miguel `anga` diaz anga mania!

MIGUEL ‘ANGA’ DIAZ
ANGA MANIA!
MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN
EDITED BY DAN THRESS
PHOTOS © ROBERT MANN
Published by Music in Motion Films Ltd
PO Box 1775, Columbus, OH 43216 USA
tel. 212 358 3877 fax. 212 591 6301
www.musicinmotionfilms.com danthress@csi.com
© 1999 Music in Motion Films Ltd
International copyright secured.
Any copying of this material in whole or in part without the express written
permission of Music in Motion Films Ltd is a violation of copyright law.
KEY
FIVE-DRUM SETUP
FOUR-DRUM SETUP
Tone of conga drums from the highest to the lowest
1
2
3
4
5
bell: mouth area
o
Timbongoro
raise tone with elbow
0
P
B
S
T
M
ST
(T)
F
=
=
=
=
=
=
=
=
=
play an open tone
play a bass like sound with the palm of the hand
play a bass sound in the center of the drum with the palm of the hand
play a slap
tips, play with the tips or fingers of hand
play a muffle sound by pressing against the skin of the drum with the hand
play with stick in hand
ghost note or light tap with fingers
raise tone using the fingers, refer to video
ANGA’S TUNING
D#
F#
A#
G#
C#
Drums 1, 2, and 3 are the same size
Drums 4 and 5 are the same size
2
bell: neck area
+
MARCHA WITH FIVE CONGAS
As stated by Anga, Niño Alfonso with Irakere was the first
to incorporate five congas. When Anga started playing
with Irakere, Niño’s style became a part of Anga. There
are five sounds that convert into a harmonic tumbao.
P
O P S T P T O O
P T S O O S O O
O T S T P T O O
P T S O O S O O
L
R L R L L L R R
L L R L L L R R
L L R L L L R R
L L R L L
L R R
MARCHA WITH FIVE CONGAS—VARIATIONS
Play the basic ride between each example. 2-3 clave
1
O
T
S
T SS O
T SS O
T S S
O
T
S
O
O
S
O
O
L
L
R
L RL R
L RL R
L R L
R
L
R
L
L
L
R
R
01:50
2
O
T
S
T
O O O O O O O O
O
S
(T)
S
O
O
S
O
O
L
L
R
L
R L R R L R R L
R
L
R
L
L
L
R
R
O
T
S
T
P
T
O
oO
(T)
(S)
T
S
O
O
S
O
O
L
L
R
L
L
L
R
rL
R
L
R
L
L
L
R
R
O
T
S
T
P
T
S
(T) s S
sS
(T)
(P)
O
O
S
O
O
L
L
R
L
L
L
R
L rL
rL
R
R
L
L
L
R
R
O
T SS O
T S SO
T SSO
T
P
T
S
O
O
S
O
O
L
L RL R
L RL R
L L RL
R
L
L
R
L
L
L
R
R
02:18
3
02:40
4
02:49
5
03:18
3
MARCHA—MELODIC VARIATIONS
1
O
T
S
T
P
T
O
O
P
T
S
S
O
O
O
O
L
L
R
L
L
L
R
R
L
L
R
R
L
R
L
R
03:51
2
O
O
O
T
S
T
T
O
T
T
S
(T)
S
O
O
O
O
R
L
R
L
R
L
R
L
R
L
R
R
L
R
L
R
O
T
S
T
P
T
O
O
P
T
S
T
O
O
O
O
L
R
L
L
L
R
R
L
L
R
R
L
R
L
R
04:30
L
O
O
O
R
L
R
ghost note
(T)
O
