How to balance volume of notes in tumbao? - How to put accents in basic tumbao?

[Smejmoon]

Hello, I hope everyone is well and in a good mood!

In basic tumbao [HTSTHTOO] there are four different notes. Heel is more bassy and when I play it strong it borders with bass note. Toe is more slapy and comes close to slap. When I play them faster, they slide and loose volume. I can not play closed slap without applying force; if it's too weak, it does not chock. Only open tone does not change when I play it louder or more quiet.

How do you balance it? How is it supposed to change with speed and dynamics?

Other question is on accents? Which notes should be stressed? first and fifth? Slaps and tones? Something related to clave, Bombo, Ponche? Or just use accents from song?



Edited By Smejmoon on 1135673358

[JohnnyConga]

Try the tumbao like this for speed ...It's what I call a "2 point"(heel/tip shuffle)
....
HT SS HT TT.....

so you don't do the "and 3 and" in the left hand you just do 1and 3and. Then the faster you go, you will lose one slap and hear one as you should hear it and play it....see if that works....."JC" Johnny Conga....

[zaragemca]

Welcome brother to the forum,as many others experienced percussionists could tell you the congas is and instrument based on the developed accuracy of the player in order to get the right/pitch desired,beside the conditionnig of the skin,thickness,diameter of the head, and the hand/technique which you have been able to develop,you also need the callous to facilitate the sounds produced by the hand/strokes,the right angle to approach the surface of the skin,etc.The accentuation usully fall in the slap,(which require more sharp/strokes),also it is the guiding point for the parameter,(the metric in which the percutive articulation is placed).But also depending on what type of rhythm is played,and which is your voicing in that rhythm,the accentuation could fall in the bass/stroke)..Dr. Zaragemca



Edited By zaragemca on 1135198532

[rumbaman]

Hey how you guys doin'g today , all my blessings and a merry christmas . I was taught to practice the tumbao evenly so that all the notes sound even . That is what i try to practice slowly at first that is what is important slowly . Play each note correctly and evenly with the others first . Then after you get a handle on it you speed up but always staying in correct tone thats what is important ,,, correct tone of the different notes on the drum .

Do not kid yourself trying to play fast but not executing your proper sound /notes .


rumbaman

[pavloconga]

Hello to all,
Just a comment in response to comment about callouses on hands/fingers. I have met quite a few players (including some living legends/master drummers) in both Cuba and Africa who did not have calloused hands/fingers, yet had truly astounding clarity and distinction of sounds.

Having said that, I also met and studied with many who did have calloused hands and fingers and they too sounded equally astounding. I think so much more depends on their technique, feel and approach to the instrument.
regards
Pavlo

[ABAKUA]

Pavlo,

welcome to the boards.
Where abouts in Australia are you from? Tell us more of yourself and any bands/projects you may be a part of.
You wrote:

I think so much more depends on their technique, feel and approach to the instrument.

I completely agree. If you look at Changuito, Giovanni, Anga or Tata's hands for example you will not see an overly calloused hand.
This is due to having correct technique.
I do not claim to having perfect technique, but over the last 15 years or so of my playing I have developed what has been called by true master congueros as a good technique from their observations of my playing.
I only have callouses on the finger tips of my fingers from my slap/double slap technique in my tumbao playing. Yes, my hands are hard and seasoned/developed but no callouses build up.
The technique I have was developed and enhanced through private tuition with several travelling percussionists including Johnny Almendra, Louis Bauzo, John Berdeguer, Egui Castrillo, Daniel Lopez, Jorge Papiosco Torres, Betun, Eduardo Lavoy and several others over the years.
Some of my early teachers had less disciplined technique and as a result I learnt bad technique in the beggining, after studying recordings and videos/dvd's and seeing how some masters out their apporached the drum, I realised my early teachers were wrong and took it upon myself to unlearn and re-learn correct technique. Now a days, I am often complimented on my sound, technique and approach to conga playing.
It is your sound and technique and good attitude that will seperate you from the bunch.

Smejmoon,
I would suggest you find a good experienced teacher to guide you and instruct you in one on one personal lessons.
It is the best way.



