Percussion Tutor Book

PercussionTutor
Jr me Gol ds chmi dt - Laur ent Peckel s - Jonat han Levi

Contents
I. Percussion Tutor 1
1. Introduction 2
1.1. PercussionTutor app, book and website . . . . . . . . . . . . . . . . . . . . . . 2
1.2. A word of caution for western trained musicians . . . . . . . . . . . . . . . . 3
2. How to use the app 4
3. Notation convention 7
4. Licence conditions concerning the transcription book 8
II. The Rhyhtms 9
5. Cuba 10
5.1. Songo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5.2. Pilon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.3. Mozambique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.4. Afro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.5. Iyesa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
5.6. Guaguanco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
5.7. Afra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
6. Cuba - Bat Drums 24
6.1. Lalubanche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
6.2. Ogun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
i
www.percussiontutor.com
6.3. Aguere - Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
6.4. Aguere - Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
6.5. Imbaloke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
6.6. Kuru Kurubete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
6.7. Ewe Masiborou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
6.8. Borotitilawa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
6.9. Dada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
6.10. Yacota . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
6.11. Iyamase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
6.12. Ibejis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
6.13. Akete Obba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
6.14. Odudua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
6.15. Echu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
6.16. Olokun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
6.17. ongo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
6.18. Chachalokafun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
6.19. Iyesa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7. Brazil 86
7.1. Samba Batucada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
7.2. Baio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
7.3. Samba Pagode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
7.4. Samba Enredo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
7.5. Samba Reggae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
8. Dominican Republic 96
8.1. Merengue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
8.2. Jaleo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
8.3. Pambiche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
9. Peru 103
9.1. Festejo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
9.2. Zamacueca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
ii
9.3. Vals Peruano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
9.4. Lando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
9.5. Afro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
10.West Africa 113
10.1. Fanga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
10.2. Saa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
10.3. Lamban . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
10.4. Sounou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
III. Final Thoughts 122
11.Team 123
12.Contributors 125
iii
Part I.
Percussion Tutor
1
1. Introduction
1.1. PercussionTutor app, book and website
PercussionTutor will allow you to approach South American, Caribbean and West African
music in a dierent way. The app, the free companion book and the website percussion-
tutor.com feature a unique library of world rhythms and instruments played by rst-rate
percussionists and drummers from NYC and around the world.
We designed this project with the dedicated world percussion enthusiast in mind but we are
sure that every musician can immensely prot from the insight into these rich and complex
polyrhythms.
This app puts you in a live playing situation - just like you learned your mother language.
You will sound more natural and more alive and you will awaken to new rhythmic possibil-
ities.
Some recommendations:
give yourself some time to listen to the dierent patterns
internalize the dierent rhythms before you play them
dont start with the notation to learn the rhythms, only use it as a reference
be patient!
2
1.2. A word of caution for western trained musicians
The ethnomusicologist Simha Aron (African Polyphony and Polyrythm, Cambridge University
Press, 1991) writes that one of the essential features of most traditional African music is
the absence of regular accents . . . all terms implying a contrast between strong and weak
beats should thus be excluded from the vocabulary applied to such music. African cross-
rhythm relies on the tension created by complex interrelated patterns and has one reference
point, the pulsation. This pulsation will be your guide during performance.
All the rhythms including their variations and conversations are available in standard nota-
tion inside the app. You can also download them as a free pdf le on our website. Although
we are well aware of the intrinsic limitations of transcribing those rhythms by relying on
western notation, we still agree with John Amira and Steven Cornelius (The Music of San-
tera, Traditional Rhythms of the Bat Drums, White Clis Media, 1999) that sta notation,
while awed, is the best method for presenting bat rhythms to a general audience. Use
the sheets only as a reference point and learn the rhythms by listening to the melodies of
those drums. Remember that there is actually no strong beat at the beginning of each bar
even if the sheets say so. Follow the pulsation and (try to) forget about 1,2,3,4.
3
2. How to use the app
We structured the content of the app by country, region and/or style. Some of the rhythms
have up to three dierent parts called basic, variation and conversation (conversation is
actually a unique feature of the Bat drumming tradition). In the basic section you can
learn the rudiments of the dierent rhythms. The variation section introduces several em-
bellishments. And nally, the conversation section is the most challenging part where the
dialogue between the dierent Bat drums can be practiced. We created a random generator
to imitate a real live playing situation.
The three sections of the app rely on the same user interface. There is also a horizontal view
available showing the music sheet, the dierent instruments and the play/stop controls.
The names of the instruments match the names of the icons from top to bottom and left to
right. Instruments can also be muted and activated in horizontal view.
Basic rhythms
Every rhythmin the basic segment plays as a loop and gives you unlimited time for practice.
By clicking the drum icons before or during playback you have the option to:
listen to all drums together to get a sense of how they sound together
mute one of the drums and play the missing drum yourself
listen to just one drum for study, feel and sound
listen to one drum, sing the part of another drum and play a third drum yourself
(challenging, isnt it ?)
use your instrument to play along the other drums and imitate them
All rhythms have been precisely transcribed into standard notation. The free companion
4
Figure 2.1.: App interface
5
book can be downloaded on percussiontutor.com as a pdf le. Notation is also available in
the app by clicking on the notation symbol.
We cannot stress enough the importance of familiarizing yourself with this new language
by ear. We believe however that the transcription book will serve as a handy reference guide
to the dierent rhythms.
Variation rhythms
In the main section, you will predominantly hear variations or embellishments. All the
rhythms are playing as seamless loops. In this section however you do not have the pos-
sibility to mute the dierent drums. We used a special icon with an E for ensemble play-
ing.
The purpose of this section is to listen and absorb the rhythm with its new variations until
you get a good understanding and feel for it. Once you are ready, click on the basic segment
and practice the variations you just learned.
Conversation rhythms (for Bat rhythms only)
We recorded conversations for 10 dierent rhythms. Each rhythm gives you the impression
that you are playing in a real live situation. The role of the okonkolo is to keep time
while the iy and itotele dialogue (converse) with one another. The iy player starts the
conversation at his or her own choice. The itotele player answers instantly. This back and
forth motion between the drums produces a beautiful language.
The amazing thing about this section is that the conversations appear randomly! Take a look
at the book for more on Bat Drumming.
6
3. Notation convention
Bat Rhythms
chacha: smaller and higher pitched drumhead of each bat drum
enu: larger drumhead of each drum
slap: produces a high crisp sound. Holding the enu while striking the chacha is im-
portant and produces a dry crisp sound
open tone (okonkolo): strike the enu with the ngers. The rim lies on second joint of
the ngers
open tone (itotele): strike the enu with the ngers. The rim lies where the ngers meet
the palm
open tone (iya): strike the enu with the whole hand (ngers/palm) between the rim
and the center of the drum
mued tone: closed or pressed sound (only used on the itotele and on the iya)
touch note - used for timing and feel (at the discretion of the player). Very soft and
most of the time not audible when the three drums play together
Figure 3.1.: Notation
7
4. Licence conditions concerning the
transcription book
This free transcription book can be downloaded at percussiontutor.com. We deliberately
chose to use a Creative Commons Attribution-ShareAlike licence (creativecommons.org/
licenses/by-sa/3.0/) for the booklet. This means you are free:
to share: to copy, distribute and transmit the work
to remix: to adapt the work
and even to make commercial use of the work
under the following conditions:
attribution: You must attribute the work to us i.e. keep the link www.percussiontutor.com
(please respect the terms of the licence and dont imply in any way that we endorse
you or your use of our work).
share alike: If you alter, transform, or build upon this work, you may distribute the
resulting work only under the same or a similar license to this one.
with the understanding that:
Any of the above conditions can be waived if you get our permission.
8
Part II.
The Rhyhtms
9
5. Cuba
5.1. Songo
Songo - Jose Luis Quintana , better known as Changuito is one of Cubas most innovative
drummer/percussionists. Throughout the 1970s and 80s, he was a member of the Cuban
group Los Van Van. It was in this group that he developed a style of Cuban music called
songo.
The rst drum set with Los Van Van had no cymbals or hi hat. the basic set consisted of
toms, snare drum, bass drum, and a large piece of bamboo called caa brava mounted on
a stand. The conga drum plays an open tone on the n of two and on four. Those are very
important notes in latin music. You nd those two notes in many other conga rhythms. The
bass player plays around those two notes most of the time.
10
Clave
Guiro
Congas
Drums
C
C
C
C
/
Songo
/
/
P S T O P T O T
/

