AN INTUITIVE SELF-TEACHING METHOD
By learning how to read my written "Pattern
Diagrams", you will be able to play and memorize the three
types of Afro-Cuban syncopated "expressions" transcribed
in this book. Each expression has been recorded, enabling you to
hear while you read or play them. They begin with a very simplified
drill form of timing and hand coordination exercises, and progress
through the three types of expressions in this course.
The first type of expression is called the "Quinto
Ride". It is a simple and short rhythm played over and
over while changing its rhythmical structure ever so slightly. This
gives the music an added sense of flavor.
What makes the Quinto Ride so tasteful is the syncopated manner
in which it is "expressed" within the clave rhythm. The
second type of expression is what I call a "Quinto
Phrase" which is a "lick" that is expressed with
a more "forward driving" force.
What makes the Quinto Phrase so expressive is it's exciting outburst
of energy that it gives when expressed right after the Gallo (lead
singer) finishes a lyric.
In this course I use the momboleta style phrasing. I use the concept
of playing a Mamboleta phrase one time, as an accent, which leads
back into playing Quinto Rides. Listen to faster rides
and a phrase .
The third type of expression is called the "Quinto
Solo", in this example listen to a very short quinto box
solo. This is where you express your creativity, agility, speed
and power. By being able to read, play and memorize each of the
different expressions you will be able to sit back, close your eyes,
hear and feel what you're playing. You will then actually feel the
strength of Afro-Cuban rhythm and syncopation.
The method in this book uses patterns that you are going to learn
simultaneously with different senses. When you see the written notation,
you are not only seeing a pattern, you are also hearing the pattern,
playing the pattern, as well as physically and emotionally feeling
the pattern. This will help you to ingrain what you are learning
at a deeper level. You will learn to play each of the expressions
with a bass drum playing downbeats, which will keep an even pulse,
and a click track to help you keep time. After you have mastered
each expression with the bass drum playing downbeats, you will be
given the chance to practice it with the rhythm called: "Guaguanco".
I have created this book around the rhythm Guaguanco because some
of the most "tasteful" conga drum licks have been played
with this rhythm. It is a good way for a drummer to learn to become
"soulful" as a soloist, whether it is for salsa music,
latin jazz, funk, rock or straight up folklore.
When you know how to play within the "constraints" of
the Clave rhythm, which will be studied in volume 2, you can play
any kind of music with an added sense of "tastefulness".
(You can find a more detailed description in Appendix A.)
The idea of this course is to literally guide you through each of
the expressions step by step, playing them over and over until you've
mastered them. Then you will be able to play them with other musicians.
If you have any questions concerning this book, email Cliff at:
Questions? |
