Hi Steve,
It's really a beautiful page. I got it as You mentioned it in djembe-l
'bout five weeks ago.

Pasmanik wrote: "You might also use your search engine to find a little
article I posted  about the same time as the rumba text called "800
words on clave" or something of  that nature."

I tried this a couple of times without any results. May be You Steve or
anybody else had more luck in finding this page.

Any hints are appreciated.

Peace, Johannes

Learn the rhythm called martillo [said: mar-tee-o].  It is the most
common bongo pattern.

I also have a question in regards to this...  What are some other bongo
patterns or variations on martillo.  If anyone has any info, post that as
well.

Thanks

-nolan

>Hi
>I am Tony, I play snare drum for the southend scottish pipe band here in
>the uk and I also play bodhran, guitar, banjo and trumpet.
>I recently got hold of some second hand bongos and need some tips to get
>me started.
>any help would be apreciated.
>

Here's a question for you all.

Rumba has come down to three major forms (as I understand it)

Guaguanco
Columbia
Yambu

The distinction in dance forms are clear enough (Columbia- single male;
Guaguanco 'con el vacunao" and Yambu 'no tiene vacunao'). I'm curious as to
the percussion essentials that differenciate these forms.

I've played guaguanco a bit of late and understand it's 'essentials' to be
an underlying conversation between the salidor (tumba) and segundo (conga),
with a conversation that looks something like this in Havana:

*  .  .  .  *  .  .  .  *  .  .  .  *  .  .  .
X        X           X        X     X          clave
          B        O                       O    salidor
                         O        O             segundo

Or like this in Mattanzas:

*  .  .  .  *  .  .  .  *  .  .  .  *  .  .  .
X        X           X        X     X          clave
          B        O                       O    salidor
                         O                      segundo

Meanwhile the qunito is riding this foundation in response to (and
encouragement of the dancing couple)



I understand the basic Columbia converation as something like this:

*  .  .  *  .  .  *  .  .  *  .  .
X     X        X     X     X       clave
B           O  O  B        B       tumba
       O   O                   O  O conga

with variations that work with the doubled tumba tone / doubled conga tone
(or single / single) conversation

Again the quinto is also working over this foundation and in tune with the
dancer.

Question:

Is there an 'essential' Yambu converation?

OR is this even a reasonable question?

  Doc Firma
too hot in CA

I want to point out this URL to the list

http://ietpd1.sowi.uni-mainz.de/~pseelig/pasmanick/

(that's a #1 in the 'ietpd1' string)

This is an EXCELLENT article by Philip 'Felipe' Pasmanick on the Spanish
poetic form (decima) - stanzas with ten or more octosyllabic lines- in the
heart of Afro-Cuban song.

The 19 page article is from the 7/10/97 edition of Latin Music Review and
is both a solid scholarly work and a readable resource on the history and
evolution of song structure in rumba in Cuba.

I highly recommend it.

  Doc Firma
too hot in CA

I woke up this morning with an uneasy feeling that someone on the list
asked for some background on Bembe. I did not reply at the time and don't
want the person to feel ignored.

Did you get the info you wanted?

If not let the list know again and at least I'll spill what little I've
gained.



  Doc Firma
too hot in CA

Hi
I am Tony, I play snare drum for the southend scottish pipe band here in
the uk and I also play bodhran, guitar, banjo and trumpet.
I recently got hold of some second hand bongos and need some tips to get
me started.
any help would be apreciated.

>Coincidentally, this is the "Bossa Nova" rhythm I shown in a number of drum
>set tutor books.  So Samba and Bossa [Nova] seem to be related.  Come to
>think
>of it, the Girl from Ipanema did walk "like a samba" in the classic song...

Not only are they related, but Bossa Nova (new wave) comes directly from
samba (thanks to Gilberto and Jobim).  Actually, it is sometimes
described as a "sophisticated" samba.  This is because it used the
rhythms of the lower class favelas and gave them a swanky feel so that
the middle to upper class could enjoy them.  Interesting, no?

Also, does anyone know of a good recording of Afro Blue with a drum set
instead of percussion.  Normaly I would not do it on set, but
circumstances have lead me to it and I'm not sure exactly what to do.
Any ideas would be appreciated.  Thanks.

