Rhythms in the conga book

[ian_conga]

Are there certain rhythms in the conga book that I should start out with or should I just start at the top of the rhythm page and go down. For example I know Tumbao is the basic rhythm for all afro cuban rhythms. Then were do I go from there? Should I do songo next or guaguanco. Help would be great.


Thanks

Ian

[JohnnyConga]

Do you know how many "types" of Tumbaos(Marchas) there are?....a LOT...learn them first...do drills...lots of drills....if u need some I'll give u some to try out.....learn rhythmic patterns.....bolero -one drum/two drums---cha cha cha-1 drum 2 drums and others....tempos....slow medium and fast.....always practice for speed also....you will not get anywhere trying to rush thru anything when it comes to playing...THERE ARE NO SHORTCUTS!....SORRY!....."JC" Johnny Conga....

[JohnnyConga]

When one is learning one must grasp the concept of "Theory and Approach" when it comes to learning to play the drum....I havent seen a book yet that touches on that when it comes to the Conga drum(if there is one I'd like to read it)....My DVD has plenty of theory on it and approach,which is essential in learning to play in almost any musical situation. It's just not ready yet.... ...."JC" Johnny Conga....

[SkinDeep]

that makes a lot of sense JC. when anybody mentions music theory, the conga drum is far from the mind. you're doing a beautiful thing my brother, for example I was thinking of taking piano or bass just so that i can learn some theory but NOW that i finally realize what you've been saying concerning your video I think I'll just wait for it. BE COOL HERMANO!!! AND THKS.

[mangorockfish]

Do you know how many "types" of Tumbaos(Marchas) there are?....a LOT...learn them first...do drills...lots of drills....if u need some I'll give u some to try out.....learn rhythmic patterns.....bolero -one drum/two drums---cha cha cha-1 drum 2 drums and others....tempos....slow medium and fast.....always practice for speed also....you will not get anywhere trying to rush thru anything when it comes to playing...THERE ARE NO SHORTCUTS!....SORRY!....."JC" Johnny Conga....

Greetings JC,
You refer to tumbaos as marchas. Is this pronounced like the name "Marcus"? Also if tumbaos are marchas, then how would you define montunos? This has alwas puzzled me. Like someone saying you play marcha in this part of the song and motuno in this part.

[JohnnyConga]

Ok the word "tumbao" comes from the bass line, that is played in Latin music. It is also the word "Los Americanos" picked up here in the U.S....in Cuba they call it "marcha". Cubans describe things with "indirectos", Marcha means what it is to march or walk, so your "tumbao" is marching/walking as you play,. ..a "cadence" if you will, repeated over and over to create a "swing" in your playing hence your "tumbao/marcha"....GOTO LatinJazzClub.com to the Glossary of Latin music terms..... "JC" Johnny Conga....

[JohnnyConga]

Theory and the Drum is never talked about.. It is something that I teach for a better understanding of "your role" as a drummer, and how you perform and play/also with others. It's true nobody equates drums with theory, but au contrare mon ami....EVERY instrument has a "theoretical" approach, even the drum, but we are hung up more on the "rhythmic" aspect of playing rather than the theory of playing. I also teach rhythm classes to horn players. I find that they are locked into the paper and give up their body clock, so i make them walk in place as they play, which is hard for most to do...In the "OL" days big band horn players sat while they played so it was easier for them to "tap" their foot along with their playing, versus standing....I teach seperation of the mind and body, which is part of my "rhythmic theory" teachings....it's on my DVD.... ....so next week I should be getting together again with my videographer so that I may finish this up, but I still have much to do....."JC" Johnny Conga...

[franc]

J.C,
is great always to read your post. much understanding of what you always say. i wish you all the luck on your instructional DVD. never leave the forum. you are a great inspiration and mucho, mucho drum knowledge. will be looking foward to your DVD. my best and success on all you do. franc

[SkinDeep]

JC, WHAT CAN YOU TELL ME ABOUT THE MOZAMBIQUE VIDEOS BY KIM ATKINSON. ARE THEY WORTH GETTING?

[JohnnyConga]

Skin Deep....Haven't seen them, sorry ..y Gracias a Franc..."JC" Johnny Conga...

[mangorockfish]

JC, I couldn't find the glossary on the Latin Jazz Club sight. Can you point me to where it is?
Thanks, Mango'

[windhorse]

Are there certain rhythms in the conga book that I should start out with or should I just start at the top of the rhythm page and go down. For example I know Tumbao is the basic rhythm for all afro cuban rhythms. Then were do I go from there? Should I do songo next or guaguanco. Help would be great.


Thanks

Ian

My teacher wrote this book:
Conga Techniques by Dave Lyons
It has some good practices, and some of the theory perhaps like that which Johnny has mentioned..

Are you playing with other people yet?
Find yourself a conga buddy to practice with, and a teacher - if you haven't yet!
Reading from a book, is food for the soul,, but experience playing with others IS the soul



Edited By windhorse on 1142730443

[davidpenalosa]

Theory and the Drum is never talked about.. It is something that I teach for a better understanding of "your role" as a drummer, and how you perform and play/also with others. It's true nobody equates drums with theory, but au contrare mon ami....EVERY instrument has a "theoretical" approach, even the drum, but we are hung up more on the "rhythmic" aspect of playing rather than the theory of playing. I also teach rhythm classes to horn players. I find that they are locked into the paper and give up their body clock, so i make them walk in place as they play, which is hard for most to do...

Hey Johhny,
I like what you said. I think the issue of "role" may be more "drumming philosophy" than "drumming theory". I too have has non-percussionists step in time while they play. Great technique. I think that falls under the "rhythmic aspect of playing" because it establishes the ground, the beats; the most basic aspect of the rhythm. Just making a fine point. :;):
-David

[davidpenalosa]

My teacher wrote this book:
Conga Techniques by Dave Lyons

Hi Windhorse,
I couldn't help but notice that your teacher writes iyesa in 2-3 clave (as well as using "long bell" and "short bell"). I recently wrote Gary Greenberg with an in-depth argument why he should not write any folkloric rhythm in 2-3 in his revised book. Also, I recently had a conversation with Mike Spiro concerning his upcoming book. He also writes iyesa in 2-3. Mike helped me considerably when I was young, but I obviously take issue with using the 3-2, 2-3 terminology and concept in folkloric music.

Most of the musicians I know who agree with me on this have been influenced by C.K. Ladzekpo's African veiwpoint and David Locke's and C.K.'s cross-rhythmic models.

-David

[windhorse]

Yep, he admits to the difference, and says,, "to the Cubans, everything is 3-2". Actually, I'm glad I learned the clave from both sides.. I feel it has rounded me.

Interesting about Mike though,, When he taught it at the camp, he taught that the low drum came around with the big final tone on the three - if it's a bar of 4, rather the one - how I was taught..
Again, I don't mind learning to feel the accented tone from both sides of clave.. Our group is all going through process of re-learning pretty much everything you brought up. :laugh:



Edited By windhorse on 1142947496