Cuban vs American - The Best Conga Technique
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- เผยแพร่เมื่อ 25 ส.ค. 2021
- In this video, you'll hear from Norm Bergeron about one of the questions I get a lot from students. What's the best conga technique? And we break it down into the Afro-Cuban and American techniques and discuss the different contexts in which you'll find these techniques.
You can find Norm Bergeron at normbergeron.com
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Cuban technique has been developed for years in order to adapt the conga instrument sound and melody to the popular/modern music. This is the answer on why Cuban music has so many rhythms, each one focusing in the fusion with foreign music. For example the "Songo" was implemented in order to find a good mixture between the afro-cuban music and American Funk rhythms. Also the modern technique improves arm and hand care in order to mitigate the early fatigue of muscles and joints during long period performances, allowing faster response between different sounds. I also want to mention that traditional Cuban music rhythms requires specific sounds to be played, for ex: "Son montuno" If you are skipping or missing one of the sounds from the pattern that will not be considered Son montuno, it will be something else. This doesn't happens in modern music where the patterns can vary considerably and the music does not follow such a strict pattern. This is my humble contribution to the video.
You make a lot of important points, Einstein. Thanks for sharing!
Best comment right here!!!
Cuban
Cuban yes 😊😅 carabaly Mozambique Ganga samba 😊😊 and more❤❤
Having been to Cuba twice where I studied in a two-week popular conga arts program, I can vouch that you have an idea of why & how Cuban rhythms evolved but it's not entirely accurate. My teachers were some of the elite touring players in Irakere', Los Van Van, Klimax--and, phenomenal academy teachers and amazing students.
Songo was originated in the Los Van Van band by Chanquito, yet inspired by their funky vibes. Because of the various musical tempos of various rhythms such as Charanga, Danzon, Cha Cha Cha, Son, Bolero, etc. the so-called "ghost notes" keep the Conga rhythms locked in. And, the volume of music can be a factor in whether you hear them or not. Virtually, all the various rhythms answer in synchronicity to the two-bar Clave pattern. In American Funk music, it does not have to adhere to Clave. When Cubans solo, there are no rules; they just crush it in any way that fills the groove. Hence, having a grip on both approaches is smart and intelligent.
Man, what a fantastic discussion! I can hear this kind of of conversation going on all day! Just when you think you've heard all there is to hear, you get a fresh new perspective. Great chat!
Thanks! … we’re working on more content like this with Norm and hopefully other percussionists, too.
@@RhythmNotes Outstanding! Thanks!
I like that it was a discussion about the congas and not a conga lesson.
Thanks for the feedback!
I studied from the streets and learning some rhythms from the R&B, Latin Jazz world as well as the early Santana stuff. For me it all depends on what song is being played and whether or not what i'm playing matches with the song. I personally don't think of whether or not i want to use the heel toe method, i just play along and somehow it just works.
Right on! Thanks for sharing.
Norm was my first percussion teacher, and he has had such a huge impact on me as a musician and as a human being. Such a wonderful, thoughtful guy. Because my introduction to congas was mostly through Cuban and Afro-Latin music, my technique has been largely shaped by that.
Right on! We share some very similar experiences.
As a percussionist I have to admit that I stand corrected and humbled by the opinions expressed in this video. Thank you for this insight. ALL valid points 🔥🔥🔥🔥🔥🔥🔥
You're very welcome!
Great information for especially congueros. I've tried the so called traditional way of playing congas and found that hand technique for sound is important regardless to how it's being used. I mostly use the slap, muff, heel finger and occasional bass tones. I incorporate these beats in my playing of guanguaco, tumbao or son montuno and rumba beats with my playing of mostly gospel genres. Thanks & I hope people would stop trying to make conga drum playing a "cult" of one nationality!
Thanks for sharing, and I could not agree more.
Facts, brother! I play all types of Rhythms and all techniques in any music, as long as it grooves with the song I’m playing.
I just discovered your channel. As a conguero, I like you take this drum seriously and you go in depth. Keep it up! the editing is cool too
Thanks Vernon. That’s really encouraging.
I HAVE BEEN PLAYING CONGAS FOR ABOUT 55 YEARS AND NEVER LEARNED ONE LATIN/AFRO BEAT NOR WILL I EVER. I LEARNED HOW TO LISTEN TO SANTANA AND I NEVER HEARD ONE SONG THAT HAD THOSE RYTHEMS IN THEM. POP AND AMERICAN STANDARDS ARE WHAT I LOVE PLAYING TO AND FOR ME NO MATTER WHAT BEAT I DO IS FINE AS LONG AS IT FITS THE SONG. A GREAT VIDEO SHOWING THE DIFFERENCES!!
Right on! Serving the song is what it’s all about.
