RitmoBoricua wrote:All the riff and flash is very kool no doubt but I do not hear this
person explain how to put all that stuff in clave context and playing
within a rhythm section. You can't just throw all this riff any kind of
way. You may end-up stepping on other people toes and playing
"cruzao". Is one thing when you are practicing/playing by yourself and
another thing when you have to be part of a team and conform to
clave. To me what you do not play is as important as what you play.
With that said here is a video that put it all in context.
http://www.youtube.com/watch?v=yAfYYAaf ... r_embedded
RitmoBoricua wrote:I like what he does on that video but I do not think is intended for
beginners. You have to be careful where you place them riff and licks.
That's why I posted the other video because Dandy is using some
of them licks the dude demonstrates on his video. You can see and
hear Dandy using some of them licks on an actual performance with
an orchestra and you can tap clave, and see where he placed them
in relation to the clave and the music that is being played.
Tumbas wrote:Another thing not being considered is that "pezkao" is presenting them as "patterns" and the only pattern in Bongo is Martillo.
He's saying the the Niche guy "desarollo" those "patterns". Sorry, but no. They are Repiqueo, not patterns. And they work around Clave and the rest of the instruments. And though you hear those he played often today, they are older than the North Wind( Ma' viejo que'l frio).
As someone pointed out, Johnny Rodriguez is playing the same repiqueos in the clip. Bongo is my main instrument and I've been playing it since 1974. I've seen players with well known groups in NYC that were not doing justice to the bongo, so it is not an easy instrument.
So if one is going to post a video for bongo, he needs to have a vast understanding of the application of this drum.
They are Syncopation... The opposite of pattern!
burke wrote:Hi Guys,
Could someone translate/define "Repiqueo".
This is a new term for me.
Thanks
Darrell
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