5.2. Pilon
Pilon is a Cuban musical form which was very popular in the 1950s. The Pilon was created
by Enrique Bonne Castillo in the Oriente (eastern province of Cuba) in the late 1950s, con-
tinuing into the early 60s. Much of Bonnes music was performed by Pacho Alonso and his
group, Los Bocucos.
12
Clave
Guiro
Congas
Timbales
C
C
C
C
/
Piln
/
/
P T S T P T B O O S O O O O
/
> > >
>
> > >
>
5.3. Mozambique
Mozambique - In the early 1960s, Pedro Izquierdo, better known as Pello El Afrokan, cre-
ated a new rhythm which he called mozambique. Today, there are dierent versions of
mozambiques. In this New York style example of mozambique, you can hear the following
instruments: timbales, congas and 2 dierent cowbells.
14
Small Bell
Large Bell
Congas
Timbales
/
/
/
O O S S S S S S O S O O O O S S S S S S O S O
/
Mozambique
5.4. Afro
Afro is a rhythm that was very popular during the 1940s. In todays music scene, you rarely
hear this rhythm. However, when requested to play, one must pretty much play the same
pattern throughout the tune. It is sometimes used as an introduction or section of a tune.
The tempo is never fast.
Traditionaly, this rhythm is played on timbales. In this more modern version of Afro, we
are using the drum set instead. The conga drum plays a groovy pattern. For those familiar
with bata drums, the congas and bongo play a pattern that is similar to the fourth part of
the Osain rhythm.
16
Clave
Guiro
Bongo
Congas
Drums
/
/
/
/
B P T O S O O O S T T S
/
Afro
5.5. Iyesa
Iyesa is an Afro-Cuban folkloric rhythm. The omele (highest pitched drum) and itotele
(next to highest pitched drum) are both played with one stick. The lowest drum Baba is
the only instrument in this tradition played with the hands. The lead drum and soloist Iya
(next to lowest pitched drum) is played with a stick and a hand.
In the video section, you see an excerpt of a live performance. The iya drum (solo drum)
is on the right side. Greg Askew plays dierent variations on the iya drum. Standing on
the left side, you see Louis Bauzo play the maraca. The basic audio section does not have
a maraca. Once you add songs to the rhythm, the maraca can be added like you see in this
video example.
18
Guataca 1
Guataca 2
Omele
Itotele
Iya
Baba
C
C
C
C
C
C
/

Iyesa
/

/
O O O O
/
O
O O O
/
Llame (call)
O M M O M
/
O O O M M M O O

5.6. Guaguanco
Guaguanco is a sub-genre of Afro-Cuban rumba combining percussion, singing and danc-
ing. There are three dierent types of rumba played today: Yambu, Guaguanco and Columbia.
In this example, you hear a havana style Guaguanco which is also the most popular of the
three rumbas.
In the video section, you see the quinto (solo drum) on the right, the salidor in the middle
and the tres golpe on your left. Paying close attention to the salidor player, you notice that
his basic right is a little bit dierent than the one you hear in the basic audio section. This
is because every salidor player has his own avor and adds little touches here and there to
give the rhythm more spice. Also in this video example, you hear the salidor and tres golpe
players add variations to their basic pattern.
20
Clave
Maraca
Cascara
Salidor
Tres Golpe
Quinto
C
C
C
C
C
C
/
Guaguanco
/
/
/
O B B B O B B O
/
S S B S S O S O S S
/
/
/
/
/
/
/
S S S O O O
/
/
/
/
/
/
S S O O O O O
5.7. Afra
Afra is the name of an Arara rhythm. There are many dierent ethnic groups in Cuba and
one of those groups are the Arara people. You nd Arara people mostly in the provinces of
Havana and Matanzas. Originally the Arara people come fromDahomey (nowBenin).
22
Ogan
Tercero
Seguno
Bajo
Caja
6
8
6
8
6
8
6
8
6
8
/
/
R L
O O
R L
O O
/
r L R L R
o
O O M M
/
R L R L
O O O
/
L R R L
B O O B
R L L L
O
M B B

