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Tuesday, February 03, 2004
Drumming Rudiment - Double Stroke Tones & Slaps
A hand drumming rudiment for the conga, djembe, etc. I've heard doubles are the fundamentals that Giovanni Hidalgo has most people start with.
Suggestions: I've heard of two ways to play it. In the first method you use the hand like a stick you strike directly downward, hit twice, and bounce straight back up. In the second method you bring the hand slightly towards you which helps facilitate the second strike of each hand - this is like a very slight heel toe motion the second stroke is more of a rebound then an actual strike. With both methods the goal is to get the sounds on either hand, and first or second sound, nice and clear sounding. Let me know if you have any input - I'll post it here (see my email link below :-)
| 1 | + | 2 | + | 3 | + | 4 | + |
| T | T | T | T | T | T | T | T |
| R | R | L | L | R | R | L | L |
This is a bit more advanced. Until you're really comfortable with the tones you may want to wait on the slaps. I know I waited almost a year before I even really tried to work on my slaps.. it's essential is to be as relaxed as possible when working slaps. Practicing with too much tension can result in long term issues with the tendons, joints, muscles, etc.... So, RELAX! :-)
(A while back I submitted this article to the "latinperc" group at yahoogroups. It goes a bit more in depth with regards to how the slap is played. You can read it on Chuck Silverman's website. I was very suprisesd and happy to have him like it and post it on his website. Thanks Chuck!)
| 1 | + | 2 | + | 3 | + | 4 | + |
| S | S | S | S | S | S | S | S |
| R | R | L | L | R | R | L | L |
Now doubles within the Mambo. This is where we start approaching the real stuff. Practicing rudiments is one thing. Skillfully applying rudiments is an entirely different thing. This will get you started at a very basic level with application of rudiments.
Note: The rhythm shifts in to double time in the last half of the second measure. Those that read music well probably can see this. I did my best to quickly demonstrate the rhythm in a notation that closely corrolates with the distances and length of sounds (ie. double time would have a note that's half the length). Maybe I'll have to get a musical notation software.. I'll look in to it, if you have a suggestion, email me.
| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + |3|e|+|a|4|e|+|a|
| B | F | S | F | B | F | T | T | B | F | S | F |T|T|T|T|T|T|T|T|
| R | R | L | L | R | R | L | L | R | R | L | L |R|R|L|L|R|R|L|L|
T = Flam Tone, Flam Open
T = Tone, Open
B = Bass, Bass Tone
F = Finger, Toe
S = Slap
X = Clave/Bell Strike
B = Both Hands, Flam Stroke
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke
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Posted by: Richard / 10:54:30 AM
Comments/Questions: Email me
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Drumming Rudiment
A hand drumming rudiment for the conga, djembe, etc. It works the tone / open flam and the slaps of both hands.
Suggestions: Try speeding up and slowing down. One person recommends watching a clock and slowly speeding over a 5 minute period reaching max speed during the last 30 seconds. Reverse the hand strokes. Play it with a metronome. Try shifting the starting beat so that you have 3 versions of the rudiment - 1 that starts on 1, 1 that starts on the "+" after 1, and 1 that starts after the "a" before 2 - play these 3 versions with a metronome, and learn how to come in on any of the 3 points in the beat scheme.
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | T | S | T | S | T | T | T | S | T | S | T |
| B | R | L | B | R | L | B | R | L | B | R | L |
T = Flam Tone, Flam Open
T = Tone, Open
B = Bass, Bass Tone
S = Slap
X = Clave/Bell Strike
B = Both Hands, Flam Stroke
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke
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Posted by: Richard / 1:10:33 AM
Comments/Questions: Email me
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Monday, February 02, 2004
Havana Abakua
Abakwa - A rhythm from a secret male society in Cuba. This is said to be a Havana version of the rhythm.
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| B | S | · | B | T | · | B | S | · | B | T | · |
| L | R | · | L | R | · | L | R | · | L | R | · |
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | · | B | · | T | · | B | · | T | · | B | · |
| R | · | R | · | R | · | R | · | R | · | R | · |
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | S | · | T | S | · | T | S | · | T | S | · |
| R | L | · | R | L | · | R | L | · | R | L | · |
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| X | · | X | · | · | X | · | X | · | X | · | · |
T = Tone, Open
B = Bass, Bass Tone
S = Slap
X = Clave/Bell Strike
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke
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Posted by: Richard / 11:54:21 PM
Comments/Questions: Email me
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