-nolan

Greetings once more from UK-
Many thanks to Johannes S. for your resoponse on Samba rhythm.   Sorry it
turns out to be such a complex issue - I really should find out more before
trying to ask "simple " questions.   I'd prefer not to get into an over-
academic musicalogical disussion, but would like to establish what's about
right, to avoid misguiding my percussion / drum kit students who show an
interest in this area.
The second "Bossa Clave" snare drum pattern you quote look familiar, if I'm
interpreting your notation right. It looks similar to variants for snare drum
I've seen such as:

1          2           3          4
X x X x  X x x X  x X x X  X x x x
X x x X  X x x X  x X x X  X x x x
X x X x  X x X X x X x X  X x X x

X = accented / strong note,  x = softer note.  Timing wise, they're usually
represented as evenly spaced semiquavers / 16th notes in standard music
notation.
One rhythm digest shows a second rhythm alongside the snare drum pattern,
suggesting it's for claves, etc:
1          2          3         4
X x x X  x x X x  x x X x  x X x x

Coincidentally, this is the "Bossa Nova" rhythm I shown in a number of drum
set tutor books.  So Samba and Bossa [Nova] seem to be related.  Come to think
of it, the Girl from Ipanema did walk "like a samba" in the classic song...
Any further clues that you can give would be most welcome.
Thanks for the reference to Advance Music and the Antonio Adolfo book  - looks
very useful for this area of interest!

[  Another approach to this issue *might* be to set pure notation to one side
and go direct to the music itself.  Would it be easier to define Samba
rhythm(s) via a short list of recording titles headed "Now *that's* what I
call Samba"?  Any suggestions anyone? The definitive compilation may already
exist somewhere...  Perhaps I'll e-mail the excellent percussion discographer
at Scott Davison Music in case he's not already on this list. ]

Massive respect to all

Jonathan.

Sorry friends,
I made a mistake, shame on me! I mixed up surdo and contra surdo. it's
just the other way round: contra surdo play on one :

1...2...3...4...1...2...3...4...|
X  xX  xX  xX  xX  xX  xX  xX  x| snare
X  x  X   X  x  X  x  X   X  x  | snare ( some call this "bossa clave")
%   O   %   O   %   O   %   O   | surdo
O   %   O   %   O   %   O   %   | contra surdo

% muffled stroke vs O open
xX refer to weak/strong hand

Johannes

>On the subject of cajones:  in the most recent issue of Experimental
>Musical Instruments (sadly soon to close) there is a short piece on
>Pedro Barriera's wooden bongos.  There are a couple of pictures.  It
>looks like a rectangular wooden box about the size and shape of one of
>those large concrete blocks used sometimes instead of housebricks.  He
>plays it clamped between his legs, like normal bongos.  Barriera is
>Puerto Rican and says he has been playing for twenty five years.  He
>says he uses this wooden bongo (he calls it the 'Bongo Madera')as his
>main instrument on stage and also says there are many other
>percussionists using it.  He sells it for $130.  Has anyone seen or
>heard one of these?

Hi John,
I know Pedro (he calls himself Peter on the phone) from numerous
conversations with him and he seems like a real nice guy. I have a world
music store in Atlanta (Earthshaking Music) and Peter used to call quite
often to order things. I've had a set of his bongo cajones, and they do
sound good, even with my meager bongo chops. Peter told me he's applied for
a patent for this instrument, but I find it hard to believe one will be
granted. It's six peices of wood and has been around awhile I'm sure, even
though Peter claims to have invented it.
Dave Strohauer

Dave & Lisa Earthshaking Music 404-622-0707 Orders only 888-978-2500
          Visit us in Atlanta or at www.earthshakingmusic.com

Greetings ALL
I started drumming ten years ago as taught by a Rasta with a doctorate in
Psychology from Stanford. I played Nyahbingi heart beat based rhythm, only,
for six years. Then I took a African Drum and Dance class in VT and for the
last four or five years. Which opened me up to a world of ryhthms. I have
been studying beyond the Caribbean to Africa, Pakistan, thru to India and
Japanese Taiko plus Shamanic (which I feel antedates all other styles) and
occasionally blends of all. I have mostly drummed alone, for meditation and
chanting praise to JAH. There has been the occasional drum circle ranging
from free for alls ala Rainbow Gathering, to controlled groups of listening
and responsive folks. Both extremes have their place in the scheme of
things for me. Joining a listserv is an effort on my part to enter
community and commonality with folks that have like interests. From my
recent experience with Djembe-L getting tips and tricks is definitely a plus.

My instruments include: a floor tom from a Gretch trapset, a closed drum
from Kenya that tapers from 1/2 meter to 10cm over a 1/2 meter length
covered in antelope (I think) with lacing of the same material, two sets of
Moroccan drums made of clay in different sizes, a coopered ashika that I
built myself from clear cedar, an 12.5** coopered Latin Percussion goblet
drum, a 13** carved Nigerian djembe, a collection of shakers, a Tibetan
singing bowl and a pair of tsingas, a Xi-gong, claves,various bells, a
silver flute and an ebony one and a silver piccolo all of Haynes make.

