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Instrument: Bongos, a Drum Set for Dancing Country: Cuba (Ku-Ba)

ROOTS OF RHYTHM - CHAPTER 2: THE BONGOS FROM CUBA Instrument: Bongos, a drum set for dancing Country: Cuba (ku-ba) Flag: The star stands for independence. Size and Population: The country is 42,804 square miles with 2,100 miles of coastline. It is slightly smaller than Pennsylvania. The population of Cuba is estimated at 11,061,886 as of July 2013; ranked 77th in the world. Geography and Climate: The Cuban mainland is the largest and westernmost island of the West Indies. About 90 miles south of Florida, Cuba consists of one large island and more than 1,600 smaller ones. With towering mountains and rolling hills covering a quarter of the country, the rest consists of mainly gentle slopes and grasslands. The fertile soil is primarily red clay and provides rich farmlands for crops and pastures. The heavy forests, consisting mainly of pine trees, exist in the southeast. There are over 200 rivers and streams in Cuba, but most are not navigable. Among the 200 harbors, two important ones are at the capital, Havana, on the north coast and at the U.S. controlled Guantánamo Bay on the south coast. Cuba has a semi-tropical climate and breezes keep the island mild throughout the year. Temperatures range from 70° F in the winter to 80° F in the summer. The country’s dry season lasts from November to April and during the remaining wet season certain areas can get up to 54 inches of annual rain. Strong hurricanes often hit the islands during the fall months. Background and History: In 1492, Christopher Columbus landed in Cuba and claimed it for Spain.
Cuban Rumba Box (La Rumba De Cajón Cubana) © Jorge Luis Santo - London, England 2007

(La Rumba de Cajón Cubana) Jorge Luis Santo The Cuban Rumba Box (La Rumba de Cajón Cubana) © Jorge Luis Santo - London, England 2007 Cover illustration: Musicians from the Conjunto Folklórico Nacional de Cuba. Left, Ignacio Guerra, right, Ramiro Hernández. From a photograph by the author taken in Havana, Cuba. Back sleeve portrait by Caroline Forbes, UK PREFACE uban music has had a phenomenal global cultural impact. It is a C mixture of African and European influences, and it’s the fusion of these elements that has resulted in a fascinating mosaic of musical forms. The world’s interest in this music has increased over the past few years. Cuba’s musical culture has become much more exposed due to the riches and dynamics it possesses. It attracts people from every walk of life, awakening curiosity among those with the desire to learn, and is slowly making its presence felt in educational circles. However, it continues to be a subject of academic bewilderment due to a lack of knowledge and basic technical skills, also a shortage of qualified teachers in this field. The purpose of this work is to contribute to an understanding and appreciation of Cuban percussion and culture, in particular the Rumba, a Cuban musical genre traditionally played on cajones (boxes) known as the Cuban Rumba Box, presented in a way that seeks to be readable and informative to everyone. It begins with a brief background to the history of the Cuban Rumba and an explanation of the different musical types and styles. A full graphic description of the percussion instruments used to play Rumba is described in the chapter entitled, ‘Design and Technology’.
Jesus Perez and the Transculturation of the Cuban Batã¡ Drum

Diálogo Volume 7 Number 1 Article 14 2003 Jesus Perez and the Transculturation of the Cuban Batá Drum Ivor Miller Follow this and additional works at: https://via.library.depaul.edu/dialogo Part of the Latin American Languages and Societies Commons Recommended Citation Miller, Ivor (2003) "Jesus Perez and the Transculturation of the Cuban Batá Drum," Diálogo: Vol. 7 : No. 1 , Article 14. Available at: https://via.library.depaul.edu/dialogo/vol7/iss1/14 This Article is brought to you for free and open access by the Center for Latino Research at Via Sapientiae. It has been accepted for inclusion in Diálogo by an authorized editor of Via Sapientiae. For more information, please contact digitalservices@depaul.edu. Jesus Perez and the Transculturation of the Cuban Batá Drum Cover Page Footnote This article is from an earlier iteration of Diálogo which had the subtitle "A Bilingual Journal." The publication is now titled "Diálogo: An Interdisciplinary Studies Journal." This article is available in Diálogo: https://via.library.depaul.edu/dialogo/vol7/iss1/14 - Jesus Perez A n d t h e T ransculturation of the Cuban Batá Drum by Ivor Miller "For the first time in Cuba, I created aprogram of Yorübá chants and prayers on radio Suaritos, whichbecame famous throughout theisland. We performed these chants and prayers with their authenticdrum rhythms. I learned all this from Jesús and Trinidad [Torregrosa], the percussionists who accompanied me. They guided me, and if I had doubts, I consulted with them. Doctor Ortiz, after listening to the program, asked Jesús and Trinidad to bring me to his house so he could greet me.
TC 1-19.30 Percussion Techniques

TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
A History of the Conga Drum by Nolan Warden

A History of the Conga Drum By Nolan Warden Despite its wide- spread use, the conga drum may be one of the most misunder- stood percussion in- struments. It is all-too-often disre- garded as an “acces- sory,” not worthy of serious consideration. Even though the past decade has brought increased interest in “world” percussion, information about the history of congas re- mains hard to find. Before approaching that history, though, we must consider a few fundamentals. Besides, we haven’t even called this drum by its correct name yet! Photo © CIDMUC, Havana. From book/CD entitled From Afrocuban Music to Salsa by Dr. Olavo Alén Rodriguez (PIRANHA Records, BCD-POIR1258, 1998). PERCUSSIVE NOTES 8 FEBRUARY 2005 THE BASICS considered to be responsible for the musi- refers to the lead part in rumba. Conga In the United States, we hear these cal development of these drums, the refers to the middle or medium-sized drums referred to as conga drums or sim- word tumbadora is used out of respect for drum, and tumbadora refers to the larger ply congas. However, in Cuba, where that setting as opposed to conga, which is drum. Some manufacturers now produce these drums were developed, the word a more commercial term. Today, it’s not requintos (extra small) and/or super- conga is usually only applied to a drum really necessary for English-speaking tumbas (largest). It should not be in- and rhythm played during Carnaval percussionists to call these drums ferred, however, that drums with these (similar to Brazilian Carnaval or Mardi tumbadoras.
Glossary of Cuban Musical Terms

Glossary of Cuban Musical Terms Bongo: A small double drum which is held between the knees, resting on the claves of the seated musician. Clave: An off beat 3-2 or 2-3 rythmic pattern played over two measures. It is the basis for all Cuban music. Claves: Two strikers of resonant wood used to perform the clave pattern. Conga: A major instrument in the salsa rhythm section. There are three drums in the conga family- quinto (small) conga (mid-sized), and tumbadora (large). There are a great many sounds achievable which make the congas a very versitile instrument. Mambo: An Afro-Cuban form of music which has it’s roots in the Congolese religious cults. Arguments still exist over who exactly brought it to the dance halls but it was the big bands of the 1940s that which brought it’s contrasting brass and sax riffs to salsa popularity. Mambo Section: A section of contrasting riffs for salsa frontline instruments. Said to be derived from the guaracha it got it’s name when it became part of the Mambo. Montuno Section: A vehicle for improvisation in Cuban and salsa numbers. Usually a two or three chord pattern, it is ad- libbed under instrumental or vocal improvisations. It is very often where the piano player will play a repeated rhythmic pattern. Shekere: An African-derived rattle made from a gourd and covered with beads in a net-like pattern. Son-Montuno: A 2-3 clave form, usually mid-paced or slow with an intense, relentless quality highly suitable to the salsa format.
Arsenio Rodríguez