j
j

j

j

j
Afra
6. Cuba - Bat Drums
The bat drums are a set of three double-headed drums shaped like an hourglass with one
side larger than the other. These drums and their rhythms stem from an ancient oral tradi-
tion and have been mainly used within the traditional religion of the Yoruba people of West
Africa. As victims of the trans-atlantic slave trade, Yoruba people brought parts of their
culture to the new world. Those beliefs and traditions eventually became the basis for what
is known as Santeria, a syncretic religion of West African and Caribbean origin inuenced
by Roman Catholic Christianity.
Over the centuries, the bat drums became part of the Cuban culture and were eventually
heard and played in secular events. Nowadays they are used in many dierent orchestras
and band situations. These drums have their own unique language. Their subtle and com-
plex polyrhythms will help you develop your sense of rhythm.
The traditional setup for the bat ensemble places the iy (largest drum) in the middle. The
okonkolo (smallest drum) sets up to the iys right while the itotele sits down to the iys
left. The lower pitched head on each drum is called enu. The higher pitched head on each
drumis called chacha. We took special care to pan the drums in a dierent way for the video
and the practice section.
Each drum has its own particular purpose in an ensemble. The okonkolo is the time keeper
and is mostly responsible for the groove and swing of the ensemble. The iy (mother of
the drums) is the leader of the ensemble. She starts every rhythm with an entrance call,
plays variations or embellishments during the rhythm and converses with the itotele. The
itotele replies to calls for conversations hence creating a language between the drums while
playing an upbeat with the left hand on the chacha.
Variation Section
24
We recorded variations for 9 dierent rhythms. All of those rhythms have a start section
called llame and a main section. In the main section, you will predominantly hear variations
or embellishments on the iy, to a lesser degree on the itotele and in two occasions on the
okonkolo. All the rhythms are playing as seamless loops. In this section however you do not
have the possibility to mute the dierent drums.
The purpose of this section is to listen and absorb the rhythm with its new variation until
and practice the variation you just learned.
The iy player also called cajero plays the variations or embellishments at his or her own
liking. The itotele player has the option to either answer the variation with a variation
or continue with the basic pattern. The more you get familiar with this music, the more
you will develop a sense of when to answer and not to answer the variations of the iya
drum.
Conversation Section
We recorded conversations for 10 dierent rhythms. Some of those rhythms have two dif-
ferent tempi. Each rhythm gives you the impression that you are playing in a real live
situation. The role of the okonkolo is to keep time while the iy and itotele dialogue (con-
verse) with one another. The iy player starts the conversation at his or her own choice. The
itotele player answers instantly. This back and forth motion between the drums produces
a beautiful language. The amazing thing about this section is that the conversations ap-
pear randomly! Here you have the option to mute the okonkolo and itotele, because the yia
always initiates the conversation.
Notation Conventions
chacha: smaller and higher pitched drumhead of each bat drum
enu: larger drumhead of each drum
open tone (okonkolo): strike the enu with the ngers. The rim lies on second joint of
the ngers
open tone (itotele): strike the enu with the ngers. The rim lies where the ngers meet
the palm
25
open tone (iya): strike the enu with the whole hand (ngers/palm) between the rim
and the center of the drum
mued tone: closed or pressed sound (only used on the itotele and on the iya)
touch note - used for timing and feel (at the discretion of the player). Very soft and
most of the time not audible when the three drums play together
slap: produces a high crisp sound. Holding the enu while striking the chacha is im-
portant and produces a dry crisp sound
6.1. Lalubanche
Basic - Lalubanche is a 6/8 medium to up tempo rhythm and pertains to the orisha (god)
Elegua. In the Yoruba pantheon, Elegua is a warrior and is always greeted or saluted rst.
He is the orisha of the crossroads who opens the doors to all possibilities. Eleguas colors are
black and red.
Variation - In this section, you will learn two variations on the iy and one variation on
the itotele. The cajero plays the variation(s) at his or her discretion. The itotele player has
the choice to reply to the iys variation with a variation (see measures 34 & 1112) or to
continue with the basic pattern (see measures 1516). The purpose of this section is to listen
and absorb the rhythm with its new variations until you get a good understanding and feel
for it. Once you are ready, click on the basic segment and practice the variations you just
learned.
26
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
Lalubanche (Basic)
/
j
/
Call
/
/
j
/
Oko
Ito
Iya
Oko
Ito
Iya
5
Oko
Ito
Iya
9
Oko
Ito
Iya
13
Oko
Ito
Iya
17
6
8
6
8
6
8
/
Lalubanche (Variation)
/
j
/
Call
/
/
j
/
/
/
j
/
/
/
j
/
/
/
j
/
Oko
Ito
Iya
21
Oko
Ito
Iya
25
Oko
Ito
Iya
29
/
/
j
/
/
/
j
/
/
/
j
/
6.2. Ogun
Basic - The Ogun rhythm has a funky ambience to it and is played in a 4/4 medium to
up tempo feel. What dierentiates this rhythm from most others is that the itotele and
okonkolo play the slaps on the chacha (small) head at the same time. In most other rhythms
the slaps are dispersed across dierent beats of the measure. Ogun is the second warrior
and god of war, metal and energy. Ogun stands for strength, hard work and rude force as
well. He is the owner of metal tools and chains. His colors are green & black.
Variation - In this section, you will learn two variations or embellishments on the iy. The
itotele does not respond to those variations and stays with the basic pattern. The iy vari-
ations are in measure 3 and in measures 6 & 7. The purpose of this section is to listen
learned.
Conversation - In this section, iy and itotele converse with one another while the okonkolo
plays time. To make this section even more attractive, the iy also plays variations or embel-
lishments learned in the variation section. The objective of the itotele player is to distinct
variations from conversations and to dialogue with the iy. The conversation appears ran-
domly and therefore creates an alive situation. Allow yourself to listen to this section fre-
quently in order to develop a good feel for the new conversation before you play it yourself.
You have the option to mute the itotele and okonkolo while playing alongside the iy.
30
Oko
Ito
Iya
4
4
4
4
4
4
/
Ogun (Basic)
/
/
Call
Oko
Ito
Iya
Oko
Ito
Iya
5
4
4
4
4
4
4
/
Ogun (Variation)
/
/
Call
/
/
/
Ogun (Conversation)
Oko
Ito
Iya
4
4
4
4
4
4
/
/
Conversation
/
Call
Basic Section
Conversation
6.3. Aguere - Part 1
Basic - Aguere is a rhythm played for the orisha Ochosi. Whats interesting about this
rhythm is that the iy pattern is only one measure long while the itotele pattern lasts four
measures. Ochosi is the orisha that represents forces of nature and justice. He is a great
magician and seer as well as a warrior and hunter. His power symbols are the bow and
arrow. Ochosis colors are blue and orange.
34
Oko
Ito
Iya
4
4
4
4
4
4
/
Aguere - Part 1 (Basic)
/
/
Call

6.4. Aguere - Part 2
Basic - Aguere is a rhythm played for the orisha Ochosi. Whats interesting about this
rhythm is that the iy pattern is only one measure long while the itotele pattern lasts four
measures. Ochosi is the orisha that represents forces of nature and justice. He is a great
magician and seer as well as a warrior and hunter. His power symbols are the bow and
arrow. Ochosis colors are blue and orange.
36
Oko
Ito
Iya
4
4
4
4
4
4
/
Aguere - Part 2 (Basic)
/
/
Call

6.5. Imbaloke
Basic - Imbaloke is a 6/8 rhythm and is played in a medium to up tempo feel. Whats fun
and at the same time challenging is that the slap hits interconnect between all three drums
thus producing a running staccato. As tempo increases, the slap hits become more dicult
to maintain.
Variation - In this section, you will learn two variations on the iy and three variations on
the itotele. You hear the iys rst variation in measures 3, 4, 9 &12 and the second variation
in measures 7, 15 & 16. The itoteles rst variation is in measures 3, 7 & 12; variation two
in measures 4 & 15; variation three in measures 9 & 16. This 18 measure rhythm is looped.
The purpose of this section is to listen and absorb the rhythm with its new variations until
and practice the variations you just learned.
38
Oko
Ito
Iya
Oko
Ito
Iya
3
6
8
6
8
6
8
/
Imbaloke (Basic)
/
/
Call
/
/
/
Imbaloke (Variation)
Oko
Ito
Iya
Oko
Ito
Iya
5
Oko
Ito
Iya
9
Oko
Ito
Iya
13
Oko
Ito
Iya
6
8
6
8
6
8
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
17
Oko
Ito
Iya
21
Oko
Ito
Iya
25
Oko
Ito
Iya
29
Oko
Ito
Iya
33
Oko
Ito
Iya
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
6.6. Kuru Kurubete
Basic - Kuru Kurubete is a 6/8 rhythmand is played in a mediumtempo. The whole rhythm
is composed of a four measure cycle where the slap strokes on the chacha of each drum
interlock and thus create a running staccato. The okonkolo has the most dicult job by
playing the slap strokes on a steady upbeat. Therefore it is very important for the okonkolo
player to concentrate on the open tones (large drumhead) in order to not loose the rhythm.
Kuru Kurubete pertains to the orisha Osain, lord of the forest and master herbalist.
42
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/

Kuru Kurubete (Basic)
/
/
Call
/
/
/

6.7. Ewe Masiborou
Basic - Ewe Masiborou is a groovy rhythm played in a medium to fast 4/4 tempo feel. It
is important for the okonkolo player to focus on the open tones (large drumhead). Focusing
on the slap strokes may cause the rhythm to unexpectedly appear displaced against the
other drums. Ewe Masiborou pertains to the orisha Osain, lord of the forest and master
herbalist.
Variation - In this section, you will learn three variations on the iy. You will hear all
three variations twice in this 14 measure loop rhythm. The itotele does not respond to
those variations and stays with the basic pattern. The okonkolo keeps time while focusing
on the open tones as explained in the basic section.The purpose of this section is to listen
learned.
44
Oko
Ito
Iya
4
4
4
4
4
4
/
Ewe Masiborou (Basic)

