NYC mozambique

[davidpenalosa]

Hi Thomas,
To add to your two observations:

1. The first five strokes of the mozambique bell pattern’s three-side that you cite are an embellishment of a displaced "tresillo", beginning on 1e (all examples are in 3-2):

|oXXoXXoX| first five strokes
|oXooXooX| displaced tresillo
|1e+a2e+a|

(size 12 courier font will align the patterns properly)

The three-side is typically expressed in one of two ways, either con-clave (tresillo) or contra-clave (displaced "tresillo"). This displaced "tresillo" and its variant are standard rhythmic phrases used in the rumba quinto lock, a contra-clave lead drum part.

The two-side of clave is distillation of a different displaced "tresillo" (beginning on beats 2 and 4), which is the diametric opposite of tresillo in its prime position

X|ooXoXooX| displaced tresillo
|ooXoXooo| two-side of clave
|3e+a4e+a|

2. The first three strokes you show are an embellishment of the second displaced "tresillo".

X|ooXoXooX| displaced "tresillo" 2
X|XoXoXXoX| two-side of NY mozambique bell
|3e+a4e+a|

The second three strokes you show are an embellishment of the first displaced "tresillo".

X|oXooXooX| displaced tresillo 1
X|oXXoXXoX| three-side of NY mozambique bell
|1e+a2e+a|

I guess this is all just a showing-off way of agreeing with you. J

-David

[Derbeno]

I had a two hour session on Mozambique with Yosuany Cortes who left Cuba about 8 months ago.

He had some interesting observations:
Like the Anga clip below he considered the versions I have been thought as "falso"
-The essence of the rhythm is the two open tones on the tumba with the alternating open tone pattern on the Conga. As per the Anga clip
-He urged me to learn to feel this particular rhythm as cyclic and to stop looking for a beginning on the '1'. We started with a pickup on the 3 side of the clave and entered this loop governed by the clave.

After some long practice it clicked and and I was playing with so much swing that I was rocking away on my stool. I just can't get enough of it and look forward to the next session.

http://www.youtube.com/watch?v=YTxycdLXvWU

[Thomas Altmann]

@David:

I recently gave two weekend workshops in what I called Jazz Rhythmics to tap dancers. Tap dancers often seem to think too much in terms of routines, steps, and dance figures, without realizing that they are percussionists who share a common language with (other) musicians; so they definitely need it.

One important basic issue was what you call displacements of the tresillo; one-bar rhythmic figures obtained by starting the tresillo pattern from each of the eight positions in a 4/4 measure.

Another subject was what you might probably refer to as cinquillo displacement ("embellished tresillo" as you called it). The second bar of the NY-Mozambique bell is such a displaced cinquillo. So the 5 strokes of the cinquillo do not only embellish the tresillo; they complement it (5+3=8) in displaced positions.

By the way, when I read your post, my first though was, man, this guy must have smoked some real good stuff

But never mind; one day we will all profit from your obsession ...

Thomas

[davidpenalosa]

[quote="Thomas Altmann"] when I read your post, my first though was, man, this guy must have smoked some real good stuff

Is it that obvious?
-David

[davidpenalosa]

[quote="Thomas Altmann"] what you might probably refer to as cinquillo displacement ("embellished tresillo" as you called it). The second bar of the NY-Mozambique bell is such a displaced cinquillo. So the 5 strokes of the cinquillo do not only embellish the tresillo; they complement it (5+3=8) in displaced positions.

Thomas,
I agree completely. I usually don’t hear patterns as displaced versions of other patterns, unless I happen to begin listening to a rhythm in progress and mistakenly hear where time is. That’s happened to me of course, but most of my revelations came about when I just wrote out various displacements methodically. I was amazed to learn the extent to which the music is made up of a relatively small number of fundamental patterns appearing in various positions of displacement. The workshop you gave sounds like a very thorough and holistic presentation.

Derbeno,
In that youtube video Anga has altered Pello’s original two-drum part somewhat.

The two-drum part is similar to the a bata rhythm played for Obatala, which is also the last section in the igbodu Osain. I found this demonstration, which is closer to Pello’s original:

http://www.youtube.com/watch?v=UhjMbp51 ... re=related

Here’s some old television footage from the 60’s of Pello el Afrokan performing mozambique.

http://www.youtube.com/watch?v=NFhtZCYL ... re=related

Here’s my arrangement of the NY mozambique. It has one drummer playing a tumba and conga and another drummer playing quinto. The parts are written in 2-3.

S|S.SOoo.SoSSOoo.S| tumba and conga
L|R.LRLRoL.RLRLR.L|
|1e+a2e+a3e+a4e+a|

S = slap
O = tumba open
O = conga open

|.oo.SS.o.oo.SS..| quinto
|1e+a2e+a3e+a4e+a|

-David

[Joseph]

I was wondering, with all the different Mozambique variations, is it considered “appropriate” to shift among the variations in the midst of an ongoing piece or groove.

I have 3 different Mozambique variations (for Conga & Tumba) under my belt that I’m comfortable with
...and now plenty of info on other variations, thanks to all who contributed.

I’ve been practicing going thru all 3 variations, for the sake of continuity…that is, to practice keeping within the time signature, while shifting amongst the other another rhythmic variations.

When a Mozambique groove starts within a specific rhythmic variation, does it generally stay within the framework, so to speak, of that variation until what I would call a .....“seismic shift”,
.....whereupon it changes to another variation, and again generally stays within the framework of that variation?

[Thomas Altmann]

Hi Joseph,

that's a very interesting conceptual question that does not only relate to the NY Mozambique.

My answer would be, it all depends on the musical situation.

It was and is my aim to always be able to shift from one to the other pattern, to mix elements, to really "ad-lib" and react to whatever musical impulse I receive, much in the way a jazz drummer works in open solo accompaniment and improvisation. I was a jazz drummer before picking up congas. I want to be free in my musical expression. Although I'm still pretty far away from my ideal, this concept helps me to work as a conguero in jazz constellations.

At the same time it helps me to only change from one pattern to the other along with the different formal sections of a piece of music, while keeping each one straight and simple in itself, with only minor variations.

When I play a Mozambique pattern in a standard dance or pop context, I stick pretty much to one basic pattern.

I'd have to listen back to a representative number of Mozambique tunes and analyze the style deeply enough in order to give you an authoritative response on "how it is done", "how it has been done" or even "how it has to be done". I think, each individual drummer who developed this style of playing had more or less his own Mozambique pattern that he used. The best idea might be to listen to the Palmieri "Mozambique" record, to "Alafia Cumaye" by the Barretto band, to Libre's version of "Bamboleate", to "No Me Critiques" by the Tipica '73, and all the other Mozambique tunes that you can find. This might answer your question in a rather historically accurate manner. Then, after having studied the recordings, you do it in the way that you prefer.

Thomas

[Roka]

Daniel Genton in his book "Les Tumbaos De La Salsa" gives the following NY mozambique patterns:

I: -ssOoobsO-sOoots :I
I: -ooOhtOso-o-htts :I
I: -ssOssOso-o-htts :I
I: -ooOhtOsooothtOs:I
I: -ssO-sOsooothtst :I