc h a basic ride with some of the variations played in the on five congas in conjunction with the piano. The first p revious section. 12 measures are transcribed which demonstrate the
0:07:34
Piano Intro O/O 2-3 clave congas
L/R
O P S T P T S O P T S O O S O O P T S T P T B oO T T S (T) O T O S
R L R L L L R R L L R L L L R R L L R L L L R r L R L R R L L R R
O S S O O S S oO T T S O O S O O O S S O O S S oO T T S T O O S S O S S
L R L R R L R r L R L R L L L R R L R L R R L R r L R L R L R L R L R R L
O P S (T) P T B oO T T S T O T O T O O O S O S S oO T T S O O S O O
R L R L L L R r L R L R L R L R L R L R L R L R r L R L R L L L R R
etc.
7 GUAGUANCO VARIATIONS
Practice Suggestion: Learn the basic ride first with all alternate sounds. This will make it easier when you start looking at the variations.
O O S O (T) S O (T) (T) S S B T S O S
R L R L R L R L R L R L R L R R
0:10:10 3-2 rumba clave P T T P P T T P P T T P P T T P P T T P P T T P P T T P P T O
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
3 3 3 3 3 O O O P T B O T O S S B T O T *
R R R R R R R R R R L L R R L R L R L L R L
* raise tone with elbow; refer to video T M M B (T) T O T O S S M T M O T T S S B (T) T O T O S S B (T) T O T
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
M M M M M M O T O S S M M O T T S S B T T O T O S S O T T O T
R L R L R L R L R L R L L R L R L R L R L R L R L R L R L R L
T S S B T T O T O S S O T T O T T S S B T T O T O S S B (T) T O T
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 (O O) (O O) (S S) (S S) T M M O (T) T O T O S S B (T) T O T T M M B (T) T O T O M M B T T O T
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
8 Basic Ride GUAGUANCO—COUNTER MELODIES
Practice Suggestion: Learn the basic ride first with all alternate sounds. This will make it easier when you practice the variations.
1 T S S B (T) T O T O S S M (T) M (T) M (T) M (T) B T T O T O S S B (T) T O T 10:50
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
2 T S S B (T) T O T O T T B T T M M M M B T T O T O S S B (T) T O T 11:03
R L R L R L R L R L R L R L R R R R L R L R L R L R L R L R L Ride variation 3 T S S B (T) T O T O S S O T T O T 11:17
R L R L R L R L R L R L R L R L
4 T S S B (T) T O T O S S B T M M M M O (B) T O T O S S B (T) T O T 11:28
R L R L R L R L R L R L R L R L R L L L R L R L R L R L R L
5 T S S B (T) T O T O S S B T S S (T) O O O O O O O T O S O S S B (T) T O T 12:01 3 3
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
6 T P S T T P O T O P S T T P S T 12:40
R L R L R L R L R L R L R L R L
9 GUAGUANCO—COUNTER MELODIES
3 7 T S S B (T) T O T O P S S O O O O O O 13:10
R L R L R L R L R L R R L R R R R R L
8 O O O O T T T T O O O O * raise tone O O with elbow 13:48
R R R R L R R L R L R R R R R
O O O S S B (T) T O T
L R R L R L R L R L (O) alternate sound (O) 9 T S S B (T) T O T O M S M T M O M T M S M T M O M O M S M T M O M
14:15
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
SOLO ANALYSIS
A solo has three parts:
1 beginning 2 middle 3 end
In between those parts you can have variations, differ- ent rhythms, experimentation of different formulas, etc. Nonetheless, it should always be within these three areas. This is the formula for producing a good solo.
The beginning of the solo on the video starts out with a tabla pattern from India. This is the main theme. It then goes into other areas more related to the congas.
To achieve a solo, one must have peace and tranquillity within and concentration. One must not think of it as an opportunity to show off technique and do a lot of hits. It’s like composing a piece of music.
10 TECHNIQUE EXERCISES The first exercise comes from Changuito’s creation: “la mano secreta.”
3 3 O O P T S O O P T S O 23:57
R R L L R R R L L R R
This exercise comes from the school of Tata Guines.