/
/
Call
Oko
Ito
Iya
Oko
Ito
Iya
3
Oko
Ito
Iya
6
Oko
Ito
Iya
9
Oko
Ito
Iya
12
4
4
4
4
4
4
/
Ewe Masiborou (Variation)

/
/
Call
/
/
/
/
/
/
/
/
/
/
/
/
6.8. Borotitilawa
Basic - Borotitilawa is a warm and cozy 4/4 rhythm played in a slow to medium tempo
feel. This pattern can be used in many dierent musical situations. It has a really nice
atmosphere to it. As Kuru Kurubete and Ewe Masiborou, Borotitilawa pertains to the
orisha Osain, lord of the forest and master herbalist.
Conversation - In this section, the iy and itotele converse with one another while the
okonkolo keeps time. The conversation appears randomly and therefore creates an alive
situation. Allow yourself to listen to this section frequently in order to develop a good feel
for the new conversation before you play it yourself. You have the option to mute the itotele
and okonkolo while playing alongside the iy.
47
Oko
Ito
Iya
4
4
4
4
4
4
/
Borotitilawa (Basic)
/
/
Call

6.9. Dada
Basic - Dada is a 6/8 rhythm played in a medium to fast tempo feel. The okonkolo part and
the slap strokes of the itotele create a nice running staccato. Dada is also the name of the
orisha and is the symbol of wealth and properity in the Santeria religion.
Variation - In this section, you will learn four variations on the iy. The itotele does not
respond to those variations and stays with the basic pattern. The okonkolo keeps time and
is responsible for the swing of the ensemble. The iy plays one variation in measures 3, 8
& 13; another variation in measures 4 & 10; a third variation in measures 6 & 11; a fourth
variation in measures 2 &15. This 15 measure rhythmis looped. The purpose of this section
is to listen and absorb the rhythmwith its newvariations until you get a good understanding
and feel for it. Once you are ready, click on the basic segment and practice the variations
you just learned.
Conversation - In this section, the iy and itotele converse with one another while the
okonkolo keeps time. There are also variations on the iy to give the rhythm more avor.
Remember that you can listen and study the variations in the variation section. The conver-
sation appears randomly and therefore creates an alive situation. Allow yourself to listen
to this section frequently in order to develop a good feel for the new conversation before
you play it yourself. You have the option to mute the itotele and okonkolo while playing
alongside the iy. You also have the alternative to practice this rhythm in two dierent
tempi.
49
Oko
Ito
Iya
6
8
6
8
6
8
/
Dada (Basic)
/
/
Call
j

j
j

j
j
Oko
Ito
Iya
Oko
Ito
Iya
5
Oko
Ito
Iya
9
Oko
Ito
Iya
13
Oko
Ito
Iya
17
6
8
6
8
6
8
/
Dada (Variation)
/
/
Call
/
/
/
/
/
/
/
/
/
/
/
/
j

j
j

j
j

j
j

j
j

j
j
Oko
Ito
Iya
21
Oko
Ito
Iya
25
Oko
Ito
Iya
28
/
/
/
/
/
/
/
/
/
j

j
j

j
j
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
Dada (Conversation)
/
/
Call
Basic Section
/
/
Conversation
/
Conversation
j

j
j

j
j
6.10. Yacota
Basic - Yacota is a 6/8 rhythm usually played in a slow to medium tempo feel. This rhythm
does not pertain to any particular orisha. When you listen to the itotele by itself, you hear
a soft note (also called ghost note) played on the enu (larger drumhead). This note is not in
the notation and is optional. Challenge yourself to play this rhythm both ways.
plays time. The iy calls the itotele in two very similar ways. The respond of the itotele
is always the same just adding a note in front of the open tone. The conversation appears
randomly and therefore creates an alive situation. Allowyourself to listen to this section fre-
quently in order to develop a good feel for the new conversation before you play it yourself.
You have the option to mute the itotele and okonkolo while playing alongside the iy.
54
Oko
Ito
Iya
6
8
6
8
6
8
/
Yacota (Basic)
/
/
Call
Yacota (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
Conversation
/
Call Basic Section
Conversation
/
/
Conversation
/
Conversation
6.11. Iyamase
Basic - Iyamase is a 6/8 rhythm and is played in a medium to fast tempo feel. When you
listen to the itotele by itself, you hear a ghost note (on the large drumhead) between the
dotted quarter note and the eight notes. This ghost note is not in the notation but can
be played for time keeping purposes. Allow yourself to practice this pattern both ways.
Iyamase pertains to the orisha Chango. He rules over lightning, thunder and re and often
carries his double headed thunder ax. Chango is known for his virility. He is the owner of
the drums. His colors are red and white.
57
Oko
Ito
Iya
6
8
6
8
6
8
/
Iyamase (Basic)
/
/
Call

6.12. Ibejis
Basic - Ibejis is a funky & hip 4/4 rhythm and is played in a medium to up tempo feel. This
rhythmhas a 2 measure cycle with the okonkolo playing a funky sixteen-note-feel ornament
at the end of every cycle. The Ibejis are twin children and are believed to be the children as
well as the messengers of Chango.
Variation - In this section, you will learn three variations on the iy. The itotele does not
respond to those variations and stays with the basic pattern. The okonkolo is the time keeper
of the ensemble. The iy plays one variation in measure 5, another variation in measure 9
and a third variation in measures 13 & 14. This 14 measure rhythm is looped and allows
you to listen, absorb and internalize the rhythm with its new variations until you get a good
understanding and feel for it. Once you are ready, click on the basic segment and practice
the variations you just learned.
59
Oko
Ito
Iya
4
4
4
4
4
4
/
Ibejis (Basic)
/
/
Call
Oko
Ito
Iya
Oko
Ito
Iya
3
Oko
Ito
Iya
7
Oko
Ito
Iya
11
4
4
4
4
4
4
/
Ibejis (Variation)
/
/
Call
/
/
/
/
/
/
/
/
/
6.13. Akete Obba

Basic - Akete Obba is a 6/8 rhythm and is mostly played in a slow to medium tempo feel.
Akete Obba pertains to the orisha Obatala. He is the source of all that is pure, wise and
peaceful. His color is white.
Conversation - In this section, you will hear a conversation with two dierent parts. The iy
and itotele converse with one another while the okonkolo keeps time. The rst part of the
conversatioin can be played as much as desired before moving to the next part. The second
part of the conversation is played once before going back to basic section. The conversation
with its two dierent parts appears randomly and therefore creates an alive situation. Allow
yourself to listen to this section frequently in order to develop a good feel for the new con-
versation before you play it yourself. You have the option to mute the itotele and okonkolo
while playing alongside the iy. You also have the alternative to practice this rhythm in two
dierent tempi.
62
Oko
Ito
Iya
6
8
6
8
6
8
/
Akete Obba (Basic)

/
/
Call
Akete Obba (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
/
/
1st part of conversation -
the iya decides when to move to the next part
/
/
/
2nd part of conversation -
this section is played once before
moving to basic section
/
/
/
Basic section
6.14. Odudua
Basic - Odudua is a 6/8 rhythm and is played in a slow to medium tempo feel. When you
listen to the rhythm, you hear and notice ams in the okonkolo part. A am consists of two
single strokes played by alternating hands. The temporary distance between the rst and
second note depends on the style and context of the piece being played. In this case, allow
yourself to listen to the rhythm frequently in order to develop a good sense for this am
before you play it yourself. Odudua is an orisha.
Conversation - In this section, you will hear a conversation between the iy and the itotele
while the okonkolo keeps time. The conversation can be played as much as desired before
going back to basic section.There is also a variation played by the iy. Listen carefully and
see if you recognize it (also check the notation). The conversation appears randomly and
therefore creates an alive situation. Allow yourself to listen to this section frequently in
order to develop a good feel for the new conversation before you play it yourself. You have
the option to mute the itotele and okonkolo while playing alongside the iy.
65
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
Odudua (Basic)
/
/
Call
/
/
/
Odudua (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
/
Call
/
/
/
Basic Section
/
/
Conversation
/
Conversation
/
/
/
Basic Section
/
/
/
Variation
j