L
R
T
S
O
P
T
S
T
O
O
O
O
L
R
R
L
L
R
R
L
R
L
R
open slaps
3
(T) S S S
3
S
S
S
T S S
S
3
S
S
S
O
O
S
O
O
L
R
L
L
R
L
R
L
L
L
L
R
R
T
S
O
O
S
O
O
L
R
L
L
L
R
R
O
T
S
L
L
R
O
T
S
T
P
T
S
O
T
L
L
R
L
L
L
R
L
R
05:07
4
L
R L R
R L
05:28
4
16-bar melodic pattern
5
O T S T P T O O
P T S O O S O O
O O O
O O
O
O
L L
R R
L R R
R R
L
R
O T S T P T S O
P T S (T) O O O O
O O O
O
O
O
O
L L
R L
L L
L L
R L R
R
L
L
R
O
T
S
T
P
T
S
O
P
T
S
(T)
O
3
O
O
O
3
O
O
L
L
R
L
L
L
R
R
L
L
R
R
L
R
L
R
R
L
05:30
L L
R L
L L
R R
R R
R L
L L
R R L R L R
O
3
O
O
3
O
O
3
O
O
raise pitch with fingers; refer to video
F
F
F
F
O
O
R
R
R
L
R
R
R
R
R
R
R
R
R
O
O
O
(T)
O
T
T
S
T
O
T
O
T
L
R
R
R
L
R
L
R
L
R
L
R
L
O
P
S
T
P
T
S
sS
T
T
S
O
O
S
O
O
R
L
R
L
L
L
R
rL
R
L
R
L
L
L
R
R
6
O
T O
PTS
T
T O
PTS
T
T
(P)
S
O
O
S
O
O
L
L
LL R
R
L R
LL R
R
L
R
L
L
L
R
R
06:10
R
5
MARCHA—MELODIC VARIATIONS
7
O
T
O S SS OS S S O
T
S
O
T
P
S
O
O
S
O
O
L
L
RL R L R L R L R
L
R
L
R
L
R
L
L
L
R
R
O
T
O S SS OS S S O
T
(T)
O
T
P
S
O
O
S
O
O
L
L
RL R L R L R L R
R
R
L
R
L
R
L
L
L
R
R
O
T
O S SS OS S S O
S
O
O
T
P
S
O
O
S
O
O
L
L
RL R L R L R L R
R
L
L
R
L
R
L
L
L
R
R
O
3
O (O)
O
3
O
O
S
S
O
P
T
S
O
O
S
O
O
L
R
L
R
R
L
R
R
L
L
R
L
L
L
R
R
06:35
8
R
P
T
S
O
O
S
O
O
3
3
3
O O O O O S O O
P
O
R R L L R L R R L R L R
L
L
R
L
L
L
R
R
R R L L R L R R
L
R
P
T
S
O
O
S
O
S
3
3
3
O O O O O S O O
P
O
P
T
S
O
O
S
O
S
L
L
R
L
L
L
R
R
R R L L R L R R
L
R
L
L
R
L
L
L
R
R
O
3
O
O
O
3
O
O
O
3
O
P
O
P
T
S
O
O
S
O
S
L
L
R
R
R
L
R
R
L
R
L
L
R
L
L
L
R
R
3
3
3
3
O O O O O S O O T T T S
07:08
6
APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT
This is a demonstration of the basic tumbao or marcha
on five congas in conjunction with the piano. The first
12 measures are transcribed which demonstrate the
basic ride with some of the variations played in the
previous section.
0:07:34
O/O
Piano Intro
2-3 clave
congas
L/R
O P S T P T S O
P T S O O S O O
P T S T P T B oO
T T S (T) O T O S
R L
L
L
R L R R L
R L
L
L R R
L R L
L
L R R
L R L
L L R rL
L R R
O S S O O S S oO
T T S O O S O O
O S S O O S S oO
T T S T O OS S O S S
L R L
R L R L
L R R
L R L R R L R rL
R L R L R LRL R RL
T O T O T
O O O S O S S oO
T T S O O S O O
R L
R L R L
R R L R rL
L
O P S (T) P T B oO
T T S
R L
R L R L R L R L
R L
L
L R rL
R L
R L R rL
L
L R R
etc.
7
GUAGUANCO VARIATIONS
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
start looking at the variations.