3 3 3 3 O P T O P T O P T O P T 36:11
R L L R L L R L L R L L
The 2nd exercise can then be combined with different Note: Do not use the heel or the outer edge of the sounds such as an open and bass sound on Example 3. palm. It is always the whole palm followed by fingers. Work up these exercises to a fast speed.
3 3 3 3 O P T B P T O P T B P T 27:20
R L L R L L R L L R L L
11 TECHNIQUE EXERCISES GUAGUANCO VARIATIONS
3-2 rumba clave 1 P T T P P T O T O T T B T T O T 31:17
R L R L R L R L R L R L R R L R
P S T B P T O T O T S B T T O T
L R L R L R R L R L R L R R L R
P S T B P T O T O T S B T T O T
L R L R L L R L R L R L R R L R
2 T M T M T M O M O M S M T M O M 31:36
R L R L R L R L R L R L R L R L
Anga speeds up this pattern to a very fast speed.
TECHNIQUE EXERCISES—DOUBLE STROKES
Th e r e are two types of doubles to practice. Start out slow cise 2 with open tones or open slaps with the fingers only. The and gradually build to a faster speed. Note: Practice Exer- second note of each double is accented as indicated.
1 P T P T P T P T 32:40
R R L L R R L L
S S S S S S S S 2 O O O O O O O O
R R L L R R L L
12 DJ GILB-R & ANGA IMPROVISATION
Setup: Four congas (eliminate the lowest drum), timbongoros, bells, two bells with foot pedal. Maintain the cowbell pattern with your feet throughout each example (1st line played with right foot; 2nd line played with left foot).
34:09
1 (P) T S T P T S O P T S O O S O 35:00
L L R L L L R R L L R L L L R
2 T S P T S O P T S O O S O 35:05
L R L L R R L L R L L L R
3 T S P S O oO S S O O S S 35:18
L R L L R r L L R L L L R
4 (P) T S T P T S O P T S O O S S O 35:25
L L R L L L R R L L R L L L R R 13 DJ GILB-R & ANGA IMPROVISATION
5 (P) T S T P T S O S S O O S O oO 35:40
L L R L L L R R L R L L L R r L
6 T S B T S O O S S O O S T O 35:44
L R L R L R L L R L L L R R
7 (P) T S T P T S oO S S O O S O T 35:47
L L R L L L R r L L R L L L R L 3 3 3 3 8 P T S T P T S O O O O O T O O B T T S
L L R L L L R R R L L R L R R L R L R 3 3 3 3 3 3 3 3 O O O O O T O O B T T S O O O O O T O O B T T S
R R L L R L R R L R L R R R L L R L R R L R L R
9 P T O P O S O O T high bell T med. bell T low bell 37:47
L L R L R L R R L R R L R R L R
In Example 9, play with a stick in right hand. Open This is the basic ride. Many variations can be crea t e d tones with the right hand are also played with the stick. by playing on diffe r ent surfaces.
14 DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS
Notice that Example 8 goes into a double-time in triplets, maintaining the cowbell pattern with both feet. 3-2 rumba-clave
3 3 3 3 O O O O O T O O B T T S
R R L L R L R R L R L R cowbells right foot 3 3 3
left foot
DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME
This groove goes into a double-time feel. Maintain the bell pattern with the feet. 3-2 rumba-clave.
T * ST ST T O T O O O O O O S O O 38:39
L R R L R L R R L R L R L R R
T bell T bell T bell P T O T O S O O
L R R L R R L R L L R L R L R R
*Can be played on timbongoros, conga, cowbell, etc. The x can also be played on timbongoros, conga, etc. ST = strike drum with the stick.
15 MIXING STYLES—PILÓN + FUNK
2-3 clave Hi Hat Drumset
o + + o + + o + + o + +
Timbales
P T S T P T B O O T S P O O O T Congas
L L R L L L R R L L R L R L R R
MIXING STYLES—BATATUMBA + FUNK
Note: Anga plays the congas with a stick in his right hand which also plays a cowbell mounted on a stand on the right side. The iyá is playing a batá rhythm that comes from Iyesá.
2-3 clave 41:10 Drums
OS/O OS/O OS/O O O S S O O S S Bata: Iya drum call
S O S S O O S O S S O S Three Congas w/ cowbell
R L R L R L R L R L R L R L R L
16 HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP
In addition to the four drum setup, Anga continues the bell pattern between his feet. The bells are mounted on two separate bass drum pedals. 2-3 clave.
