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I've been taking classes with Sandy Perez lately.
Here are some of the rhythms I have transcribed.
We've also been doing some hella crazy Arara stuff too.
Columbia, Iyesa and Abacua.

Click on the images to enlarge them for easier reading.

Just a not on the Iyesa bell call and response, I wrote it out occurring just before and after the
3, but really that little conversation can happen at anytime I think.

Thanks for the notes BNB! Lately I've been messing with columbia and been looking for alternatives. That salidor one with OMS at the end is new to me. I learned it O S at the end. Check this one out on youtube you can probably get some ideas from it, the repetitive muffs all the way through half the clave sounds pretty cool. If you heard Columbia Andilanga from Yoruba Andabo you can also hear the salidor doing more open tones which I do btoooo on the 2 side and then keep it quiet for the other half of the clave so the segundo can respond then back and forth. This is the only thing I've been doing lately hopefully I can get the hang of it.

http://www.youtube.com/watch?v=S27g-PHVZCY

Yeah that OMS move is the stuff, it's done kind of quickly. It's cool
because that part can be a tumba or a conga part.

I'll have to check that Yoruba Andabo later. Thanks for the tip.

Hey BNB, any recordings of you guys playing this?

Garvin wrote:Hey BNB, any recordings of you guys playing this?

Sorry Garvin, I don't have any.

Thats okay, I just realized that I could click on the pdf and get the sheet in a legible form. Awesome material. Thanks for taking the time to put these up...

Hey BNB I see that some of the patterns for conga and tumba for columbia exchange spaces are they labeled correctly? I did read that the one I mentioned does. I know the open tones sometimes go into the others spaces every now and then but din't know they took the main space of another drum. I'm sure if Sandy Perez told you it was like that then its cool I doubt he is confused. Did he tell you this was common, is it new, or just not as mainstream as the other way? Thanks

TONE74,

Yeah I know it looks confusing.

If your referring to versions #2 and #3 of the New Columbia, what Sandy told us directly is that the
part that contains the OMS can be played on either the salidor or the segundo. That part stays the
same and can be used on either drum, however the other drum part has to change.

So I know it looks like I labeled the drums wrong, but I didn't. The same part can be played on either
drum. That's what Sandy told us. It's Columbia, it's just a different version. There are 2 versions of "New Columbia".
They share one part that is the same, but they are different versions. You don't play them at the same time.

Thanks for the response. I figured it had to be that way.
Last question if you don't mind.
On the first one, last line is that one done only once around to call a change or it can be done over and over (after adjusting pattern on segundo of course).
Great patterns by the way and thanks again for sharing them. Peace

TONE74 wrote:Thanks for the response. I figured it had to be that way.
Last question if you don't mind.
On the first one, last line is that one done only once around to call a change or it can be done over and over (after adjusting pattern on segundo of course).
Great patterns by the way and thanks again for sharing them. Peace

The last line is done only once it is the "call", then the segundo" responds with the HSMMOO. Both drums go back to
their basic parts. This is one call response varioation Sandy showed us, you could use others as well.

Made some changes and additions to the Abakua part. Mostly added the Bonko part.
Also the rhythm was accidentally written on a 4/4 transcription sheet, should be 12/8.

Nice,, You guys are so lucky!!!
Thanks for sharing it with us!

Who's taking the classes with you? Lisa and James and Mark?

How is the quinto to Abakua coming? Anything you're learning that stands out?

Again, thanks,
Dave

Dave,
Yeah me, James, Lisa.
The Bonko is lead or improvising drum, what stands out with what Sandy gave us
and from other bonko solos I've listened to his the theme of doing those SlapSlap flams right before
the downbeat, it's a super fat sound KaKrak! MM KaKrak! MM KaKrak! MM................

Awesome! What ever Sandy does is going to be inherently super cool and tasty.
How about the quinto on Columbia?

Dave

You know, Sandy hasn't really showed us much on the quinto yet.

To get a better idea of the bonko, Mark Sanders blog posted some great bonko
recordings, I recommend a listen.

http://fidelseyeglasses.blogspot.com/20 ... -ever.html