0:10:10
O
O
S
O (T) S
O (T)
(T) S
S
B
T
S
O
S
R
L
R
L
R
R
R
L
R
L
R
R
R
L
L
L
3-2 rumba clave
P T T P P T T P
P T T P P T T P
P T T P P T T P
P T T P P T
O
R L R L R L R L
R L R L R L R L
R L R L R L R L
R L R L R L
R
3
3
3
O
3
O
O
P
3
T
B
O T
O S S B
T O T
R
R
R
R
L
L
R
R L
R L R L
L R L
*
R
R
R
R
R
R
* raise tone with elbow; refer to video
8
T M M B (T) T O T
O S S M T M O T
T S S B (T) T O T
O S S B (T) T O T
R L R L R L R L
R L R L R L R L
R L R L R L R L
R L R L R L R L
M M M M M M O T
O S S M M
O T
T S S B T T O T
O S S O T T O T
R L R L R L R L
R L R L
R L
R L R L R L R L
R L R L R L R L
T S S B T T O T
O S S O T T O T
T S S B T T O T
O S S B (T) T O T
R L R L R L R L
R L R L R L R L
R L R L R L R L
R L R L R L R L
L
T M M O (T) T O T
O S S B (T) T O T
(O O)
(S S)
T M M B (T) T O T
R L R L R L R L
R L R L R L R L
R L R L R L R L
Basic Ride
(O O)
(S S)
O M M B T T O T
R L R L R L R L
GUAGUANCO—COUNTER MELODIES
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
practice the variations.
1
T S S B (T) T O T
O S S M (T) M (T) M
(T) M (T) B T T O T
O S S B (T) T O T
R L R L R L R L
R L R L R L R L
R L R L R L R L
R L R L R L R L
10:50
2
T S S B (T) T O T
O T T B T T M M
M
M B T T O T
O S S B (T) T O T
R L R L R L R L
R L R L R L R R
R
R L R L R L
R L R L R L R L
11:03
3
T
Ride variation
S
S
B
(T)
T
O
T
O
S
S
O
T
T
O
T
L
R
L
R
L
R
L
R
L
R
L
R
L
11:17
R
4
L
R
T S S B (T) T O T
O S S B T M M M
M O
(B)
T O T
O S S B (T) T O T
R L R L R L R L
R L R L R L R L
R L
L
L R L
R L R L R L R L
T S S B (T) T O T
O S S B T S S (T)
O OOO OO O T O S
O S S B (T) T O T
11:28
5
3
12:01
R L R L R L R L
6
R L R L R L R L
3
RL RLRLR L R L
R L R L R L R L
T
P
S
T
T
P
O
T
O
P
S
T
T
P
S
T
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
12:40
9
GUAGUANCO—COUNTER MELODIES
7
O
P S
3
S
O
O
O
O
R L
R
L R
R
L
R
R
R
O
O
O T T
T
T
O
O
O
O
R
R
R L
R
L
R
L
R
R
T S S B (T) T O T
O
O
R
L
O
O
R
R
13:10
R L
8
R L R L
O
R
* raise tone
with elbow
13:48
R
9
R
R
O
O
O
S
S
B
(T)
T
O
T
L
R
R
L
R
L
R
L
R
L
O M S M T M O M
(O) alternate sound
(O)
T M S M T M O M
O M S M T M O M
R L R L R L R L
R L R L R L R L
T S S B (T) T O T
14:15
R L R L R L R L
SOLO ANALYSIS
A solo has three parts:
1
2
3
beginning
middle
end
In between those parts you can have variations, different rhythms, experimentation of different formulas, etc.
Nonetheless, it should always be within these three
areas. This is the formula for producing a good solo.
The beginning of the solo on the video starts out with a
tabla pattern from India. This is the main theme. It then
goes into other areas more related to the congas.
To achieve a solo, one must have peace and tranquillity
within and concentration. One must not think of it as an
opportunity to show off technique and do a lot of hits.
It’s like composing a piece of music.
10
R L R L R L R L
TECHNIQUE EXERCISES
The first exercise comes from Changuito’s creation:
“la mano secreta.”
O
3
OPTS
O
3
OPTS
O
R
RL LR
R
RL LR
R
23:57
This exercise comes from the school of Tata Guines.
O
3
P
T
O
3
P
T
O
3
P
T
O
3
P
T
R
L
L
R
L
L
R
L
L
R
L
L
36:11
The 2nd exercise can then be combined with different
sounds such as an open and bass sound on Example 3.
Note: Do not use the heel or the outer edge of the
palm. It is always the whole palm followed by fingers.
Work up these exercises to a fast speed.
