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Congas were originally used in Afro-Cuban music genres such as conga (hence their name) and rumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums.
Congas santiagueras include the corneta china (Chinese cornet), which is an adaptation of the Cantonese suona introduced in Oriente in 1915, and its percussion section comprises bocúes (similar to African ashiko drums), the quinto (highest pitched conga drum), galletas and the pilón, as well as brakes which are struck with metal sticks. [1]
The quinto (literally fifth in Spanish) is the smallest and highest pitched type of conga drum. It is used as the lead drum in Cuban rumba styles such as guaguancó, yambú, columbia and guarapachangueo, and it is also present in congas de comparsa. Quinto phrases are played in both triple-pulse (12/8, 6/8) and duple-pulse (4/4, 2/2) structures.
It is probably derived from the Congolese Makuta drums or Sikulu drums commonly played in Mbanza Ngungu, Congo. Originally a person who plays tumbadoras is called a "tumbador" but ever since they began using the name "conga", a man who plays conga is called a "conguero" and a woman who plays conga is called "conguera". Other common terms are ...
The basic son montuno tumbao pattern is played on the conga drum. The conga was first used in bands during the late 1930s, and became a staple of mambo bands of the 1940s. The primary strokes are sounded with open tones, on the last offbeats (2&, 2a) of a two-beat cycle. The fundamental accent—2& is referred to by some musicians as ponche. [13]
The conga dance style is more of a march, which is characterized by its distinctive conga drum rhythm. It differs from the Cuban rumba, which uses movements considered "hip" and shows the sensually aggressive attitude of each dancer. Conga music is played with a staccato beat as its base, which gives rhythm to the movements of the dancers ...
3–2 clave (Play ⓘ) and 2–3 clave (Play ⓘ) written in cut-time. In Cuban popular music, a chord progression can begin on either side of the clave. When the progression begins on the three-side, the song or song section is said to be in 3–2 clave. When the chord progression begins on the two-side, it is in 2–3 claves.
Songo congas play a hybrid of the salidor and quinto, while the timbales or drum kit play an embellishment of the Matanzas-style guagua. Matanzas-style guaguancó guagua. Basic songo stick pattern. Contemporary timba musicians cite rumba as a primary source of inspiration in composing and arranging. Timba composer Alain Pérez states: "In order ...