I started by learning the cuban traditional technique but i quickly gravitated towards a DC Go-Go approach; it changed the WHOLE game for me.
It's all about what you're into. ... Do you play with the junior congas? I see a lot of Go-Go conga drummers play with two full size drums and two junior congas in line with the others, cracked up like bongo.
@@RhythmNotes Yes sir, layed out from low to high !! My Jr. Congas aren't LP's tho, i had to get the MP-1690 for now. The MP's are a little bigger so it's not as easy to get that crank but i put a Nuskyn head on the higher one and it REALLY helps.
Im super intersted in gogo style conga. Do you know any videos or resources for learning that style and what kind of sounds/techniques it constitutes?
Cuban is the best it has more flavor
✔️
Right now, I prefer Changuito's style. That rocking, especially of his left hand, on & close to the drumheads. Now I'm understanding why, Giovanni hooked up with him in the first place. Also Gio's conversations about tunings of the congas. Who, why, & what...
On the drum tuning ... are you referring to the C# and F# Gio tuning? ... th-cam.com/video/zDsmGfjS3vU/w-d-xo.htmlsi=eafxpEvX9MUV_Y19
I used both styles, I used Cuban for Latin and even disco and American style for Marvin Gaye-style music.
Those techniques just seem to fit the styles.
Great discussion! I believe the Cuban style takes precedence as the modern conga/tumba was still developed musically and physically in Cuba (I am biased having Cuban parents). The congas even came back to Africa in the 50's where a lot of African musicians were imitating Afro-Cuban music. Or in New York when Dizzy Gillespie hired the great Chano Pozo to play in his band and essentially introduced the congas to the world. Still, imagine a lot of funk classics without the American style of playing - impossible! So at this point it's like talking about which guitar style is better, British or Spanish? It's all music in the end
Really excellent points, Jose! ... and I love the analogy to guitar style. I did this interview hoping that it would allow a wide range of opinions and experience engage in the conversation, and you did not disappoint.
Keep up the work brother 👊🏾
Great discussion. I was trying to explain this very subject to my girlfriend that is learning how to play djembe. Many years ago I took a few lessons from a great percussion and local hero in San Diego Tommy Aros, and he showed me the heel toe technique that you demonstrated. She really caught on to the basic fundamentals rather quick but at the same time I wanted to explain that the technique I was teaching her was afrocuban and maybe not what she is intending to devote herself to. Anyway this video explained exactly what I was trying to convey to her. Very valuable!
Thanks for sharing!
Bernard Purdie told me himself: the so called ‘soul conga’ pattern was developed by Cuban/Nuyorican conga players who were replicating an R&B drum set groove. Think about it: open>open>slap is really ‘1 and’ on the bass drum then the snare on 2. Listen to What’s Goin’ On” again. That beat started in the boogaloo era then later theAfrican American players started using it on soul recordings. -Felix, NPR
This is very valuable information Felix! It's an honor to receive your commentary. Thank you so much.
Hand to Hand concept to my interpretation with ghost notes on Congas is either fast or slow with heel toe. For instance, if you play a Cha Cha Cha faster it turns into a Mambo. Or soloing, it is more what I consider turns into ghost noting. On Drum set playing "Ghost notes" is just more of a "Fat" sound. Which is good for whatever interpretation of rhythms you are playing.
I personally can't do without!
I hear you, John. Thanks for sharing your insight!
I am a self taught conga player with a God given sense of time. I appreciate what you say about it being the sound that is produced that matters most instead of a particular technique. I found the same to be true as I studied martial arts. It is the level of dedication to acquire ability that matters most.
For sure! Thanks for sharing.
Groove is King, however, to be a very well-rounded Conguero "if"... you want to play a full variety of disciplines, technique gets you there faster and with precision.
I agree. I was fortunate to study congas from the start with someone who studied with Changuito, a technique master. It helps. A lot!
Pure and simple the Cuban methodology... there are the Academic drummer/percussionists(Eliel Lazo, Roberto Viscaino Jr. and others) and then their is the Folkloric drummers of Rumba in Cuba I grew up in NYC in the 60;s and 70, s at the beginning of more drummers coming into the fold. Our influences in NYC at that time were Mongo Santamaria, Frankie Malabe, Ray Barretto, Candido Camero, Sabu Martinez, Patato Valdes, and they all had their own individual hand print in drumming... we also didnt think like 'academics' we were taught 'rhythmic parts' as the people at that time taught us...no theory at all ..just time and groove as we were told.. no deviations. Im 74 years old and have been playing for 60 years(Santana, Sergio Mendes,John Klemmer, Gloria Estefan and many others) Todays playing seems to be based on just one thing "speed" and playing a minimum of 5 congas.. I wont speak on that now.. too much to say..but this is what i think ..thank you
Thanks Johnny! Your story is very important to us.