Arsenio Rodríguez Birth name Ignacio Arsenio Travieso Scull Born August 31, 1911 Güira de Macurije, Matanzas Province, Cuba Origin Cuba Died December 31, 1970 (aged 59) Los Angeles, California, United States Genres Son montuno, guaracha, guaguancó, bolero, afro, cha- cha-cha, lamento Occupations musician Instruments tres, tumbadora (conga) Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull, Güira de Macurije, 31 August 1911 – Los Angeles, 31 December 1970)was a Cuban musician, composer and bandleader.He played the tres (Cuban string instrument) in son-based music and tumbadora, or conga, in folkloric rumba. In the 1940s and 50s Rodríguez reorganized the son conjunto (‘son group’) and developed the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred song lyrics.Early lifeRodríguez was born in Güira de Macurije in Bolondrón, Matanzas Province as the third of fifteen children, fourteen boys and one girl.As a young child, Rodríguez was blinded when a horse (or a mule) kicked him in the head.Rise to FameLater, Rodríguez became a musician, and eventually became one of the most renowned bandleaders on the island earning him the nickname El Ciego Maravilloso (the Marvellous Blind Man). His music emphasized Afro-Cuban rhythm as well as the melodic lead of the tres, which he played. In 1936 he played his own compositions with the Sexteto Boston, led by his cousin Jacinto Scull. The group disbanded in 1937, and he joined the Septeto Bellamar of cornetist José Interián in 1938.
Instrument: Bongos, a Drum Set for Dancing Country: Cuba (Ku-Ba)

ROOTS OF RHYTHM - CHAPTER 2: THE BONGOS FROM CUBA Instrument: Bongos, a drum set for dancing Country: Cuba (ku-ba) Flag: The star stands for independence. Size and Population: The country is 42,804 square miles with 2,100 miles of coastline. It is slightly smaller than Pennsylvania. The population of Cuba is estimated at 11,308,764 as of July 2004. Geography and Climate: The Cuban mainland is the largest and westernmost island of the West Indies. About 90 miles south of Florida, Cuba consists of one large island and more than 1,600 smaller ones. With towering mountains and rolling hills covering a quarter of the country, the rest consists of mainly gentle slopes and grasslands. The fertile soil is primarily red clay and provides rich farmlands for crops and pastures. The heavy forests, consisting mainly of pine trees, exist in the southeast. There are over 200 rivers and streams in Cuba, but most are not navigable. Among the 200 harbors, two important ones are at the capital, Havana, on the north coast and at the U.S. controlled Guantánamo Bay on the south coast. Cuba has a semi-tropical climate and breezes keep the island mild throughout the year. Temperatures range from 70° F in the winter to 80° F in the summer. The country’s dry season lasts from November to April and during the remaining wet season certain areas can get up to 54 inches of annual rain. Strong hurricanes often hit the islands during the fall months. Background and History: In 1492, Christopher Columbus landed in Cuba and claimed it for Spain.
“Latinizing” Your School Jazz Ensemble

“LATINIZING” YOUR SCHOOL JAZZ ENSEMBLE: PRACTICAL SUGGESTIONS FOR ACHIEVING AN AUTHENTIC LATIN SOUND Michele Fernandez Denlinger Clinician Also featuring : The ‘’Caliente’’ Rhythm Section Mr. Jose Antonio Diaz, Director December 14, 2016 The Midwest Band and Orchestra Clinic Chicago, Ill Playing and teaching the various forms of Latin music should not be viewed as an enigmatic challenge, although this undertaking is often described as such by music instructors everywhere. It is actually quite simple if one has access to the right concepts and patterns. During my years as a high school director I had the opportunity (and necessity) to observe and develop rehearsal techniques that allowed the jazz ensemble at Miami High to achieve the authentic sound that my students so much enjoyed sharing through many venues. However, it was only after my later experiences as a clinician, conference speaker and adjudicator that I actually made an attempt to collate and organize the principles and techniques I (sometimes unconsciously) applied with my students throughout my time as a director. This handout contains some basic principles and rehearsal suggestions that I hope will help any director/student unfamiliar with some of the major styles in this genre (and perhaps those a bit more familiar as well) to begin to teach and explore this infectious brand of music with more vigor and authenticity. Most of all: Have a great time; “Latin” music is truly a blast to play and teach! Michele *Questions/assistance regarding any material in this presentation will be promptly (and gladly) answered. Please refer to Section VII: Clinician BIO for contact info.
Redalyc.CENTRAL PARK RUMBA: NUYORICAN IDENTITY and THE