6.15. Echu
Basic - Echu is a hip & groovy 4/4 rhythm and is played in a medium to fast tempo feel.
It is another fun rhythm which can be used in many dierent musical situations. Echu
also called Elegua is the messenger of all the orishas and the owner of all the roads and
doors.
Conversation - In this section, you will nd two conversations between iy and itotele while
the okonkolo keeps time. Conversation 1 is mostly played once but can be played several
times in a row. Conversation 2 can be played as much as desired before continuing with
Conversation 1 or going back to basic. The conversations appear randomly and therefore
create an alive situation. Allow yourself to listen to this section frequently in order to de-
velop a good feel for the new conversations before you play it yourself. You have the option
to mute the itotele and okonkolo while playing alongside the iy. You also have the alterna-
tive to practice this rhythm in two dierent tempi.
68
Oko
Ito
Iya
4
4
4
4
4
4
/
Echu (Basic)
/
/
Call
Echu (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
4
4
4
4
4
4
/
/
Conversation
/
Call
Basic Section
Conversation 1
/
/
Conversation 2 - can be played as
much as desired before going back to conv. 1 or basic
/
Basic Section
6.16. Olokun
Basic - Olokun is a groovy 4/4 rhythm and is played in a medium to fast tempo feel. When
you listen to the iy part, you hear ghost notes (large drumhead) on the recording. These
ghost notes are not written down in the notation section. These ghost notes are optional.
Adding ghost notes into a rhythm has two functions. It is a good time keeper and gives the
rhythma certain swing. Olokun is an orisha and represents the deep part of the ocean.
71
Oko
Ito
Iya
4
4
4
4
4
4
/
Olokun (Basic)
/
/
Call

6.17. ongo
Basic - ongo is a 6/8 rhythm played in a medium to up tempo feel. It has a funky, hip
and groovy feel and can be used in many playing situations. Drummers can apply it to
their drumset, congueros to their congas, as well as guitar and keyboard players to their
respective instruments. This rhythm does not pertain to any particular orisha.
Variation - In this section, you will learn one variation on the iy and two variations on
the itotele. The iy plays the same variation in measures 2 & 3 and 6 & 7 while the itotele
answers to those variations with two variations (measures 3 & 7) of its own. This 8 measure
rhythm is looped. The purpose of this section is to listen and absorb the rhythm with its
variations until you get a good understanding and feel for it. Once you are ready, click on
the basic segment and practice the variations you just learned.
is responsible for time. In addition to the conversation, there is also a variation between
iy and itotele to give the section more spice. Remember that you can listen and study the
variation in the variation section. The conversation appears randomly and therefore creates
an alive situation. Allow yourself to listen to this section frequently in order to develop a
good feel for the new conversation before you play it yourself. You have the option to mute
the itotele and okonkolo while playing alongside the iy.
73
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
ongo (Basic)
/
/
Call
/
/
/
Oko
Ito
Iya
Oko
Ito
Iya
5
Oko
Ito
Iya
9
Oko
Ito
Iya
13
6
8
6
8
6
8
/
ongo (Variation)
/
/
Call
/
/
/
/
/
/
/
/
/
ongo (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
6
8
6
8
6
8
/
/
/
Call
Basic Section
/
/
Conversation
/
Conversation
/
/
/
Play this call to go back to basic
6.18. Chachalokafun
Basic - Chachalokafun is a hip, hot and funky rhythm. It is played in a medium to up tempo
feel. Apart from that, this rhythm is fun to play and can be used in many dierent musical
situations. This rhythm does not pertain to any particular orisha.
Variation - In this section, you will learn three variations on the iy and one variation on
the okonkolo. You can hear the rst variation on the iy in measures 2 & 4, variation two in
measures 5, 6 & 7, and variation three in measures 9, 10 & 11. The okonkolo variation is in
measures 9, 10, 11 & 12. This 12 measure rhythm is looped. The purpose of this section is
to listen and absorb the rhythm with its new variations until you get a good understanding
and feel for it. Once you are ready, click on the basic segment and practice the variations
you just learned.
Conversation - In this section, the iy and itotele converse with one another. There are also
variations on the iy and okonkolo to give the rhythm more avor. Remember that you can
listen and study the variations in the variation section. The conversation appears randomly
and therefore creates an alive situation. Allow yourself to listen to this section frequently in
order to develop a good feel for the new conversation before you play it yourself. You have
the option to mute the itotele and okonkolo while playing alongside the iy.
77
Oko
Ito
Iya
4
4
4
4
4
4
/
Chachalokafun (Basic)
/
3 3
/
Call
3
Chachalokafun (Conversation)
Oko
Ito
Iya
Oko
Ito
Iya
4
4
4
4
4
4
/
/
3 3
/
Call
Basic Section
3
/
/
Conversation
3 3
/
Conversation
Back to basic
Chachalokafun (Variation)
Oko
Ito
Iya
4
Oko
Ito
Iya
7
Oko
Ito
Iya
10
Oko
Ito
Iya
4
4
4
4
4
4
/
/
3 3
/
Call
3
/
/
/
/
/
/
/
/
/
6.19. Iyesa
Basic - Iyesa is a very groovy, funky 4/4 rhythm. This rhythm is mostly played in a medium
to up tempo feel. It is a fun rhythm to play and can be used in many dierent musical
situations. This rhythm does not pertain to any particular orisha.
Variation - This is a very challenging section with many new variations to learn. We left
out the call in the audio and on the sheets. You will learn four variations on the iy, one
variation on the itotele and two variations on the okonkolo. This 20 measure rhythm is
looped and allows you to listen, absorb and internalize the rhythm with its new variations
until you get a good understanding and feel for it. As soon as you feel ready, click on the
basic segment and practice the variations you just learned. You will hear the okonkolos rst
variation in measures 7, 8, 9, 17, 18 & 19; okonkolos variation two in measures 10, 11, 12 &
13. The iy and itotele variations are marked in the notation section.
Conversation - In this section, you will nd two conversations. In conversation 1, the iy,
itotele & okonkolo converses with one another. In conversation 2, iy & itotele converse
with one another and the okonkolo plays time. You nd more explanations about the con-
versations in the notation section. There are also variations on the iy and okonkolo to give
the rhythm more spice. Remember that you can listen and study the variations in the vari-
ation section. The conversations appear randomly and therefore create an alive situation.
Allow yourself to listen to this section frequently in order to develop a good feel for the
new conversations before you play it yourself. You have the option to mute the itotele and
okonkolo while playing alongside the iy.
81
Oko
Ito
Iya
4
4
4
4
4
4
/
Iyesa (Basic)
/
/
Call

Iyesa (Variation)
Oko
Ito
Iya
3
Oko
Ito
Iya
7
Oko
Ito
Iya
11
Oko
Ito
Iya
14
Oko
Ito
Iya
4
4
4
4
4
4
/
/
Call
/
/
Variation
/
Variation 1 Variation 4
/
/
/
Variation 2
/
/
Variation
/
Variation 1 Variation 1 Variation 3
/
/
Variation
/
Variation 2