O
3
P
T
B
3
P
T
O
3
P
T
B
3
P
T
R
L
L
R
L
L
R
L
L
R
L
L
27:20
11
TECHNIQUE EXERCISES GUAGUANCO VARIATIONS
3-2 rumba clave
1
P
T
T
P
P
T
O
T
O
T
T
B
T
T
O
T
R
L
R
L
R
L
R
L
R
L
R
L
R
R
L
R
31:17
P
S
T
B
P
T
O
T
O
T
S
B
T
T
O
T
L
R
L
R
L
R
R
L
R
L
R
L
R
R
L
R
2
P
S
T
B
P
T
O
T
O
T
S
B
T
T
O
T
L
R
L
R
L
L
R
L
R
L
R
L
R
R
L
R
T
M
T
M
T
M
O
M
O
M
S
M
T
M
O
M
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
31:36
Anga speeds up this pattern to a very fast speed.
TECHNIQUE EXERCISES—DOUBLE STROKES
There are two types of doubles to practice. Start out slow
and gradually build to a faster speed. Note: Practice Exer1
cise 2 with open tones or open slaps with the fingers only. The
second note of each double is accented as indicated.
P
T
P
T
P
T
P
T
R
R
L
L
R
R
L
L
32:40
2
12
S
O
S
O
S
O
S
O
S
O
S
O
S
O
S
O
R
R
L
L
R
R
L
L
DJ GILB-R & ANGA IMPROVISATION
Setup: Four congas (eliminate the lowest drum),
timbongoros, bells, two bells with foot pedal.
Maintain the cowbell pattern with your feet throughout
each example (1st line played with right foot; 2nd line
played with left foot).
34:09
1
(P)
T
S
T
P
T
S
O
P
T
S
O
O
S
O
L
L
R
L
L
L
R
R
L
L
R
L
L
L
R
T
S
P
T
S
O
P
T
S
O
O
S
O
L
R
L
L
R
R
L
L
R
L
L
L
R
T
S
P
S
O
oO
S
S
O
O
S
S
L
R
L
L
R
rL
L
R
L
L
L
R
(P)
T
S
T
P
T
S
O
P
T
S
O
O
S
S
O
L
L
R
L
L
L
R
R
L
L
R
L
L
L
R
R
35:00
2
35:05
3
35:18
4
35:25
13
DJ GILB-R & ANGA IMPROVISATION
5
(P)
T
S
T
P
T
S
O
S
S
O
O
S
O
oO
L
L
R
L
L
L
R
R
L
R
L
L
L
R
rL
T
S
B
T
S
O
O
S
S
O
O
S
T
O
L
R
L
R
L
R
L
L
R
L
L
L
R
R
(P)
T
S
T
P
T
S
oO
S
S
O
O
S
O
T
L
L
R
L
L
L
R
rL
L
R
L
L
L
R
L
35:40
6
35:44
7
35:47
8
P
T
S
T
P
T
S
O
3
O
O
O
3
O
T
O
3
O
B
T
3
T
S
L
L
R
L
L
L
R
R
R
L
L
R
L
R
R
L
R
L
R
9
O
3
O
O
O
3
O
T
O
3
O
B
T
3
T
S
O
3
O
O
O
3
O
T
O
3
O
B
T
3
T
S
R
R
L
L
R
L
R
R
L
R
L
R
R
R
L
L
R
L
R
R
L
R
L
R
P
T
O
P
O
S
O
O
T
high bell
T
med. bell
T
low bell
L
L
R
L
R
L
R
R
L
R
L
R
L
R
37:47
In Example 9, play with a stick in right hand. Open
tones with the right hand are also played with the stick.
14
R
R
This is the basic ride. Many variations can be created
by playing on different surfaces.
DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS
Notice that Example 8 goes into a double-time in
triplets, maintaining the cowbell pattern with both feet.
3-2 rumba-clave
O
3
O
O
O
3
O
T
O
3
O
B
T
3
T
S
R
R
L
L
R
L
R
R
L
R
L
R
cowbells
3
3
right foot
3
left foot
DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME
This groove goes into a double-time feel. Maintain the
bell pattern with the feet. 3-2 rumba-clave.
T
* ST
ST
T
O
T
O
O
O
O
O
O
S
O
O
L
R
R
L
R
L
R
R
L
R
L
R
L
R
R
38:39
T
bell
L
R
T
R
L
bell
R
R
T
bell
P
T
O
T
O
S
O
O
L
R
L
L
R
L
R
L
R
R
*Can be played on timbongoros, conga, cowbell, etc.
The x can also be played on timbongoros, conga, etc.