Centro Journal ISSN: 1538-6279 centro-journal@hunter.cuny.edu The City University of New York Estados Unidos Jottar, Berta CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Centro Journal, vol. XXIII, núm. 1, 2011, pp. 5-29 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37722223001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative CENTRO Journal Volume7 xx111 Number 1 spring 2011 CENTRAL PARK RUMBA: NUYORICAN IDENTITY AND THE RETURN TO AFRICAN ROOTS Berta Jottar a b s t r a c t This essay focuses on the performance of Central Park rumba in the 1960s and 1970s, and its role in the formation of Nuyorican (Puerto Ricans from New York City) identity. Puerto Ricans and Nuyoricans learned and reinterpreted traditional Cuban rumba as their return and performance of African roots. Their search for “roots” resulted in the articulation of a Nuyorican identity reproducing their mediated memory, a rumba knowledge based on mechanical reproduction. What I designate as rumba à la boricua—the result of a mediated, hybrid subjectivity— generated a space of negotiation and contestation against the limitations of nationalism and neo- colonialism. [Keywords: Afro-Latin, Nuyorican, Puerto Rican, rumba, salsa, mediated memory, identity, hybridity, Central Park] Photograph of Pe Conga’s cajón drum—made by Apache—with a late 1970s pasted photograph of the Rumberos All Star: Eddy Mercado, Pedro “Pe Conga” López, Nestor “Budy” Bonilla, Miguel “Chino” Santiago, Cowboy, Anthony Negrón, José “Apache” Rivera, and David Lugo (photographer of the Rumberos All Star unknown).
AFRO-CUBAN RHYTHMS for DRUMSET by Frank Malabe and Bob Weiner, Published by Manhattan Music, Inc

Latin Rhythms: MYSTERY UNRAVELED Victor López, Clinician Sponsored by Alfred Publishing Company Guest Clinicians: Michele Fernandez Denlinger Anthony M. Falcone 2005 Midwest Clinic 59th Annual Conference Hilton Chicago - Chicago, Illinois December 16, 2005 Special thanks to: The rhythm section of the New Trier High School Jazz Ensemble (Winnetka, Illinois) and Jim Warrick, Coordinator of Jazz Studies Glossary of Latin Music Terms BOLERO (boh-LEH-roh) Is a Latin ballad and it is not to be confused with the Maurice Ravel composition of the same name. It is in the pretty slow tempo range but can sometimes have open vamps for improvisation that pick up in energy quite a bit, Such as in a Bolero-Son. BONGO (bohn-GOH) A small double drum (held between the knees, resting on the claves of the seated musician). CENCERRO - (sen-SEH-roh) A large hand-held cowbell played with a stick. It produces two notes, depending upon where it is struck. In Cuban music and SALSA, it is usually played by the bongo artist when the band goes into the “ride” or MAMBO section after the main vocal. In good hands, it can drive an entire band with ever-increasing excitement and power. CHACHACHA (cha-cha-CHA) Some claim that this is the second section of the DANZON; others argue that it is a slower MAMBO. It was sometimes called a double MAMBO in New York since its basic dance step was the MAMBO with a double step in the fourth-to-first beats…chachaCHA! The CHACHACHA developed around 1953 in the hands of Cuban CHARANGAS.
Daniel Levitan: an Examination of Select Unpitched Percussion Chamber Works

Daniel Levitan: An Examination of Select Unpitched Percussion Chamber Works D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Juan Mendoza III, B.M., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Dr. Susan Powell, Advisor Prof. Katherine Borst Jones Dr. Thomas Wells Copyright by Juan Mendoza III 2015 Abstract Daniel Levitan’s percussion works are performed by collegiate and professional percussion ensembles and soloists around the world. Several of his works have become standards of the repertoire for percussion chamber music, such as Conservatory Garden, Septet, and Marimba Quartet. Although Levitan’s percussion music is performed frequently, there is a lack of reference materials and information about his unpitched percussion chamber compositions. This document provides a brief discussion on six of Levitan’s most performed unpitched percussion chamber works: Trio, Variations on a Ghanaian Theme, Septet, Conservatory Garden, Canon at the Bar, and Eight Two-Part Inventions. General background information, a brief analysis of points of interest, and performance suggestions are provided for each of the composition. The purpose of this document is to serve as a reference for performers, educators, and composers seeking more information about Daniel Levitan and his unpitched percussion chamber works. ii Dedication To my nephews, D.J. and Damien iii Acknowledgments Sincere gratitude to Daniel Levitan for his time and patience as I completed this document. Your humility and love for music truly is inspiring. I wish to thank the members of my document committee, Dr.