18
Oko
Ito
Iya
/
/
/
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
Oko
Ito
Iya
4
4
4
4
4
4
/
Iyesa (Conversation)
/
/
Call Basic Section
/
/
/
Conversation 1 between iya, itotele & okonkolo -
can be played as often as desired before going to
conversation 2 or back to basic like in this example
Always play the call to go back to basic
/
/
/
Basic Section
Conversation 2 - can be played as
much as desired before going back
to basic
/
/
/
Always play the call to go back to basic Basic Section

j
7. Brazil
7.1. Samba Batucada
Samba Batucada was born in Rio de Janeiro, Brazil during the late 19th century, when
thousands of migrants from Brazils Northeast ed south in search of a better life. Among
those migrants were many free-slaves whose culture and music, especially rhythm, were
brought south and inuenced the music that was being created.
During the course of the 20th century, the free-slaves settled in slums and poor working
class communities all around Rio de Janeiro, and as their communities grew, they started to
form musical groups to march in the citys lent celebration called Carnaval. Each one of
these groups had a percussion ensemble that consisted of surdo players, agogo, pandeiro,
tamborins, caixas and ganzas. All these instruments are featured in this recording, playing
a traditional samba de batucada feel.
Repinique Notation:
O = open tone (right hand with stick)
x = rim click (right hand with stick)
Left hand = no stick
Tamborim Notation:
Check out the video excerpt for tamborim technique.
86
Ago-go
Tamborim
Ganza
Caixa
Repinique
Surdo 1
Surdo 2
2
4
2
4
2
4
2
4
2
4
2
4
2
4
/
Samba Batucada
/
/
> > > > > > > > > > > > > > > >
/
> > > > > > > >
/
R
O
R
O
R L R
O
R
O
R L
/
O O O O
/
O O O O

7.2. Baio
Baio is a Northeast Brazilian rhythm. In this example of Baio, you hear the following
instrumentation: pandeiro, triangle, ganza, wood-blocks & drums.
Pandeiro Notation:
Th = thumb
S = slap (middle of pandeiro)
Triangle: O = open
88
Pandeiro
Triangle
Ganza
Wood-Blocks
Drums
C
C
C
C
C
/
Th Th S Th Th S Th Th S Th Th S
/
O O O O O O O O O O O O O O O O
/
> > > > > > > > > > > > > > > > >
/
Baiao
7.3. Samba Pagode
Samba Pagode - Pagode is a Brazilian style of music with its origin in Salvador, Brazil. The
Pagode style quickly went down to Rio de Janeiro and So Paulo region as a sub-genre of
Samba. Original Pagode developed in the start of the 1980s with the arrival of the band
Fundo de Quintal.
Pandeiro Notation:
Th = thumb
T = tip of ngers
H = heel
S = slap (middle of pandeiro)
Tan-Tan Notation:
B = bass
O = open
x = side of drum
90
Reco-Reco
Ago-go
Pandeiro
Tan-Tan
Drums
2
4
2
4
2
4
2
4
2
4
/
Samba Pagode
/
/
Th T H S Th S Th S Th Th Th
/
B O O
B O
B O O
B O
/
> > > > > > > > > >

7.4. Samba Enredo
Samba Enredo is a sub-genre of samba in which songs are performed by a samba school for
the festivities of Carnaval.
Pandeiro Notation:
Th = thumb
T = tip of ngers
H = heel
92
Ganza
Ago-go
Tamborim 1
Tamborim 2
Pandeiro
Caixa
2
4
2
4
2
4
2
4
2
4
2
4
/
> > > > > > > > > > > > > > > >
/
/
/
/
Th T H T Th T H T
/
> > > > > > > > > >
j

Samba Enredo
7.5. Samba Reggae
Samba Reggae is a music genre from Bahia, Brazil. As its name implies, Samba Reggae is a
combination between Brazilian samba and Jamaican reggae.
94
Ganza
Surdo 1
Surdo 2
Drums
2
4
2
4
2
4
2
4
/
> > > > > > > > > > > > > > > >
/
O O O O
/
O O O O
/
> > > > > > > > > >

Samba Reggae
8. Dominican Republic
8.1. Merengue
Merengue is a type of music and dance that originated in the Dominican Republic. Fran-
cisco ico Lora was a Dominican folk musician considered one of the fathers of merengue.
Internationally known merengue singers and groups include Juan Luis Guerra, Los Toros
Band, Sergio Vargas, Johnny Ventura, Ramon Orlando, Bonny Cepeda, Cuco Valoy, Wilfrido
Vargas, Kinito Mendez and Los Hermanos Rosario just to name a few.
Three main types of merengue are played in the Dominican Republic today. Merengue
tipico is the oldest style commonly played. The two other types are merengue de orquesta
and merengue de guitarra. The main percussion instruments are the tambora and the guira.
The tambora is a double headed drum played on one side with a stick and on the other
side with the hand while the guira is a metal scraper. The traditional instruments of the
merengue are the accordion, tambora, guira and marimba (bass instrument). Later on,
bands added a sax and the marimba was replaced by a bass guitar. In the last 20 years a
few new innovations have been made and congas, timbales and keyboards have been added
to merengue bands.
Guira Notation:
U = upward movement
D = downward movement
Tambora Notation:
L.H. = left hand (no stick)
R.H. = right hand with stick
96
x = side of drum
S = slap
O = open tone
Conga Notation:
O = open tone
S = slap
B = bass tone (bass notes are played softly)
97
Guira
Congas
Tambora
C
C
C
/
U D U D U D D U D U D U D D U D U D U D D U D U D U
Merengue
/
O O B S B O B S B O O
/
R.H.
(Stick)
L.H.
S O O S S S S O O S S S S O O

8.2. Jaleo
Jaleo is a type of music and dance from the Dominican Republic. It is used as a part in a
merengue song which consists of three sections: paseo, merengue & jaleo.
Guira Notation:
U = upward movement
Tambora Notation:
L.H. = left hand (no stick)
R.H. = right hand with stick
x = side of drum
S = slap
O = open tone
Congas Notation:
O = open tone
B = bass tone (bass notes are played softly)
99
Guira
Congas
Tambora
C
C
C
/
U D U D U D D U D U D U D D U D U D U D D U D U D U
Jaleo
/
O
O O O B O O O O B O O O O B O O O
/
Left Hand
R.H.(Stick)
S O O O O S S S O O O O S S S O O O
8.3. Pambiche
Pambiche is a type of music and dance from the Dominican Republic. Pambiche also called
merengue apambichao is commonly heart in the merengue.
Guira Notation:
U = upward movement
Tambora Notation:
O = open tone
S = slap
M = mue tone
T = tip of ngers (softer than a slap)
x = side of drum
Congas Notation:
O = open tone
S = slap
B = bass tone
101
Guira
Congas
Tambora
C
C
C
/
U D D U D D U D D U
D D U D D U
D D U D D U
Pambiche
/
O S B S O O O B S O S B S O
/
L.H.
R.H.
(Stick)
O O S T M S S T O O O S T M S S T O
9. Peru
9.1. Festejo
Festejo is likely the most popular form of Afro-Peruvian music. Peru Negro, an Afro-
Peruvian music ensemble founded in 1969, created some festejo types that became national
hits in Peru and around the world.
Writing out musical/rhythmic patterns of the Afro-Peruvian festejo can be a little challeng-
ing in the sense that they sometimes appear to be in binary form (2/4 or 4/4). However,
on further observation, they are actually played somewhere in between those two feels
(binary-ternary). It is for this reason that we are presenting the festejo in 4/4 meter as well
as 12/8. It will be up to the reader to decide which meter to use, watch the app demonstra-
tion and listen to the music to develop the proper feel of theses rhythms.
Quijda
F=hit with the st of hand
U=upward scrape with the stick
D=downward scrape with the stick
Congas
O=open tone
S=slap
P=palm of hands
T=tips of ngers
103
Cowbell
Cajita
Quijada
3 Congas
Bongo
Cajon
4
4
12
8
4
4
12
8
4
4
12
8
4
4
12
8
4
4
12
8
4
4
12
8
12
8
12
8
12
8
12
8
12
8
12
8
/