ST = strike drum with the stick.
15
MIXING STYLES—PILÓN + FUNK
2-3 clave
Hi Hat
Drumset
o
+
+
o
+
+
o
+
+
o
+
+
P O O O
T
Timbales
P T S
T P T
B O O T
S
L
L
R R
R L
Congas
L
R
L
L
L L
R L
R R
MIXING STYLES—BATATUMBA + FUNK
Note: Anga plays the congas with a stick in his right
hand which also plays a cowbell mounted on a stand on
the right side. The iyá is playing a batá rhythm that
comes from Iyesá.
2-3 clave
41:10
Drums
OS/O
Bata: Iya drum
OS/O
OS/O
O
O S
S
O O S
S
S O O
S O S
S O S
call
S O S
Three Congas w/ cowbell
R L R L R L R L R L R L R L R L
16
HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP
In addition to the four drum setup, Anga continues the
bell pattern between his feet. The bells are mounted on
two separate bass drum pedals. 2-3 clave.
1st bell with right foot
2nd bell with left foot
The first section of the piece is played with the hands
on four congas until we get to Example 4 which is
played with a stick in the right hand. You will notice
1
that these examples are variations on the basic tumbao
or marcha played at a fast speed. Reminder: maintain
bell patterns with the feet. 2-3 clave
P
T
S
T
P
T
O
O
P
T
S
O
T
T
O
O
L
L
R
L
L
L
R
R
L
L
R
L
R
L
R
L
41:57
2
3
P
T
S
T
P
T
O
O
P
T
S
O
O
S
O
O
L
L
R
L
L
L
R
R
L
L
R
L
L
L
R
R
P
T
S
O
P
T
O
O
P
T
S
O
T
T
O
O
L
L
R
R
L
L
R
R
L
L
R
R
R
L
R
R
42:14
(Played with a stick in the right hand)
4
T
T
O
T
O
T
O
O
T
L
L
R
L
R
L
R
R
L
T
T
42:42
R
R
L
R
R
L
R
17
HOMENAJE A EMILIANO SALVADOR—SECOND SECTION
This takes us into the second section of the tune which
is a guaguanco derived pattern played with a stick in the
right hand. Many variations can be played by playing
1
different surfaces where the cowbell is indicated (refer to
the video for ideas). Be sure to maintain the bell pattern
with the feet when practicing these examples. 2-3 clave
P
T
O
T
O
T
O
O
O
O
T
O
T
O
O
T
L
L
R
L
R
L
R
R
L
R
L
R
L
R
R
L
T
T
43:22
2
O
O
O
O
T
O
O
T
L
R
L
R
L
R
R
L
R
R
L
T
R
R
L
R
R
L
R
T
R
R
L
R
LATIN PERCUSSIONIST MAGAZINE
Published by Victor Rendón (Tortilla Flat Music)
Interviews
With Milton Cardona, John Santos, Candido, Bill Fitch, José
Madera, Miguel "Angá" Diaz, and Johnny Almendra.
Drumset and Timbale Applications
Horacio Hernandez, 6/8 patterns, Mozambique, bolero,
cha cha chá, and solo applications.
Solo Transcriptions
Guillermo Bar retto, Mongo Santamaria, Johnny Almendra, Los
Muñequitos De Matanza, Manny Oquendo.
Book, CD, and Video Reviews
Folkloric Percussion
The Secret Abakuá Society, Tambores iyesá, and The Art of
Salidor Playing.
Instructional Columns
John Almendra, Victor Rendón, Ken Ross, Louie Bauzo, Greg
Askew, John Santos, and David Peñalosa.
18
Order information:
Latin Percussionist is published twice a year
yearly subscription $10.00 ($14.00 international)
Tortilla Flat Music
83-15 116th Street
Suite 4A
Kew Gardens, NY 11418
(latinpercussion.com)
ALSO AVAILABLE FROM MUSIC IN MOTION FILMS
THE ART OF PLAYING TIMBALES VOL. 1
by VICTOR RENDÓN BOOK & CD
A Complete Guide for Developing Rhythms, Solos and Traditional Timbale Techniques. Includes Drumset Adaptations,
Conga and Bongo Transcriptions, Play-Along Charts, and
Photographs in a beautifully designed, 96 Page Book with
Full Length CD with play-along tracks.
