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I've noticed a few recordings where the conguero leaves out the slap on the 3 side of the clave before going to the low drum (Marc Anthony, 'El Cantante' for one)
I've never seen it written any other way besides with the slap (either with the same hand or opposing one)
so I was wondering if anyone could comment on that.

Im not sure what you mean tbh , but it sounds strange not to play a slap on the 3 side .Whats in its place ? Any video examples ?

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I dont think thats what he is refering to tbh .mongo3k can you clarify what you mean about leaving out the slap on the 3 side ?

niallgregory wrote:I dont think thats what he is refering to tbh .mongo3k can you clarify what you mean about leaving out the slap on the 3 side ?

If you listen to the recording in the montuno secton, you can hear very clear muted slaps on every 2nd beat _except_ the ones before his hitting the low drum (accenting the second note of the 3 side of the clave)
If he is playing a slap or touch with his left hand (assuming he's righty) at those points, i can't hear it

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mongo3k wrote:I've noticed a few recordings where the conguero leaves out the slap on the 3 side of the clave before going to the low drum . . . I was wondering if anyone could comment on that.

I have developed a terminology for the phenomena you are asking about. I think most everyone in this forum knows that the basic conga drum tumbao has two slaps per clave cycle, one on the three-side and the other, on the two-side.

I call the slap on the two-side the primary slap. I call it that because it is the slap that aligns, or coincides with clave. It is also the slap that is typically maintained throughout various tumbao variations. The secondary slap is on the three-side, it is counter-clave, and it is often replaced by another stroke. In other words, it is the three-side that varies the most, just like in rumba quinto and most other folkloric lead drum parts.

Kevin Moore of the timba piano books series has adopted this terminology.
-David