Festejo 1A (binary & ternary)
/

/

F F F F F D U D U F D U D U F D U D U F F F F F
/
O O S O O O O S P T O
/

/
Quijda
F=hit with the fist of hand
U=upward scrape with the stick
D=downward scrape with the stick
Congas
O=open tone
S=slap
P=palm of hands
T=tips of fingers
R R L
R R
L R R L R R L R
R L
3
3 3 3
3
/

/

/

F F F F F D U D U F D U D U F D U D U F F F F F
/
O O S O O O
O S P T O
/

/
R R L
R R
L R R L R R L R R L

j

j
J

J

j

j
9.2. Zamacueca
Zamacueca is an ancient colonial dance taking its roots from African, Spanish and Andean
rhythms. The Zamacueca gave birth to Perus national dance, the marinera and Chiles
cueca. The Zamacueca is played at a moderate tempo.
105
Congas
Cajon
12
8
12
8
/
O O O S O O O O
P S T
P O O
/
Zamacueca
9.3. Vals Peruano
Vals Peruano also called Vals Criollo is an adaptation of the European Waltz brought to the
Americas during colonial times. Over time, the Waltz was slowly changed to the liking of
the creole people.
107
Claps
Cajon
3
4
3
4
/
/

Vals Peruano
9.4. Lando
Lando is a very popular musical style in Afro-Peruvian music. Compared to the festejo, it is
a much slower style.
109
Quijada
Congas
Cajon
12
8
12
8
12
8
/
Lando
/
O O O O O
L L L L
O O O
R R L
T P P T
R L R
L
T
R
O O
R
/
9.5. Afro
Afro is an Afro-Peruvian rhythm.
111
Clave
Guiro
Bongo
Congas
Drums
/
/
/
/
B P T O S O O O S T T S
/
Afro
10. West Africa
10.1. Fanga
Fanga is a Liberian welcome rhythmand dance taught by Asadata Dafora/Babatunde Olatunji.
Main rhythm is second drum part: Gun Go Go Do Gun Gun Go Do
Drum Language:
Slap = Pa /Ta
Tone = Go /Do
Bass = Gun
113
Djembe 1
Djembe 2
Djembe 3
Djun Djun
C
C
C
C
/
S S S S S S S S
Fanga
/
B O O O B B O O
/
B B B B O O B B B B O O
/

Bell

10.2. Saa
Saa is a social dance that resembles the movements of a snake done by two girls who seemto
be like twins. Dance and rhythm introduced and taught by master drummer Ladji Camara.
The mastery and agility to play the rst accompaniment djembe rhythm distinguishes one
as a true djembe drummer.
115
Lead Djembe
Djembe 1
Sangba
12
8
12
8
12
8
/
Call
o O O O O O O O
Basic Ride
T S T T S T T S T T O T T S T T O T T O O O S T
Saa
/
S O S S O S S O S S O S
/
Bell
10.3. Lamban
Lamban is a rhythm for accompanying pre-circumcision ritual music and dancing. First in-
troduced in America (US) by master drummer Ladji Camara. First accompaniment djembe
part is one of the two most important rhythms to understanding and learning djembe drum-
ming.
117
Lead Djembe
Djembe 1
Djembe 2
Djembe 3
Sangba
Djun Djun
12
8
12
8
12
8
12
8
12
8
12
8
/
Call
S
S S
Lamban
/
/
/
/

