Gunga initiates the Jogo (Game) by playing constant open 16th notes, (as shown at the bottom), then comes Medio, and then Viola,(all enter in apprixcimately the same way, 16th notes, or sometimes 8th notes in triple). If a ladainha is sung then, (which is usually the case in Angola), other instruments enter only when the chorus begins, in this order: pandeiro, atambaque, agogo, reco reco. Sometimes the instruments come in before the ladainha begins, these has usually to do with personal preference, and how it is done at different Grupos differs. This is how I'v learn't and understood the rhythms, and how I'v found they sound good. Theres about as many ways of playing, and combining these rhythms as there are Mestres, if not even more. When the actual playing begins the Mestre de Roda,(playing Gunga), dips the head of the Berimbau while playing constant 16th notes. This initiates the game. Only to mark the begining of each game is the gunga dipped, but otherwise all signals are the same, to end each game and to end the whole Jogo. All the signals are played long enough to catch the attention of the players. Most variations (improvisation), is done by viola but medio and gunga also do variations according to the feeling. In São Bento Grande all insruments enter before the songs begin. In the rhythm noted the third bar is a variation and is not compulsory and not even advisable to play all the time. Pandeiro can play the rhythms bar two is just a variation of bar one, (plus when playing for long periods of time its easier). The noted viola rhythm is called Angolinha, and the noted Medio rhythm in Angola is called São Bento Pequena.
by Timo Tuhkanen
Thank to the author this score is also available into the InstrumentBook where you can find other stuff for this instrument: click here.
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This is just an extract of the instructional book by Laurent Lamy: 7 patterns. The original version contains text with instruction on how to perform the rhythms and the audio files!! Contact the author for more info or visit the store.
by Laurent Lamy
Non si tratta di un ritmo bensì di una particolarità della tecnica afro-cubana che sfrutta il movimento alternato del palmo e delle dita della mano sinistra (per i destri). I patterns utilizzati per la pratica del Tumbao li troverete tuttavia presenti in moltissimi generi musicali: son, son montuno, mambo, cha-cha, guaracha, guajira,salsa, funky, jazz e molti altri. La padronanza di questa tecnica rappresenta un obbiettivo fondamentale per chiunque intraprenda lo studio delle congas. Il movimento palmo-dita viene anche chiamato "MARCHA", e si effettua solitamante sul tamburo più alto (medio se a tre congas)..
This groove is based on the guaguanco.
The campana is a timba part and it is like pen tones of the guaguanco tres dos. The chekere part is based on the tumbadora salidor. The conga part is based on the cascara. The ensamble is a little like a buiguine.
created by Laurent Lamy
A contemporary rhythm (Juan Formell, Blas Egues and Changuito) which blends style as conga, son, rumba and other old and sacred Cuban styles. Songo is a very FREE-STYLE form, we have included variations on 3 or 4 drums.
A contemporary rhythm (Juan Formell, Blas Egues and Changuito) which blends style as conga, son, rumba and other old and sacred Cuban styles. Songo is a very FREE-STYLE form, we have included a Changuito pattern and many variations on 2, 3 or 4 drums.