davidpenalosa wrote:The tumba and segundo can respond to each other, but as I hear variations, they occur mainly within the context of developing the individual part, and more in reaction to changes in the song and dance, rather than to another drum. When played in this fashion, an occasional instance of the tumba responding directly to the segundo, or vice versa, can be very hip because of the effect of surprise.
davidpenalosa wrote:A lot of us are familiar with the Cuban batá model of drum conversations, where the itótele must immediately respond to the iyá's call. Although that type of call-and-response can be the coolest thing at the right moment in guaguancó, it can easily be overdone, thus making the rumba sound hokey. I would suggest first create a sense of repetition and expectation with your variations; then at the right moment respond to another drum; then return to your groove.
-David
windhorse wrote:. . . we all of us are guilty of overdoing pretty much anything new that we learn,, as I guess everyone does when they're new and want to practice something to get better.
davidpenalosa wrote:
The tumba and segundo can respond to each other, but as I hear variations, they occur mainly within the context of developing the individual part, and more in reaction to changes in the song and dance, rather than to another drum. When played in this fashion, an occasional instance of the tumba responding directly to the segundo, or vice versa, can be very hip because of the effect of surprise.
-David
Quinto Governor II wrote:I definitely hear the quinto in relation to the singer rather than a dancer or another drum . . .
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