Bilingual English/Espanol
The Art of Playing Timbales Vol 1
ISBN: 0967309824
MIM003 $24.95
This excellent book and CD package is designed for the beginning timbalero, or drumset player, who wants to understand
how to play Afro-Cuban music in a professional setting. If you
have just purchased a pair of timbales, this book will teach
you everything from proper setup, stick sizes, rhythms, independence, transitions, song forms, and soloing. Each music
example has a corresponding track number which can be
found on the CD. Simply read the music exercises, and listen
to the corresponding track number on your CD player.
This book is a complete Afro-Cuban percussion work-out. Each
exercise on timbales is also arranged for drumset. Conga and
bongo students will find their parts in each section of the
book and CD. Please note: to take full advantage of this book,
students are encouraged to learn each part for timbales,
drumset, congas, and bongos.
Each section features play-along CHARTS and CD TRACKS
with some of NY's top Latino musicians: Sergio Rivera
(piano), Victor Venegas (bass), Heriberto Rivera (bongo),
Aníbal "Tito" Rivera (congas), and Victor Rendón (timbales
and drumset). By using these play-along charts you will gain
valuable realistic playing experience that will directly translate to your school ensemble or professional group.
CHAPTERS: Introduction, Position of the Timbales, Different
Sounds, Clave, Abanico, Cha Cha Chá, Son, Transitions, Bell
Patterns, 6/8, Independence, Mozambique, Solo Phrases, and
References.
ALSO INCLUDED: INTERVIEWS with famous timbaleros: MIKE
COLLAZO (Tito Rodriguez, Celia Cruz, Eddie Palmieri, Tito
Puente), JOSE MADERA (Machito, Fania All-Stars, Pacheco,
Tito Puente), and JOHNNY ALMENDRA (Jóvenes del Barrio,
Willie Colón, Mongo Santamaria, John Scofield).
And SOLO TRANSCRIPTIONS from GUILLERMO BARRETO
("Descarga Cubana" from Cuban Jam Sessions in Miniature
Descargas) and MANNY OQUENDO ("Llora Timbero" from Conjunto Libre Ritmo Sonido Estilo).
Victor Rendón is a sought after New York City percussionist
who has performed with The Latin Jazz Orchestra, Chico O'Farrill, Carlos "Patato" Valdéz, Ray Santos, Grupo Caribe, The
Latin Jazz Coalition, Los Más Valientes and many others.
Rendón's work has appeared in Modern Drummer, DRUM!,
Percussive Notes, and Warner Bros. Publications.
Victor Rendon has done the improbable: He has made it possible for a
wide range of drummer/percussionists to approach the art of tim bales without fear of failure. Rendon breaks down the daunting clave
structure so that we all can relate, and demonstrates how the instru ments of the Afro-Cuban percussion section (timbales, congas, bon gos, and sometimes drumset) function as a unit. Learning to play
timbales (or to emulate their rhythms on drumset) makes any drum mer more valuable on the bandstand, and Rendon's instructional
method is as clear as it's going to get. The author's clarity in presen tation is further enriched by his discussion of the evolution of Latin
rhythms and instruments, and by his richly detailed interviews with
master timbaleros. Victor Rendon has worked with giants like Mongo
Santamaria and Patato Valdes, and has taught music for years within
the New York community, and now he's authored the most authorita tive book on the "original" Latin drumkit. Viva timbales!
—BILL KIELY, MODERN DRUMMER MAGAZINE
Victor Rendon's book is as close to having a virtual teacher by your
side as one could get. A full-length CD helps guide you through the
sounds, rhythms, styles and feels of timbales, and in context along
side a rhythm section that includes piano, bass, bongo, congas, tim bales and drumset. Not only are there typical licks, phrases and solo
ideas spelled out for you, there are sample charts with a "music
minus one" feature of removing the timbale track to give the stu dent/performer the experience of really owning the groove. And,
there are tracks that include drumset. Throughout the book are writ ten grooves for congas, bongo, guiro and drumset, always in
explained relation to the clave. Specific rhythms covered are cha cha
cha, son, 6/8 and mozambique. But this book is SO much
more....excellent photos of stick and hand positions, beautiful layout
and clear instrument/sticking/hand notation key, independence exer cises, transitions from paila to mambo bell...two solo transcriptions
with recommended stickings and keys to phrasing....it's ALL here.