I would never say one thing is "better" than another. I strive to learn both. But if I had to pick one technique to the exclusion of the other, it would be the so-called "Cuban technique" employing the heel-toe motion. I believe you can do more with it. You can play a perfectly nice motown beat ghosting with the left hand manoteo. But it's hard to do a legit tumbao without heel-toe action. And another thing, Cuban style incorporates hand-to-hand motions. But not the other way around.
Absolutely… and you make a good point about playing Afro-Cuban technique and being able to do more than if one were to only employ hand to hand.
I grew up in the midwest listening to soul, jazz and pop music. I rarely was able to have lessons and am largely self taught. I play hand to hand or American style.
I'm also not near any rumberos. So I keep to my style with plenty of ghost notes and dampening to raise or lower the overtones and fundamental tones.
Thanks for the inclusive insight, This makes me feel much more comfortable in my own method.
As you should feel comfortable with your method. Thanks for sharing!
Fascinating interview! As a student conga player really enjoyed the this discussion
I'm glad you found value in it!
Hay there this is Ernie Childers (pronounced Chill -ders) I play congas in church every Sunday. Being raised in the Panamá Canal Zone I developed mostly the Cuban style of conga drums. I do play hand to hand on a “what’s going on” funk pattern because gospel music or at least my church has a lot of soul. I would like to learn more hand to hand American soul style. Your lessons are extremely helpful please keep up the good job.
Thanks Ernest! I hope to meet you some day. You’ve been a strong supporter of Rhythm Notes.
When you mentioned the heel touch are hand to hand. The Conga playing style that was created was a combination of what I coined a diasporic fusion that encompass the African traditions in both musical cultures. The difference between the Afro Caribbean style is the emphasis of that triplet which is central. In popular music because of playing in the 4/4 time signature the pattern that work was that kind of backbeat that had that accent. It was still the hand to hand but more of a swing to it. It also work well with the drum set player. When I had my first debut as a studio percussion playing with artist Gary Tom's on his album Turn it Out on MCA records in 77. I played two different styles. I played a more Latin Rumba on Don't Knock My love and Don't fight the feeling I played in a funk calypso , West African 4/4 feel . So yes there are so many directions you may have to incorporate. Eddie Bongo Brown was great at doing that. Great video.
Thanks for sharing, Victor. I checked out Turn It Out. Very cool stuff! The percussion sounds great!
@@RhythmNotes Thanks I was 22 years young and imagine going into the studio and playing on a major record. It was like what can I play.
My drumming came from a foc
Sorry for that.. My training as a hand drummer came from a folkloric training but I played in a lot of funk and latin rock bands gave me some hope. I enjoy your work and your tutorials are excellent presentation. Keep up the good work.
Was for so very long so very hand to hand that when I watched Tinariwen my eyes bugged out!
I've heard of Tinariwen, the desert rock band. If that's what you're referring to, they are amazing!
In all sincerity, I'm a Panamanian raised in America with an American father who plays hand to hand. My Panamanian side plays with an Afro-Cuban technique. I really find it comes down to the groove. If I'm playing to say Oscar DeLeon or salsa music, naturally hitting slaps and open tones, if I'm playing motown it's open hand. Same for djembe. Really just in the feel to the jam. My personal technique varies from tune to tune.
For sure! Thanks for sharing your perspective.
Excellent guest you shared. It’s obvious your not in this for the monetary value. You have a passion as I do. Now , let me share what I took from your guest professional. I’m a long time conga player, but 4 years ago I took up drum set lessons . The light just turned on ! My muffles on congas and my little toe heel taps are my Ghost notes ! Please thank your friend and cohort. Excellent presentation. Light and fun! Is number one. By Rich Bonomo.
Right on Rich! That was actually the point that resonated with me the most. Thanks for sharing.
Thank you, you answered a lot of questions
I’m glad it helped.
Learned from Silas King, American Conservatory hand to hand style
That's great!
This is dope bro
Glad you like it!
It is a very instructive and enlightening discussion about percussion. I have a familiarity with the hand to hand technique from my brazilian background, and l studied and learned the heel and toe approach of the Latin/ Cuban technique. I believe that as a percussionist, my approach has always been the feel l want to convey within the context of the song/ rhythm being played and most importantly to attain a flow or groove in the concept of the piece or song. I think that the flow is the most important and challenging aspect of it because it dictates the feel and fit of the rhythm.
That's a really good point about flow.
I consider the Cuban style, heel/toe etc is orthodox and every Congerro should know them, then you can branch off into more beatnic style’s or American styles later.
That's a good approach to the instrument, and i like the way you put that.