1st bell with right foot
2nd bell with left foot
The first section of the piece is played with the hands that these examples are variations on the basic tumbao on four congas until we get to Example 4 which is or marcha played at a fast speed. Reminder: maintain played with a stick in the right hand. You will notice bell patterns with the feet. 2-3 clave
1 P T S T P T O O P T S O T T O O
41:57
L L R L L L R R L L R L R L R L
2 P T S T P T O O P T S O O S O O
L L R L L L R R L L R L L L R R
3 P T S O P T O O P T S O T T O O 42:14
L L R R L L R R L L R R R L R R
(Played with a stick in the right hand) 4 T T O T O T O O T T T
42:42
L L R L R L R R L R R L R R L R
17 HOMENAJE A EMILIANO SALVADOR—SECOND SECTION
This takes us into the second section of the tune which di ff e r ent surfaces where the cowbell is indicated (refer to is a guaguanco derived pattern played with a stick in the the video for ideas). Be sure to maintain the bell pattern right hand. Many variations can be played by playing with the feet when practicing these examples. 2-3 clave
1 P T O T O T O O O O T O T O O T T T 43:22
L L R L R L R R L R L R L R R L R R L R R L R
2 O O O O T O O T T T
L R L R L R R L R R L R R L R
LATIN PERCUSSIONIST MAGAZINE Published by Victor Rendón (Tortilla Flat Music)
Interviews Drumset and Timbale Applications With Milton Cardona, John Santos, Candido, Bill Fitch, José Horacio Hernandez, 6/8 patterns, Mozambique, bolero, Madera, Miguel "Angá" Diaz, and Johnny Almendra. cha cha chá, and solo applications.
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This book is a complete Afro-Cuban percussion work-out. Each exercise on timbales is also arranged for drumset. Conga and bongo students will find their parts in each section of the Victor Rendon has done the improbable: He has made it possible for a book and CD. Please note: to take full advantage of this book, wide range of drummer/percussionists to approach the art of tim - students are encouraged to learn each part for timbales, bales without fear of failure. Rendon breaks down the daunting clave drumset, congas, and bongos. structure so that we all can relate, and demonstrates how the instru - ments of the Afro-Cuban percussion section (timbales, congas, bon - Each section features play-along CHARTS and CD TRACKS gos, and sometimes drumset) function as a unit. Learning to play with some of NY's top Latino musicians: Sergio Rivera timbales (or to emulate their rhythms on drumset) makes any drum - (piano), Victor Venegas (bass), Heriberto Rivera (bongo), mer more valuable on the bandstand, and Rendon's instructional Aníbal "Tito" Rivera (congas), and Victor Rendón (timbales method is as clear as it's going to get. The author's clarity in presen - and drumset). By using these play-along charts you will gain tation is further enriched by his discussion of the evolution of Latin valuable realistic playing experience that will directly trans- rhythms and instruments, and by his richly detailed interviews with late to your school ensemble or professional group. master timbaleros. Victor Rendon has worked with giants like Mongo Santamaria and Patato Valdes, and has taught music for years within CHAPTERS: Introduction, Position of the Timbales, Different the New York community, and now he's authored the most authorita - Sounds, Clave, Abanico, Cha Cha Chá, Son, Transitions, Bell tive book on the "original" Latin drumkit. Viva timbales! Patterns, 6/8, Independence, Mozambique, Solo Phrases, and —BILL KIELY, MODERN DRUMMER MAGAZINE References.
