Interpreting Notes

[Diceman]

Hey Tone,

Good to hear from you, how is Rio/Bahia?
Bonne Noel etc.
I presume you are refering to the original bembe post by Elray, I am sure there are many ways to 'hand' on congas on an interpretation of bata rhythms, they are physically different drums. I guess so long as they sound good............

I still prefer the notation on a stave but we still need some easy way of expressing rhythms over email...what do you think?

Have I missed something on James Brown??

Have a good 2007, mate

Diceman

[Tone]

You can play however you like it, but if you play the kila with one hand you can suggest much better the fact that those ryhthms are played by more than one drum. In particular you can then play two sounds at the same time.
Another example of Bembe using this technique would be

t s-t s-
M-S-T-

ts- is played with one hand on one drum. It is also a very good excercise. Tone, slap rest.
The other hand plays Muff,rest, Slap,rest, Tone and rest
Another intersting thing is the fact that one hand plays a figure that goes around in three where the other plays a figure of two. That also suggests strongly two drums.
It will do wonders for your independance too!

Try it with reversing the hands. There are of course endless variations...


James Brown, I am sure you know by now, passed away.

Peace

Tone

[caballoballo]

Vaya Tu,

I do sometime play the lessons on the Syncopation book By Ted Reed on El Bongó,doing 4 tempos on Martillo and then playing the first 4 tempos of the lesson and so on. To make it have some kind of sound pattern I play some notes on the Macho and others on the Hembra. But if I have not mis understant Dr Z ,the music to be play either on the Conga or Bongó is never written for a song(salsa music) unless there is a break and then a continuation ,for example when playing El Bongó I play what I feel ,going in and out of the martillo pattern.



Edited By caballoballo on 1168359948

[zaragenca]

Yes Caballoballo,that's the general procedures,and sometimes they didn't write anything,(they just show the brakes to the percussionists and practice)....What I do if I want to remember it is to see the,( brakes values), in the trumpet/sheet of music to incorporate it,(and a few times find out that, what the horns were doing, was not what It was written),or that there was a conflict between the recording of the music and the musical notation in the sheet of music,so you could face all kind of scenarios.Dr. Zaragemca

[Wexford1]

Hello to all of you from me,
The notation with the general procedures and practice in the realm of writing conflicts with the music and sound which the sheet may convey. Often times (since I have been crowned as such by the people who know me) and have said I should know, find that the notes can actually interpret or hinder the sound in which is trying to be introduced. Therefore, the notes face a nutritional value equal to that of what is known or not, as seen with early writings of both traditional and non traditional nomenclature. The grain in which the notes appear could follow has not included the way in which the portrayl should be applied, but has given understanding to how the notes appear. So, now is time for toast, I think you know I am right.

[Jongo]

OK, I did not follow all of what was posted by one of our friendz but ultimately I agree with Tone and whoever else was saying that they would play that pattern Left left right. Open and slap with the left and the notes on the low drum with the right, if you are right handed. Then as you keep that open slap pattern steady with the left you can play more with the right.

[Diceman]

Jongo, Tone,

You are absolutely right about the handing for the example Bembe, and then post then developed into how best to show notes and handings, then fell apart.

Thanks for resurrecting the post.

suave
Diceman