Edited By ABAKUA on 1135667477

[Smejmoon]

Smejmoon,
I would suggest you find a good experienced teacher to guide you and instruct you in one on one personal lessons.

I would love to, but don't know any in this part of Europe. When I'll find one I will try to fly there and learn.

[El Boni]

I agree that callouses are in no way necessary to get great sounds out of the congas. I've been playing for 15 years, but have had to use copious amounts of cocoa butter to avoid skin splits (from mostly living in the generally cold climate of London). As a result I've got pretty soft hands! I have small callouses around the main finger joints and tips, but I don't think they contribute in any way to my sound.

Callouses are the result of extensive playing, but I think they're irrelevant to good sound, which is all about technique (and having good technique also tends to reduce excessive callous formation). I know plenty of drummers with hands covered in thick layers of dead skin, but this in no way reflects on their playing ability!

B

[JohnnyConga]

Hi ALL.....HAPPY NEW YEAR!.....Callouses are expected after a while of playing, u can't get away from it really. My hands are calloused because I play everyday,and I have always been a "hard hitter", cause when I was coming up we HAD NO SOUND SYSTEMS, no microphones, so you had to hit hard to be heard,and I have always played that way. Congas are a "macho" instrument and you cant "pitty pat" with the drum...I constantly have to explain the difference between "tapping" on the drum and "hitting" the drum...callouses have nothing to do with the sound you get on the drum....techinique and lots of practice will do it...WISHING EVERYONE OF MY DRUM BROTHERS/SISTERS A VERY HAPPY, HEALTHFUL, AND PROSPEROUS NEW YEAR!.... "JC" Johnny Conga....

Attachment: http://mycongaplace.com/forum/eng/uploa ... chards.jpg

[pavloconga]

Hey thanks for your comments. I too had to undo some habits and learn some new technique, particularly since being fortunate enough to study in Cuba under a 65 year old master percussionist. I would hesitate however, to describe someone who has callouses on their hands as using incorrect technique.
The conguero I studied with had quite calloused hands, but that was a result of, as I see it, two things: 1. his particular stylistic approach (unbelievably powerful, yet sparse playing).

and 2. the kind of playing he was involved in e.g.- playing quinto in folkloric ensembles; playing as soloist in a conga de comparsa group in La Habana Carnaval (no amplification yet he could still be heard clearly more than 100 metres away and OVER the sound of about 10 trumpets and 20 percussionists); as well as playing in the context of his role as a priest in Santeria.

As for me I don't claim to have perfect technique either, but I'm always open to learn something new and improving. I've been playing for a while, but I will always consider myself a student of this amazing instrument. The more I learn the more I realise just how much there is to learn - and that is more than a lifetime's worth of study.

One thing I have noticed, is the difference in tonality and sonority between some players. Just as an example, I remember watching and listening to a player in a salsa club some time ago - he was a big guy, playing hard, a hard hitter. In his case (in my view at least) it wasn't quite working. Then a very small guy then got behind the congas, his playing was much sparser, simpler, and he was hitting nowhere near as hard, yet I could hear him WAY clearer. His sounds were much sweeter, he was creating a rhythmic tension and he was really playing with the band! I know which one made me feel more like dancing... This goes back to the discussion about feel.

Anyway, that's my thoughts on it for now.
All the best to everybody, Pavlo

[ABAKUA]

What area of Australia are you in pavlo?

[pavloconga]

I live in south australia bro. Hey by the way do you know an ex sydney percussionist (now based in SA) by the name of Delman?
cheers
Pavlo

[ABAKUA]

I live in south australia bro. Hey by the way do you know an ex sydney percussionist (now based in SA) by the name of Delman?
cheers
Pavlo

I know Delman very well, we were friends for many years before he moved to South Australia, as well as Emiliano (formerly from Adelaide) who is now living in Sydney.



Small world.

[pavloconga]

Small world indeed. Delman is one of my best friends here. He lives just 5 minutes from me, so we get together and jam when we can. I know Emiliano also but not really well.
Delman and I are planning on doing some more playing together in the coming months. For some reason we play really well together and always have a very fun and creative time when we jam.
cheers
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