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  • Ed Uribe Afro Cuban PDF

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    4K Ansichten108 Seiten

    Ed Uribe Afro Cuban PDF

    Hochgeladen von

    Konna Kol
    afro-cuban

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 108
    “Tun wor bantros LIPeRALLY I MEARS “LCPPLME STICKS" lb) THE DALE YOS ARE JUST ‘CHAT —1WO STICKS USED YO PAY VARLOUS REIVTEIBHEE PA's TERNS —MOSY COMMONLY Use in the Rumba siyles You, Guage’, and Columbia, When dhe Lernt is applied int these siples it refers te both playing the paliios—the iistrument—ae well as playing the paditas riychin—ohiaiever speeifie pattern is called for in the particular piece hac is being ployed. ‘This is identical to saying “play clave,” in that the erm encompasses both die instrament smd the rhythede pauern, ‘The Palitos are traditionally played on an instrument called the Cua Gua piece of bambon mounted on a stand that produces a hollow wooden sound, (Guts-Gua is the tame of a bus or van in Cuba—and Puerte Rico ancl other Latin Ameriean Tslancls—andl this instrument sort of drives the ensemble, hence the adaplation of the name.) Ieis also played oat any wood sound sch as fgnve? woodblock, shell of a conga drum, shell or rim of Le bombo er lage tom- tom, jam block, or anyching that pro- duees a round, holes, wenden one. In certain pieces or in sections of certain pieces the palitos are alsa played ona cowbell which ig either ncunted! or stiapped to tbe side ofa bombo oF tuoibadora (conga dium). This often happens in section thiol bas builein rhytlimic activity anc intensity. Some: times the rhytianie pattern is also hanged t@ i more active or shythmi= cally complex ane, The sviteh from veooel Go ret lung with the change in patter increases dhe yohmme 2s well as ereutes more intensity ‘The patterns of the palitos aie closely’ ied to the clave, Generally, once ‘9 pallern is begin iL is kept constant excep for perhaps au atranged change ata specific section, Jn traditional styles tbe palitos player does not improvise within a piece, Init may introduce some variations of tie paviern, fo vontradi- tional siyles these patcerns are excellent as improvisational wpolifs, especially when used in Latin Juz siyles on tbe diewin ser percussion and in soloing: iin chese siyles ‘The palivas rhythms can be played with edi her the Son er Rumba clave, but ee 20} eerie combinations are éerived from thls rhythin. Play this rhythm in one hand i and thie clave rhythim in the other. Also keep in mind that fou should be able to | ‘art these on eilhier bar to accommoclate Doth the 2-2and 2-3 clave positions sre most used in the Rumba sty consequenily hearc! with the rumba clave. Following is the Rumba clave with the basic pal'to shythm {with no accents for now). All of the seo-haniled palito igo Dy Lb ine dtodd ST dy pded player. The first three examples contain the most common accent patterns. The first accents the rhythm of the clave, the second accents the basic Rumbs rhythm ‘ofthe bomba, The third is the most i common for comping, in the Son styles. i all contain ‘The following are ovo") combinations based 01 the basic pal: tern above, There are a conple of things to notice and practice. There isan accent pattern (usually in the right and) that outlines a specific rhythm Which accent pattern is ised clepends The remaining patter on the musical siyle being played and common variations, : the chythmic effect desired by the = core tad DL hy Accant pottern eutlines the Cleve rhytiim wpe) Lately ‘Accent pettern outlines the bombo rhythm. mie Lele) Lay agg) Led dyl+ ST Repack ia ccc | es * myel Ay Gly od * pel Dey Loy * miged-Seedady-d Tod need Bag i JT nga LAE Li ot * mgt dela vee nee extensions of paucrn one. Notice how they line up with the clave Each af the three pate different degrees of rhyttonie fnensity ie Clove Ine J) for the canrect interpretation, " mapd dan ll dy Le wy) Pe i ecteec = ae i ee se a = = = > = | gee gg Aipledatt stall | | ings mr 4 Hy mined 1S Ali | neon el mite “The following are yetanother variety the bass drum) is struck by reaching | | of moshanded patterns, These patterns and playing the note on the head of the | on he Wo ime gegead sre nen apie) The caunecommonanstoe ndiyed onmeseiear ines) Reerenmtts | and you roach ‘bo note of che clave (the the hombe nove. and open-tone anof exo on gpl pret al * miyg Tepid Tl bmgg Life dedToth "spe DD Tid se number of sles, Patuert Lis the basic patiem, pattern M2 shows a different Pefection of the same paltern. Patterns if Sand A add some grace voter (ilams} to the patiern. ‘The following are palite rhythms played on the guagua in snanyf feels Depending on the seving, arrangement Semple it might he weed 0 2 any ofa and en} Rumba Columbia, Aba egg pod ut Cay “od e bass drum of dl chere are a these Cuban syyles couple of different types uscel for diflerent styles. For our purposes we'll Tocus on the specific pauerns of eaely syle vader thrsn dhe different dius, Luv there ave a couple of specific deurns ta be ware of ‘The hambo used by the Comparsas for the Conga rhythinus of the: Cuban Carnaval is.a flat and wide hvosacled rtm that is hung around the player's neck and played wilt canaller ar thick dowel and the Land. The bombe wed in Rumba can vary. jginal bombo was the large Gajen—large wuodent box frorn the sels of tree wooden boxes, jones—originally used to play the ple ix playedl for die svit) Uhere sve vatia- Rumba. The Hurnb Yamba is stl] very often played! on the cajones and stil ayses the mudisional hombo. The cajoues are played with the bands, Por the Rumba Gunguaneé the drum ean bea lagge basa dlviist mounted o a large bass erum qurned en ies sitle and siuing on the floor wich the player siuing ov lop of it and playing by reach- ing down lo tie head on one side— nich like how the drums of the Tuniba He phiyed. This is phyed sith a praflet or dowel aud dhe hand. Today inany groups wse a large loor tom from ia dlnum setaind- thal scemns io work quite swell (or virtually at syfes The first group of patierns are the Fraidiamental pacts for the Rumba ‘Guaguancs, There are also improvised varialians played as dhe energy aud Inceosity ofthe Rumba progres Vhexe cxmnples are weillen in the 32 clave position, The “+7 indicates closer|/munted tones played hy noting ie head wiih the hand and playing closee! tones into the bead with the mallet, The "o” is for open tones tions that are ieprosised! by the pl ‘This is traviionally played on the al M4 ett ero t 2 4 a0 eeportr yt “These patterns are for the Conga de Comparsa and are also used forthe Mozambique. (More on this later.) Which of these petterns (s used and when depends on the musical setting — the ensemble, instrumentation, geo- graphical region of origin of the piece being played, and musical arrange- ment, Again there are the basic Ume Ser erie pep arghr rt 10. meet ee oe ett Following are 1wo paiterns for the Mozambique. This rhythm evolved from the Conga de Comparsa and was developed primarily by Pello El Afro- The following is another combina tion from somne Mozambique arrange- ments of Pello Fl Afrokan. These create a much more syacopated feel, Thes® hwo and the two above could be ar el Herp t e

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