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2N Lll RHYTHMICSTYLES & STRUCTURES Son-Montuno

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2N Lll RHYTHMICSTYLES & STRUCTURES Son-Montuno F CHAPTERV Son Ties I Guitar Bass Chue Bongos Mdracas This is a highly simplified orampleof the structureof the son and its indi- vidual instrumentalparts - asare all of the subsequentrhythm scoreenamples. The purposein presentingthese mini-scores is to demonstratethe essential elementsof eachrhythm. Note that the mspartshown hereis an exampleof enon-clarzapattern,as is the guitar part. The bongo rnartilhshown is the suaight part; however,remem- ber that the bongo is freeto ad-lib throughout the rhphm, and the bongo player will alsoplay the cowbellduring the monfitnasection. 2N lll RHYTHMICSTYLES & STRUCTURES Son-Montuno ) = tmtzz :> l> Bass Ckue Bongos This cxampleof son-montu.nodemonstrates the ensembleparts during a verse or other lower dynamic section;thc bongo playcrwill moveto the bell for the montuno*frron, and thc timbdes playermay move to either the bellor the cymbd. As with all of the oramplesthroughout the book, it is important to play all of thesc o<ercisesin both clauedtreqions. fll 2ol - ( CHAPTERV I Danz6n t I R. Maule6n t t Flute I I t t Flute 2 t t ?in t t Violin I t Pio ; Violin 2 t t F Piano I ; F F C C Bass I F Gtiiro C C 4 Timbs. c a C I The daruinis an involvedform with severalsections. This is a ponion of the a "B" secrion,or main melody, which featuresthe flute(s),and contains thebaqtu_ c teo pafternfor the timbales. In the trad.itionalcharangainstrumenation there a wasno conga;howwer, following its addition in the 1940,r,the congawould I play only during the nnntuno or mambo sectionof the danain (raterto bu calred rhe cha-cha-chti). a I a 2o2lll I ; a RHYTHMICSTYLES & STRUCTURES Afro The afowas quitepopular during the 1940'sand 50's, particularly for the interpretationof sacredmusic and lullabia in ensemblesituations. It is fie- quendy playedwithin rhe charangainstrumentation,at slow to moderaterem- fll 2o:, tl C CHAPTERV c Cha-cha-chi I c c C e € ( ( e ( e c F c e c ( c ( ; € e C ( € d c C As notedearlier, rhe cha-cha-cbdraniteAFom thc additionof an open\a.mp € to the darain, containingscvcral elements of the raz. This scctionwas dmost 'When c dwap in the dominantof the tonic keyof the daruhn the cha-cha-chd C becameiu own form, itwas not boundby tlis harmonicrelationship; howorer, C this II-V progression- and specificrhythmic patternfor the piano - would remain asonc of the most@mmon (andrecognizable) aspects of the cha-cha-chd e C s t ! I t 2M lll I t L_ RHYTHMICSTYTES & STRUCTURES Cha-cha-cha2 )=ntu Violins Bas Cku Giiiro Conga Tims. The othermost recognizable cha-cha-chdstrudure consists of the left hand/up beat,right hand/pulsepattem for the piano. lll 2o5 - CHAPTEBV Mambo C. c- Piano Bass Ckue Tim. Bell BongoBell Congas 'Wlrat distinguishesone rhythmic srylefrom another- such ^s son-rnonfiinl, guaratha,mambo, etc.. - is often a matter of thc tempo. Mambo tends to be brighter in tempo than the aforementionedstyles. This orampledemonsuates the bell panemsof the bongo and timbalcs play- ers, aswcll as the two-drum umbao of rhe congas. Also, note that the arpqgio of the I-chord in the piano monfi4nois a type ofvariation. 2M lll RHYTHIIIICSTYLES & STBUCTURES Pachanga )=Ps ptzz G A- G7 A- Wolins Piano o7 f G A- A. -? t?t fuss , Chue > l> l> > , Giiiro I , Congas The pachangawasenuemely popular during the early 1960's, most often interpretedby charangaorchesuas. Often, all of the melodicinstruments (bass, piano,suinp) may play the same,singlc-note figure over the caballopattern of the congas,as is shownin this orample.Over this base, the fluteis freeto impro- vise,as is the leadvocalist during rhecoro/prry|z section. fll 2o7 CHAPTERV Giiiro (6/8) (Ch6keres & Bell) ).=r* Bell Kachimbo Segundo (a) Segundo(b) Caja (a) Cajd (b) Tiaditional gtiirowas (and is) playedusing only chlheresand bell. Often, a tumbadoraisadded, which improvisesfreely wer the rhythmic base.The chlhnes arealso free to vary their parts- somemore than others. The o<amplehere provides"a" and "b" pafternsfor one particularpart, asan exampleof a variation one may enperimentwith. The round noteheadsrepresent the open tone producedon the gourd from striking the bonom, and the slashesrefer to the shakingof the gourd in a diago- nal, up-and-down motion. ill RHYTHMICSTYLES & STRUCTURES Giiiro (6/8) (Ensemble) kll(a) BeA(b) Piarc Bass Cynbal Bongot Congas(a) C,ongas(b) In ensernblescttinp, the timbdesplayer often plap the I of the three-sideof claueonthe low drum. [Again,these are very basic examples. Listening to several versionsis highlyrecommended for all rhythmicstylo]. fll 2oe CHAPTERV (Percusslon) J=r20 Chue Palitos TLmba Rumba is a very complor form, and containsthree styles: yamhi, guaguancd and colambia.The nuancesof the