/
/
O O S S O O S S
/
S O O S
S S
O O S S
/
O O S T O O S S
/
B T S S O O S S
/
/
/
O O S S S S S S S S S S
/
S O O S S
/
O O S T O O S S
/
B T S S O O S S
/
/
2
10.4. Sounou
Songo - Jose Luis Quintana , better known as Changuito is one of Cubas most innovative
drummer/percussionists. Throughout the 1970s and 80s, he was a member of the Cuban
group Los Van Van. It was in this group that he developed a style of Cuban music called
songo.
The rst drum set with Los Van Van had no cymbals or hi hat. the basic set consisted of
toms, snare drum, bass drum, and a large piece of bamboo called caa brava mounted on
a stand. The conga drum plays an open tone on the n of two and on four. Those are very
important notes in latin music. You nd those two notes in many other conga rhythms. The
bass player plays around those two notes most of the time.
120
Lead Djembe
Djembe 1
Djun Djun
4
4
4
4
4
4
/
Call
S S S S S S
S S O O
Basic Ride
O S T O S B O S O
Sounou
/
O S S S O O S S B S O
/
Bell
Part III.
Final Thoughts
122
11. Team
Jrme Goldschmidt: Jrme has been a professional musician and teacher for over 25
years. He lives in NYC and played with numerous artists such as Tito Puente, Mongo San-
tamaria & Chico OFarrill. jeromegoldschmidt.com
Laurent Peckels: after having spent 10 years in Paris working in the IT eld and founding
his own company Laurent nally chose The Bass as his career path. He is a member of the
Luxembourg Jazz Orchestra Big Band, he teaches and he has kept his soft-spot for mixing
geeky tech stu with music. peckels.com
Jonathan Levi: Jonathan, (born 1996!) is a drummer, loves Jazz & Latin music, good food
and new technologies. Follow him on twitter.com/drummerjolev
Georgi Gochev: developer - geonwk.com
123
Figure 11.1.: The Team
124
12. Contributors
Siddhartha Naithani: Musician, sound designer, and audio editor based in NYC. Follow
him on Twitter: twitter.com/noeticsound
Greg Askew - Bronx, New York Greg Askew, a product of Harbor Performing Arts Center,
studied with Reggie Tyler, Louis Bauzo & Alex Giglio among others. He recorded with
Orchestra Yambu and played on Danilo Perez Motherland album. He performed with
Tito Puente, Roberto Borrell y su Kubata and Felipe Garcia; he is currently performing with
Caribbean dance troupes Patakin and Carambu.
Louis Bauzo Brooklyn, New York Born in Puerto Rico, Louis Bauzo attended Julliard
School of Music and studied in Africa, Puerto Rico and Cuba. He has been a professional
musician for over thirty years. A member of the Tito Puente Orchestra for seven years
during the 1970s, he has performed and/or recorded with Dizzy GIllespie, Machito, Mario
Bauza, Eddie Palmieri, Mongo Santamaria, Johnny Pacheco, Larry Harlow, Celia Cruz, Cachao,
Paul Simon, Manhattan Transfer, Joe Jackson, The Duke Ellington Orchestra, Babatunde
Olatunji, Ladji Camara, Katherine Dunham and the Alvin Ailey Dance Company, among
others.
Luiz Ebert Queens, New York Luiz Ebert, drummer and percussionist, is a native of
Braslia, Brazil, He has developed a vocabulary blend of drumming with percussive sen-
sitivity all his own. Combining the innovative concepts of jazz music with traditional el-
ements of Brazilian music creates a unique sonic palette that propels music in dierent
directions. Luiz Ebert currently resides in New York City, where he works with some of
the most talented upcoming jazz artists, as well as some established Brazilian artist such as
pianist Cidinho Teixeira and bassist Leco Reis.
Marcos Napa Clifton, New Jersey Marcos Augusto Napa Ormeo, was born in Lima, Peru.
125
He dedicated his life to Afro-Peruvian music and dance and made his debut as a profes-
sional percussionist in Ballet Per Negro. After a brilliant career with Ballet Peru Negro, he
performed with great Peruvian artists such as Eva Ayllon, Juan Castro Nally, Cecilia Braca-
monte, Lucila Campos, Mariela Valencia and Maria del Carmen Dongo. Currently, Marcos
teaches Afro Peruvian Dance at Pachamama Peruvian Arts in Queens, NY and directs his
Afro Peruvian Music and Dance Group: Caracumbe. www.marcosnapa.com
Mario Monaco Queens, NewYork Born in Montreal (Canada), Mario started playing Drum
Set on his 8th birthday and became a full time player at the age of fourteen playing mostly
North American Music. In his 20s, he moved to Brazil and spent 8 years in So Paulo ab-
sorbing the Music. Besides being an incredible drummer, Mario plays also percussion. He is
most recognized for his dedication and musical abilities in the variety of Brazilian rhythms.
He has performed with Al Di Meola, Paul Winter and Sambeamba, and has recorded with
Claude Dubois, Querubim Samba, and Mamadou Baye, to name a few. Mario is currently
living in New York City.
Oswald Simmonds Irvington, New Jersey Mr. Simmonds began his musical career in
Spanish Harlem New York City at the Boriqua Workshop, under the tutelage of John Mason
and the Quionez brothers. He later furthered his studies with Chief James Hawthorne Bey
in Queens New York, at the Bernice Johnson dance School. Following this experience, he
joined the International African American Ballet, where he studied the music, dance &songs
of the Old Mali Empire West Africa, with Olukose Wiles, John Blandford, Rhonda Morman
and Hazel Starks-Bryant. He became Co-founder and Associate Director for both the Body
Forms Dance and Fitness Studio in Jersey City, New Jersey and the African Performing Arts
and Culture Center, of Newark New Jersey. He has performed and recorded with many
musical groups and dance companies. Mr. Simmonds is a former consultant for the New
Jersey Performing Arts Center, Artist in Residence Program, and Adjunct faculty member
of the New Jersey City University.
Reynaldo Alcantara - Cliside Park, New Jersey Born and raised on the Caribbean island
of the Dominican Republic, Reynaldo Alcantara considers himself a great lover of all that is
folkloric music from many countries but especially from the islands of Cuba, Puerto Rico,
and his native home of Dominican Republic. He studied folkloric music with Master Teach-
ers Louis Bauzo and Alfredo Coyude. In addition, Reynaldo has professionally played Salsa
126
for over forty years and has had the privilege of playing and professionally recording music
with various bands like El Conjunto Saoco, Yambu, Nino Segarra, Paquito Guzman, David
Forestier, Loas Hermanos Colon, Cano Estremeda, Tricoche, Billy Carrion, Luisito Carrion
to name just a few.
Richard Byrd - Bloomeld, New Jersey Richard Byrd, native of New Jersey, has traveled
around the world perfecting his craft as a Drummer and Akponni. He has had the dis-
tinction of performing consistently with Babatunde Olatunji, Ladji Camara, Chuck Davis,
Charles Moore Dance Co. and Chief Bey. He was also the founder and director of Dundu
Dole, a West African Dance troupe. His constant study has aorded him the distinction of
being one of the better Djembe Drummers and all around percussionist. His wide range
of talents allows him to be procient on many types of drums, including the Bata, Congas,
Sangba, Djundjun, Sabar, Ashiko, as well as a wide variety of percussion instruments, such
as Shekere, and Agogo bells. Richards dedication has led him to become one of the lead-
ing Akponnis in the Yoruba tradition. Richard has also worked with Jimmy McGri, Tito
Puente, Sun Ra Arkestra, Cecil McBee, and Charles Earland.
Rudy Walker Orange, New Jersey Tasty, powerful, dynamic, steady. . . these are only a
few of the adjectives that have been used to describe the technique and performance of
drummer, Rudy Walker. Since the age of seven, Rudys natural attraction to percussion has
been in evidence. Starting on the snare drum was the beginning of mastering the entire
drum set, and watching a performance by Billy Brooks set a burning desire in motion. With
a career that spans thirty years of performance, recording and teaching, Mr. Walker takes
tremendous pride in his contributions to making music with such notables as Sir Roland
Hanna, Walter Davis, Jr., Randy Weston, Pharaoh Saunders, Lou Donaldson, Sonny Fortune,
Bobby Watson, Andy Bey, Gloria Lynn, Amiri Baraka and Jimmy Scott. Throughout the
United States, Europe, Canada, Africa and Japan, Mr. Walker has made music with many
of the best musicians in the world, whether high proled or local legends, music that spans
the spectrum of style and craft. www.rudywalker.com
Victor Rendn Queens, New York Originally from the Corpus Christi, Texas area, drum-
mer/percussionist Victor Rendn has had a 30 year plus career as a performer and educator
in New York City. He studied classical percussion intensively for many years with his rst
teacher, Jimmy Ramirez, and Latin percussion in NYC with renown percussionists: Louie
127
Bauzo, John Almendra, Little Ray Romero, Frankie Malabe, Mike Collazo Sr., Changuito,
Roberto Borrell, John Amira, as well as drumset artists; Paul Guerrero, Charli Persip, and
Dom Famularo. Formerly co-leader of the Rodrguez/Rendn Latin Jazz Orchestra, he now
leads the Latin-jazz group Blue Mambo and the percussion group: Co-Tim-B. His lat-
est project is the Bronx Conexin Latin-Jazz Big Band with its home base at Lehman Col-
lege. He has worked as a side man with Mongo Santamaria, Chico OFarrill, Carlos Patato
Valds, Ray Santos Orchestra, Grupo Caribe, Latin Jazz Coalition, The New Xavier Cugat
Orchestra, Grupo Latin Vibe, Los Mas Valientes, Rudy Calzado, Corpus Christi Sympony,
Bronx Symphony, and many others. www.victorrendon.com
We would like to thank: Roger Fixy, Louie Bauzo, Johnny Almendra, Victor Rendon (thank
you for revising the wording), Alberto Villareal, Mario Aspirina Juregui, Greg Askew,
Ernesto Gatel, Maximino Duquesne, Amado Dedeu, Cristobal Larrinaga, Carlos Aldama,
Olivier Congar, Ray Alcantara, Richard Byrd, Thomas Beato, Luisito Quintero, Daniela Gi-
acone, Max Sauber, Paul Mootz, Alain Ginter, Rainer Kind, Romain Heck, Gregor Hueb-
ner, Sven Prokaska, Mario Monaco, Bruno Marrazza, Jacques Tellitocci, Catarina Almeida,
Kameliya Gocheva, Luc Kinsch, Anne-Catherine, Ada, Maud, Isabelle, Patrick, Ministre de
la Culture du Grand-Duch de Luxembourg. Our thoughts go to our families which we
love dearly.
128

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Jr me Gol ds chmi dt - Laur ent Peckel s - Jonat han Levi

Ewe Masiborou (Basic)

Ewe Masiborou (Variation)

6.13. Akete Obba

Akete Obba (Basic)

Akete Obba (Conversation)

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