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The basic son montuno conga pattern is called marcha, or tumbao. 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. [11]
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 ethnomusicologist A.M. Jones observes that what we call son clave, rumba clave, and the standard pattern are the most commonly used key patterns (also called bell patterns, timeline patterns and guide patterns) in Sub-Saharan African music traditions and he considers all three to be basically the same pattern. [46]
Bell pattern for Havana-style conga de comparsa, written in 2-3 clave sequence. NY-style Mozambique bell pattern in 2-3 clave. The NY Mozambique bell is nearly identical to the basic songo stick pattern. [13] [See: "Basic Songo for Drum Kit" (Ignacio Berroa). The only difference is the stroke on main beat 3, sounded in the
A pair of congas. Conga players perform on a tall, narrow, single-headed Cuban drum of African origin called the Tumbadora, or the Conga as it is internationally known. It is probably derived from the Congolese Makuta drums or Sikulu drums commonly played in Mbanza Ngungu, Congo.
The attack-point pattern of the Matanzas-style lock is one clave in length, but its basic melodic structure is a two-clave phrase. The tone-slap melody usually reverses with every clave. [ 8 ] This style of quinto playing was made popular by the many recordings of Los Muñequitos de Matanzas (1956–present), the most famous rumba group from ...