polyrhphm, variation possibilities,juxtaposi- tion of meterand improvisationare impossible to notate,and are bestleft to one's ear. There is alsothe matter of regionalinterpretation - such as Havanaand Matanzasstyles - bringing about evenmore complexiry. Nonetheless,it is impor- tant to reagnizr the significance of rumba! impact on Cuban popular music. In the abovetranscription, note the relationshipoFthe segundn(middle dtut) to the cLueirs melody (or open tones)occurs on the wo-side of ckue. This is thought to be the "proper" or "correct"way to playguganc6. Howa,er, should one stumble accrossan earlyrecording of gmguancf (suchas mid 1950's),one may hear the segundowiththe three-sideof claue.In asfar asthis author's investi- gationsinto this phenomenon,no concreteer<planation has be given for the change. The quintodoesnot havea specificpattern, and improvisesthroughout. However,there is a highly-developedmethod to playing quinto, which requires thorough knowledgeof the sffuctureof the songform, and an ability to match the dancer'smovements. The besto<ample of this anywherein the world exists with Cuba's los Mufiequitos de Matanzas. 2to Il RHYTH[IICSTYLES & STRUCTURES (Ensemble) ) =rcetso Timbs. Piano 9 A-6 Bass Congas Bongos In ensemblesituations, rhe timbalno may pby both the ckue andpahns patterns(on woodblock and sides,respectively). The timbalno may alsoplay the paknspettern on the bell, and the melodyof the tumba&. segundoonthe tim- bales.The congaand bongo playershave several options, including: 1) the cnngwrl plap the tumbaand segundopatterns while the bongoceroplays quinto on the bongos,or 2) rhe bongoceroplays the tumband segundo(on congas)and the congrcroplays quinto on a third drum. lll 2tl C ( CHAPTERY ( Bomba ( )=no € € Cud ( € Tin. Bcll C ( € I ( a ( c ( ( ( C / ( e I d e e e e e e e Tiaditionally,the bombaconsistsofone-bar pafferns, and is thereForenor "in clave".The cudpattern maybe thought of asa typeof claue,and maybe plapd t on a bell, woodblockor ckuesthemselves.As notedearlier, a salsaarrangement of e e bombawouldrequire phrasing - suchas in the melody- suucturedaround the e ckae. e Thereare numerous styles of bombaand many rypes ofnriations. The t requintoimprovises throughout - muchlike thc quinnin Cubanrumba Note t fie pianomonfitno's^cront on beat4 of eachms$ure - tlis is typi.al of montunos t playedfor bomba t t 2r2lll I I RHYTHTIICSTYLES & STRUCTURES Plena )= no Piano Bass Tin. klk Bng.Bdl Conga Giilcharo Plenais traditionally playedon pandnetas(sec Chap. I[), but is easilyadapted to any ensemble. In thc abovetranscription, the congashave mken on the roles of two pandzreuparts. ln this way, the bongo playermay either play the bongo bell panern shown, or the giiicharo. Often, the basslincis not syncopated,as shown above.The piano pan shown is not specificto thepbra, but is perfecdyaccepable. f ll2.", a J CHAPTERV J Mozambique ( € I ( ( J ( o Cl3 Cl3s$C13 ( ( ; ( ( o ( Conga (a) ( ( ( Congas(b) ( ( ( ( ( ( ( ( Low Tim ( e ( c As notedearlier, the mozambiqucisoriginalty a percussivcstyle. Thereforc,the C pianoand bas partsare not specificto the rhythm. Of theconga paru shown, the first pattern("a") is morecommon in ensemble e situations,while the sccond paftern ("b") iscloser to the originalstyle, often c playedin percusiveensembles. e e e e t 214 ill e t RHYTHMICSTYLES & STRUCTURES Piano Bass Ckuc Gtiira Conga Tumba As noted in Chap. M there are severalpiano and basspatterns for merengue which may be useddternately, depending upon the songform. For orample, the bassnmbao may alternate benveenthe half note panern above,and a syncopated linc. Also, the piano may dternate beween the ryncopatedpattern above,a steadyeighth note pattern, or a simplified patrern(refer to Chap. M). The umbadorahx freedomro vary the umborapanern, and may be featured in a solo during a "breakdown",where all exceptthe percussioninsrruments drop out. fll 2ts CHAPTEBV (Congade Comparga) Claue kll Bombo Conga Althoughsome may refer to thisstyle as "comparsa", this tcrm actuallyrefcrs to thc groupwhich interprets thc congarhFhm, andnot thc rhythm itself. In an ensemblesening, the various patterns may be divided beween the timbales, (playrngthe bell andbombo), the congas, (*ith oneperson pl"yrrg thesalidarand, congaparts,one on rherebajador ^ndanother person playrng the quinto), and the restof thegroup playrng hand pcrcussion such ^s sarte/tes, bells and shakers. A trapdrummer may actually cover all of the basicparts, as is illustratedin ChapterIV in example 4.70, p 98. 2t6 Il RHYTHIIIICSTYLES & STRUCTURES Songo -uf',-Prt^ ct3 HTSTOOOO HO SOOOO Songois avery free-styleform incorporatingmany rhythmic styles,and lends itselfto many intcrpreationsand possiblevariations. Thae patternsshown here serveas a strcamlincdorample ofwhat usuallyis much morecompler<. lll zt7.
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