Victor Rendon's book is as close to having a virtual teacher by your ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKE side as one could get. A full-length CD helps guide you through the COLLAZO (Tito Rodriguez, Celia Cruz, Eddie Palmieri, Tito sounds, rhythms, styles and feels of timbales, and in context along Puente), JOSE MADERA (Machito, Fania All-Stars, Pacheco, side a rhythm section that includes piano, bass, bongo, congas, tim - Tito Puente), and JOHNNY ALMENDRA (Jóvenes del Barrio, bales and drumset. Not only are there typical licks, phrases and solo Willie Colón, Mongo Santamaria, John Scofield). ideas spelled out for you, there are sample charts with a "music minus one" feature of removing the timbale track to give the stu - And SOLO TRANSCRIPTIONS from GUILLERMO BARRETO dent/performer the experience of really owning the groove. And, ("Descarga Cubana" from Cuban Jam Sessions in Miniature there are tracks that include drumset. Throughout the book are writ - Descargas) and MANNY OQUENDO ("Llora Timbero" from Con- ten grooves for congas, bongo, guiro and drumset, always in junto Libre Ritmo Sonido Estilo). explained relation to the clave. Specific rhythms covered are cha cha cha, son, 6/8 and mozambique. But this book is SO much Victor Rendón is a sought after New York City percussionist more....excellent photos of stick and hand positions, beautiful layout who has performed with The Latin Jazz Orchestra, Chico O'Far- and clear instrument/sticking/hand notation key, independence exer - rill, Carlos "Patato" Valdéz, Ray Santos, Grupo Caribe, The cises, transitions from paila to mambo bell...two solo transcriptions Latin Jazz Coalition, Los Más Valientes and many others. with recommended stickings and keys to phrasing....it's ALL here. Rendón's work has appeared in Modern Drummer, DRUM!, Percussionists and drummers are going to love this book. Destined to Percussive Notes, and Warner Bros. Publications. be a classic. — GORDON GOTTLIEB 19 ALSO AVAILABLE FROM MUSIC IN MOTION FILMS
AFRICAN RHYTHMS AND INDEPENDENCE FOR DRUMSET by MOKHTAR SAMBA BOOK & CD
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This is the best explanation of African rhythms that I’ve Mohktar has given us many creative and original adaptations heard. I really love the way Mokhtar breaks everything down of traditional African drumming styles. He presents the material and presents it to you. I like the way he plays and thinks in a logical order which allows us to develop each rhythmic ele - when he’s behind a drumset. — DENNIS CHAMBERS ment gradually, internalizing these difficult and multilayered pat - te r ns. His contribution highlights the sophistication, genius, and The grooves just LEAP off the page! Mokhtar Samba's illustra - deep feeling in traditional African music. — ROYAL HARTIGAN tions of African Rhythm's are wonderfully insightful, enriching, and masterfully. Thank you, Mohktar for enlightening all of us! A welcome addition to the drumming lexicon. Ancient rhythms —VINNIE COLAIUTA with endless modern day applications. Mokhtar’s material not only opens doors of insights into his music, but that of jazz Mokhtar has opened my mind to rhythms I have never imag - and Latin, as well as any form of creative popular music. ined before. The more I listen, and incorporate them into my Bravo! — TONY MARTUCCI playing, the more I realize that I am tapping into a source of rhythmic ideas that will never run dry. — WILL KENNEDY Roots rhythms made fresh, challenging and fun! Talk about coming full circle—by embracing the past—Mokhtar points us African Rhythms and Independence brings the traditional trap in the direction of the drumset's future! — DAVE STANOCH player into the land of the original swing—Africa—by spelling out the essentials on the set. Any broad-based analysis of a For a long time I had hoped an African drummer would write a c o n t i n e n t ’s worth of drumming is an ambitious work, but book based on contemporary African drumset playing. Mokhtar Mokhtar keeps the common threads from country to country. did it, and what a drummer! His book is a gem. — ALAIN RIEDER Any drummer interested in a fresh look at how to orchestrate a groove on the drumset would find these rhythms uplifting, This man can really play! Many new books are just older and that’s the idea, its all up! — JAMEY HADDAD books with an added cd. This book is a fresh, genuine project that will become a classic! — ALBERTO SEMENZATO Each groove is a dance and until you dance the patterns, they may seem daunting. Dance first and read the notes after then As Mokhtar Samba explains in the introduction to this excel - the grooves will explode. The first time you make that connec - lent book, there were no drumset players in African bands tion it will feel incredible. — CHRIS PARKER as recently as fifteen years ago. But by now an African kit tradition has been established, and Samba—who’s played Finally, a book that includes North African rhythms. Thank with, among others, Youssou N’Dour and Jean-Luc Ponty— you, Mokhtar. Respect! — BILLY MARTIN takes the clearest, most direct route toward explaining it to a new audience. — MODERN DRUMMER MAGAZINE 20