If any of y*all know what the names of the unnamed drums above are from
their descriptions, I would be interested to know what they are called.

Thanks and Praises
R


-
Thanks and Praises JAH
Peace and Empathy
One LoveR
clark@...
Gainesville, FL USA

The web page (http://php.indiana.edu/~nwarden/) has a few new things on
it now...

1)  A direct link to the Latinperc archives
2)  Even more latin links, including a link to the Official Giovanni
Hidalgo page!
3)  A beautiful logo/opening image on the main page made by the latinperc
"in house graphics team" ... otherwise known as Elliot Warden.  (The logo
is a large file size, currently 150k, but that will change in a few days)

Give it a look and let me know what you think.

Also, I would love to have people send me any interesting latin links
that I have not yet found.  Thanks.

Con sabor,
Nolan Warden

-----Original Message-----
From: jschya@... <mailto:jschya@...>
[SMTP:jschya@...] <mailto:[SMTP:jschya@...]>
Sent: Wednesday, June 10, 1998 5:14 PM
To: MOORE John
Subject: Re: Bongo Madera

Hi John,
a warm welcome. Pleased to meet You. I wonder who has not been on
djembe-l before joining this list. Right now it looks like a family
meeting.

Yes, all the Latin cats moving to the back bar for a few drinks...

BTW did You find any more information concerning "xaxadu" ?
Peace, Johannes


Hi, Johannes,


I didn't really have enough resources to get very far.  My Brazilian
dictionary described the name as onomatopoeic, ie. the 'xa xa' (pron.
'sha sha') refers to the sound of the shuffling feet.  I have a book on
Lampião, the famous cangaçeiro, which does not explicitly mention the
name 'xaxado', but does mention the men dancing together at times due to
the absence of women.  Airto Moreira does give a notation for xaxado in
his tutor, but it is for drumset.  I will post it to the list next week.


JM

Hi Jonathan,
thanks for introducing yourself. Concerning the questions:

"What is the *essential* Samba rhythm? ...
  Which is fundamental Samba, and what is decoration?
  Does it matter? ..."

That's really a tough one. I'm neither brazilian nor musicologist so I
don't dare to answer such a tricky question. But I'll check a book from
Antonio Adolfo, "Brazilian Music Workshop", which contains hundreds of
pattern for all the samba instruments. I doubt that there's an answer,
even if you stick to a certain facett e.g. the samba played in Rio for
carneval. There's a competion between the different "escola de samba"
and this should result in diversification of the rhythm.

A very basic thing from the memory is something like this:


1...2...3...4...1...2...3...4...|
X  xX  xX  xX  xX  xX  xX  xX  x| snare
X  x  X   X  x  X  x  X   X  x  | snare ( some call this "bossa clave")
%   O   %   O   %   O   %   O   | contra surdo
O   %   O   %   O   %   O   %   | surdo

% muffled stroke vs O open
xX refer to weak/strong hand

stay tuned, I'll check Adolfo's book which can be found at

  http://www.advancemusic.com , search for genre "brazilian music"

Peace, Johannes

At 04:50 PM 6/10/98 +1000, you wrote:

   He
>says he uses this wooden bongo (he calls it the 'Bongo Madera')as his
>main instrument on stage and also says there are many other
>percussionists using it.  He sells it for $130.  Has anyone seen or
>heard one of these?

Domingo Rivera (from PR) responded to one of my cajon posts to the djembe
list that he had a set. He offered to check measurements and post them but
has not done so yet.

Here is the relevant part of his old post:***********


_from Domingo------

But I have a pair of BONGOS that are "cajitas".  I like them better than
the others.  They sound so good. Many people ask me "what are you going to
do with that shoe box?".  That's what it looks like.  A shoe box, but if
you look under it you will see that there is a piece of wood that separates
the Heads.  something like this:
Top:   ____________
       |            |
       |            |
        ------------

Bottom:

        ___________
       |   |       |
       |   |       |
        -----------
It is also tappered (thank for telling me what tappered was!!)

I'll give you the mesurements later.