Percussionists and drummers are going to love this book. Destined to
be a classic. — GORDON GOTTLIEB
19
ALSO AVAILABLE FROM MUSIC IN MOTION FILMS
AFRICAN RHYTHMS AND INDEPENDENCE FOR
DRUMSET by MOKHTAR SAMBA BOOK & CD
A guidebook for applying rhythms from
North, Central and West Africa to Drumset.
North Africa (Gnawa & Maghreb)
Cameroon (Mangambe & Bikutsi)
Guinea/Mali (Doudoumba) Senegal (Sabar)
Mokhtar Samba and his explosive drumming can be heard
throughout the world on tours and recordings with Salief
Keita, Youssou N'Dour, Henri Dikongue, Carlinhos Brown,
Richard Bona, Tama, Ultramarine, Joe Zawinul, Graham
Haynes, Nguyen Le, Jean-Luc Ponty, and many others.
Mokhtar's Moroccan-Senegalese heritage mixed with the jazz
and Afro-fusion atmosphere of Paris has created one of the
most exciting drummers of our time.
Designed for students and professional drummers interested
in exploring the roots of drumming while learning new rhythms
applicable to all forms of modern music, including Afro-Cuban,
Brazilian, jazz, rock and funk.
48 pages plus CD (96 tracks). Bilingual English/Français
African Rhythms and Independence for Drumset
ISBN: 0967309816 MIM002 $24.95
This is the best explanation of African rhythms that I’ve
heard. I really love the way Mokhtar breaks everything down
and presents it to you. I like the way he plays and thinks
when he’s behind a drumset. — DENNIS CHAMBERS
The grooves just LEAP off the page! Mokhtar Samba's illustra tions of African Rhythm's are wonderfully insightful, enriching,
and masterfully. Thank you, Mohktar for enlightening all of us!
—VINNIE COLAIUTA
Mokhtar has opened my mind to rhythms I have never imag ined before. The more I listen, and incorporate them into my
playing, the more I realize that I am tapping into a source of
rhythmic ideas that will never run dry. — WILL KENNEDY
African Rhythms and Independence brings the traditional trap
player into the land of the original swing—Africa—by spelling
out the essentials on the set. Any broad-based analysis of a
continent’s worth of drumming is an ambitious work, but
Mokhtar keeps the common threads from country to country.
Any drummer interested in a fresh look at how to orchestrate
a groove on the drumset would find these rhythms uplifting,
and that’s the idea, its all up! — JAMEY HADDAD
Each groove is a dance and until you dance the patterns, they
may seem daunting. Dance first and read the notes after then
the grooves will explode. The first time you make that connec tion it will feel incredible. — CHRIS PARKER
Finally, a book that includes North African rhythms. Thank
you, Mokhtar. Respect! — BILLY MARTIN
20
Mohktar has given us many creative and original adaptations
of traditional African drumming styles. He presents the material
in a logical order which allows us to develop each rhythmic ele ment gradually, internalizing these difficult and multilayered pat terns. His contribution highlights the sophistication, genius, and
deep feeling in traditional African music. — ROYAL HARTIGAN
A welcome addition to the drumming lexicon. Ancient rhythms
with endless modern day applications. Mokhtar’s material not
only opens doors of insights into his music, but that of jazz
and Latin, as well as any form of creative popular music.
Bravo! — TONY MARTUCCI
Roots rhythms made fresh, challenging and fun! Talk about
coming full circle—by embracing the past—Mokhtar points us
in the direction of the drumset's future! — DAVE STANOCH
For a long time I had hoped an African drummer would write a
book based on contemporary African drumset playing. Mokhtar
did it, and what a drummer! His book is a gem. — ALAIN RIEDER
This man can really play! Many new books are just older
books with an added cd. This book is a fresh, genuine project
that will become a classic! — ALBERTO SEMENZATO
As Mokhtar Samba explains in the introduction to this excel lent book, there were no drumset players in African bands
as recently as fifteen years ago. But by now an African kit
tradition has been established, and Samba—who’s played
with, among others, Youssou N’Dour and Jean-Luc Ponty—
takes the clearest, most direct route toward explaining it to
a new audience. — MODERN DRUMMER MAGAZINE