6/8 patternORIGIN OF THE 6/8 TIME SIGNATURE

[Johnny Conga]

My experience with Rumba is creating a "dialogue" between the salidor and tumbadora. The "feel" of course is uique unto the players themselves. Of course Rumba varies from one province to another in Cuba, from what I've seen on video and have been told. I have never been to Cuba proper,just Guantanamo. So there is a "conversation" happening while the quinto responds, accordingly. That to me is the basic theory of playing in an ensamble setting......Zaragemca could elaborate some more on this......JC JOHNNY CONGA..... :;):

[James M]

Hola, Percomat.

I'm a musicologist by hobby only. Maybe one day I'll finish my undergraduate degree and study ethnomusicology (I'd like to study brazilian ethnomusicology, specifically). This would afford me more opportunity to travel, which is precisely what I want to do.

[James M]

I've been listening to Yoruba Andabo's "El Callejón de Los Rumberos", but rhythmically alot of what they play doesn't make any sense to me. I can't hear the relationship of the clave to any of the other instruments, and it seems every instrument improvises against every other one. How do I listen to them and understanding what I am hearing? What do I listen for? I don't have any problems with any but that group.

[zaragemca]

You have the foundation of it JC,In the rumba there is the interaction between the salidor and the tres/dos,and the quinto with the singer/dancer,or,other percussionists,also it is true that it would be a little be of difference from one rumbero to another tryning to implament his personal style/knowlege.In a few ocassion I witnessed in Cuba and participated in my Drum-Circle the addition of two lead players,Quinto and Requinto for the jamming,in the Jamming it is important the time-keeping-skill of the percussionist when the lead players are doing solos(since it could keep throwing the percussionists out of patterns),it is a different history when you are playing for yourself a tumbao/pattern,to having to deal with it when somebody is beside you throwing all kind of rambling and merry-go-around.



Edited By zaragemca on 1080842087

[percomat]

its very hearable when you put salidor and tresdos together in a straight guaguanco havenero pattern on both drums and one conguero. i allways miss the dynamics you get when two people play one form. the nerve of more people doing the form. i play different then, i think in a different way. its like the responsibility is shared. of course its a higher risk in it too. sometimes when i am playing, personally i prefer salidor, i get nervous for loosing my important strokes. because the important strokes, in this case the bass on two-and (3-2-clave) and the opens on 3-and, should be there to keep the rumba feel (what makes rumba rumba). if i play both voices i feel safer, and of course you dont get the feel of i dialog in the same way. you get more strokes and it is easy to stay safe in a 16ths kind of order. that is often the problem for many drummers too, on a bateria, they make it more static.. beside many westerners cant stay of the snaredrum. what i like with the rumba is the playful feel of collaborating.. peace out