Gracias otra vez
Tu amigo
Domingo



  Doc Firma

Hello Latin Percussion List!
I’m Jonathan Lewin, from England, UK. I’d like to claim the position of least
knowledgeable person on the list. - because I’ve never even played a Berimbau,
let alone constructed one; and I’d never heard of Candomble until I read
Johannes Schya’s recent posting.  Please allow me, therefore, to ask some of
the stupid questions that others may be afraid to ask. By doing this, I hope
to :
a) Improve the self image of those who read the questions and think "I know
that!",  b) Prompt education for those who think "I wanted to know that, but
was embarassed to ask Nolan W.", and  c) Stimulate discussion on this list of
Latin percussion basics as well as esoterics.  So, here goes- students’
question number one:-
What is the *essential* Samba rhythm?  Drum set tutors show 2 or 3 variants on
an accented snare drum pattern. At least one rhythm digest gives a similar
snare drum pattern plus a counter rhythm for claves, etc. Which is fundamental
Samba, and what is decoration?  Does it matter?
Thanks in anticipation for your responses.
Obligatory Latin phrase "Fac ut gaudeam" (Make my day).
Massive respect to all
Jonathan

Hello John
         Domingo Rivera, a djembe-l subscriber from Puerto Rico, has a pair
of wooden bongos. You might try writing him
(domingo.riv@...); it's his summer vacation from school so
I'm not sure how often he checks his mail.
Regards
Tom Daddesio

How could I get a subscription to this newsletter ?

Thanks.......Dan




Nolan Warden <nwarden@...> on 06/10/98 01:15:12 AM

To:   "Latin Percussion Mailing List"
       <nwarden_latinperc@...>
cc:    (bcc: Dan Sterantino/MapInfo Corp)
Subject:  Latin Percussion Newsletter??




If anyone knows what issue the Latin Percussion Newsletter is on right
now, please let me know.  Thanks.

- nolan

Hi everybody,

(A quick introduction:  I have been playing congas for about ten years,
finding it frustratingly slow going [Damn! can't play like Tata Guines
yet].  Started playing Brazilian percussion while I lived in Bahia in
'86 and '87.  Since then studied Cuban style conga here in Melbourne,
mostly with Ray Pereira.  Played in one of Melbourne's 20 or so Latin
dance bands for a couple of years, got tired of the purple silk shirt,
plus twins came along so I haven't played much recently).

On the subject of cajones:  in the most recent issue of Experimental
Musical Instruments (sadly soon to close) there is a short piece on
Pedro Barriera's wooden bongos.  There are a couple of pictures.  It
looks like a rectangular wooden box about the size and shape of one of
those large concrete blocks used sometimes instead of housebricks.  He
plays it clamped between his legs, like normal bongos.  Barriera is
Puerto Rican and says he has been playing for twenty five years.  He
says he uses this wooden bongo (he calls it the 'Bongo Madera')as his
main instrument on stage and also says there are many other
percussionists using it.  He sells it for $130.  Has anyone seen or
heard one of these?


John Moore

Melbourne
Australia

If anyone knows what issue the Latin Percussion Newsletter is on right
now, please let me know.  Thanks.

- nolan

Hello latinperc subscribers!

I have to say that this list is growing very well and very fast.  There
seems to be a lot of interest.  YES!

First of all, if you haven't checked out the web page yet - do so.  It
has lots of new links.  Most links are related to Latin Percussion and
Latin Music but there are also many general percussion/music links.

Also, this list is archived!  If you ever want to see an archive of the
list and search for specific topics go to this address:
http://www.findmail.com/list/nwarden_latinperc/

On a more musical note.... TITO PUENTE will be performing in Indianapolis
this Friday and in Ohio on Saturday.  I am headed to the Indy performance
with a group of people so if anyone is interested I can get you more info
about it.  Otherwise, you could just search for Tito (or anyone) on
Ticketmaster.com

I guess I might as well introduce myself musically since everyone else
did...

I have been studying percussion for around 7 years and have gained my
love of Latin music within the last 2 years or so.  I have two albums out
with me playing drums (non-latin) that are a few years old.  Currently I
am studying Music and Ethnomusicology at Indiana University.  I have
participated in the IU Latin American Music Ensemble and studied with
Andrew Lazaro (a student of Giovanni Hidalgo) and Johnathan Wacker (the
head of percussion studies at IU - a student of Anthony Cirone and
Walfredo Reyes Sr.).  Last year I attended the Berklee World Percussion
Festival and studied Afro-Cuban hand drumming (although I wasn't very
good then).  My abilities have more than doubled since last year, though,
so I plan to attend Berklee again this summer in order to get more out of
it.  This summer I will be sitting in on congas with Los Blancos, the
local Latin group in Lafayette, IN as well as doing some studio work with
various people.

Anyway, we have about 30 people on the list now and that number grows
every day.  Tell everyone you know about this list and lets get some
great conversation started.  Cool?

Thanks to everyone!

ACHE!

