pcastag wrote:Hey folks, I don't like to discredit people, but I live in Houston where this Dr. Zaragemca lives, and all I know is that he runs a drum circle at some cafes. Now, I have been playing here since 1992, in many salsa bands AND, have a group that plays guiros. There are three cubans in the group and none of them know Zaragemca. In addition ( as far as I know) he does not play with the established salsa bands. in addition, I have been to tambors with Puntilla, Totico and a group from LA here in houston , and as far as I know he was not present or connected to any of those peope, which ( as we know the community of cuban "master percussionists" is quite small) he would almost certainly would be . I've been looking for bata instructors here for some time, as I have studied in Cuba (cost prohibited) and with other masters such as Michael Spiro and Skip Brinquito Williams. He may most certainly be from havana, but bestowing upon one's self the title of master percussionist is a bit presumptuous.
As far as I know there are definitely moorish influences in Rumba, particularly the vocal tonal qualities, and in the use of the highest pitched drum as the lead drum. As we know in most african music, even afro-cuban music, the large drum is the lead ( bata, bembe, arara, iyesa).
PC
zaragemca wrote:This cuban debating about this don't know about their own history.(Dr Zaragemca,is a Master Percussionists from Cuba,and an authority in Afrocuban Music-Percussion,and Yorubas Culture).
davidpenalosa wrote:
Rumba is poly-metric; it has both duple and triple subdivisions of the beat (4/4 and 6/8). Yambú and guaguancó have a primary meter of 4/4 and a secondary meter of 6/8. Columbia has a primary meter of 6/8 and a secondary meter of 4/4.
-David
Users browsing this forum: No registered users and 1 guest