                Con Sabor,
                Nolan Warden (your friendly neighborhood list admin)

Morning!

I'm here in response to Nolan's post of the formation of this mailing list
in yestersday's post to the djembe-l mailing list....as are a few more of
us here I'm sure.

The djembe-l list has been the most active exchange of Afro-Cuban folkloric
material that I've found so far...I'd LOVE for this forum to surpass it!

I'm 'new' to the tumbadores as well - about three years- and very much a
mere student. I have no other musical background and often struggle to
grasp the feel of the music beyond the mechanics. I have a strong interest
in folkloric material - guiros, bemebe, rumba, etc. Am drawn to the low
drum parts of that music.

Most recently turned on to cajones......especially the caja.

Lookin' frward to this BIG TIME!

  Doc Firma

>Hello,
>
>My name is Ricardo Lois and I am new to this list.  I thought I would take
>this opportunity to briefly introduce myself.
>
>I am 23 years old and live in the Los Angeles area.  I have only recently
>taken interest in the field of Latin Percussion.  This January, I bought a
>pair of congas and began playing and studying them.  My main interest is Afro-
>Cuban music.
>
>As you can imagen, with only a few months of experience, I am still very
>green.  I look forward to the help an advice of some experienced conga players
>on this list.
>
>Peace,
>
>Ricardo

Hi Ricardo and the rest of the list. I am 33 and live in Raleigh, NC. I've
only been playing congas for about a year. I am self-taught (worn out a few
videos) I currently play percussion in two local bands. One is called
Rhythm Prayer, which is a world-blend jazz improv project and the other is
Neckbone, an old-school funk band drawing inspiration from the Meters,
James Brown, the JB's, War, etc.

I am looking forward to making this list as successful as we can. What you
put into it, you will get out of it.







>>>>>>>>>>> Kurt Schlatzer <<<<<<<<<<<<
Designer   |   Percussionist   |   Fine Artist
Raleigh, North Carolina  |  kurts@...
-------------------------------------------------------------------
"We are all ignorant - just about different things."

Hello,

My name is Ricardo Lois and I am new to this list.  I thought I would take
this opportunity to briefly introduce myself.

I am 23 years old and live in the Los Angeles area.  I have only recently
taken interest in the field of Latin Percussion.  This January, I bought a
pair of congas and began playing and studying them.  My main interest is Afro-
Cuban music.

As you can imagen, with only a few months of experience, I am still very
green.  I look forward to the help an advice of some experienced conga players
on this list.

Peace,

Ricardo

Hello all,
      My name is Dan Sterantino.  I  (Probably like most of you) am also a
member of the Djembe list, but am a Conga guy.  I have been playing drums
for many years, and Conga's for around 4 or 5.  I live in upstate New York
and along with playing daily, I also make Ashikos and Djembes which are
sold at a local music store.  I look forward to more concentrated
discussions on Latin Percussion.

Thanks................Dan

Hi friends,
just started to introduce myself when I realized, that with the
exception of two names i.e unknown email addresses to be correct, the
rest is 100% djembe-l . So it seems a bit stupid as we know each other
more or less and some of us quite a while.

Anyhow, this is another list than djembe-l and I'd like to state a few
things at the beginning.

First of all I speak neither spanish nor portugese.

Second I am quite new to afrocuban stuff, my heart is with brazilean
music, north-east Brazil to be precise. This means my favourite music is
afro-bloco, often called samba-reggae. I have played a bit of candomblé,
sacred ritual music. Candomblé is one of the points where I like to gain
more knowledge. I love the berimbao's I build myself, but I'm not used
to capoeira. It's just the music I like very much.

Still a challenge is the pandeiro. I didn't get the kick to start
working intensive, but in my opinion it's a very nice instrument and
offers a lot of possibilities.

Well and last not least my Raul congas are simply the best - for me.

Nice to be here in this little group of 16 people. Wonder how fast this
list will grow.

Welcome esp to mirvinos@... and billblackdc@...
and the good 'ol djembe-l vets.

Peace, Johannes

Just testiing if this works. Anybody out there?
Gunter

I just subscribed at the request of Nolan Warden and his post on the
Djembe-L mailing list. Glad to be aboard. I play the bongos, but I don't
play the congas because I can't afford a set of congas. I am looking for
a good used set if anyone is selling.

Tom

--
------ - ---- -- -------- -- ---------
http://tomsuniverse.home.ml.org
http://didge.home.ml.org
TomsdelSol@...
------ - ---- -- -------- -- ---------
He who carves himself to suit others,..
	 soon whittles himself away
------ - ---- -- -------- -- ---------