I just found your channel because I’m looking to actually learn these. Afro Cuban beats and other beats that people have in the past to play. And I’always asking them. Why don’t you start the music and I’ll fill-in and it always seems to work out. I grew up playing traps Rock ‘n’ roll. But I’ve had jazz, blues and salsa, and really all kinds of music in my life as well as world music. For the past few years actually many years, I’ve been playing with Cuban music that I’ve collected.. That seems for me like the most creative music to play and I’m never tired of it. I started playing the congas and I let the drum-set go. I’ve been playing in Bands all my life. I’ve always practiced to music and I still do. I create rhythms and change them as I’m practicing, and it makes me better. But I don’t have the same heal to toe movement and counting on the drums with my hands as you do and that’s what I want to learn. I think that would send me into a different way of playing or adding to the way I play. I seem to be able to fit into any kind of genre of music because I listen and I try to never ever over play with musicians . So I would say I am not a great soloist, but I can keep the beat with little grooves . I find when I’m playing with a great bass player or guitarist it helps me groove with them a lot better. I also really enjoy playing in a half circle with band members. I’ve played a lot of blues and that’s how we rehearsed. When you can do that on stage and you have the room it really lends to the listening part and grooving off of each other. And that’s what it’s all about for me. I’ve enjoyed watching a few of your videos. I think you’re really professional and you understand different feelings for different sounds all genres. And I’ve only watched three or four of your videos. You have studied these beats and learn them. I on the other hand is self taught by just playing with the music. So that’s my say.
Thanks for sharing, Rob! ... I've been fortunate enough to grow up in a community that values music education and went to a university with amazing teachers. In all my years playing music, nothing is more important than developing your own sound and style. That's when music moves from mechanics to art, which, I think, is the ultimate goal.
The soul of the player makes the difference.
Absolutely!
Can you kindly dissect the great Larry Washington's Conga Playing style, of the Philly Sound Era of the 70's? I take it he was also playing the hand to hand technique on the Ballads (Referencing this super fabulous ballad track as a great example - The Manhattans - It Feels So Good To Loved So Bad) & On the Disco up tempo songs (Referencing these 2 up tempo tracks - Blue Magic - Look Me Up & The Ojays - I Love Music), was he playing hand-to-hand technique Or Heel & Toe you think?
Larry Washington has been on my list for a while. I moved him up so I'll try to get it done before the end of the year. ... it's hard to know because I can't find any video of him playing congas.
@@RhythmNotes Thanks for your reply... I think I saw one video of him playing, but it was not clear... I will try and search for it and if I find the link I will reply you. Many thanks for great lessons and reply.
@@RhythmNotes Here is a video of Salsoul Orchestra Doing their thing live, @ 3:15 in video and also @ 6:08 again, I suppose that was Larry Washington... th-cam.com/video/vYjkjpUor9M/w-d-xo.html
Good stuff! I’ve spent the last 30yrs with my teacher now friend Carlos Caro from Cuba so of course I’m a heal toe player. You can do a lot without using open tones or slaps and using accents with bass strokes to pound out some variations. The American style is lacking in my opinion.
I agree. For players who only develop the hand to hand technique, they’re missing a lot of great sounds that add a lot to the groove.
Interesting discussion! I've honestly been wondering about this as I've been exposed to more funk and soul music with congas. I've been learning congas from an afro-cuban perspective so it's interesting noticing how the drumming has changed. Out of curiosity, does anyone know how or why the "american" hand to hand style re-emerged once congas began to be used more for pop music? I find it particularly interesting since it seems like a lot of those congeros were brought up in the afro-cuban style and would have been comfortable with the heel toe technique.
A lot of the Motown and Atlantic percussionists were black Americans not brought up in the Afro-Cuban tradition. Perhaps they developed the hand-to-hand technique more intuitively.
I have a question for you sir. Natural conga heads or synthetic conga heads which do you prefer
It depends on the situation. I like synthetic for playing gigs, especially outside. But I like natural heads for drums that stay in my studio.
It all depends on what the song calls for.
100%
The pattern is so important for the type of pattern that represents the melody so what I mean it's about traditional are you playing Latin stays in the Latin groove if it's Americans stay in that tradition American that's my opinion as a Conga player
Absolutely! … I was taught to approach each style of music based on the tradition. It’s the respectful way to play.
Q, which of the two is the Hardes Hill to finger Caribbean style or American style w/no ghost notes???Thanks
Hardes Hill?
Jazz puts me to 😴, Cuban rhythms puts me to 🕺🏽
Right on!
Tata guine a great conga máster 😊😊
Absolutely!
Cuban technique was and is hand to hand too. Later it developed. I believe that what you call American technique is Djembe or another African drums technique... come from there... maybe the name of that techniqueis only is one and one technique. With all respect 🙏🏼. (Sorry my english is not very good).
Like we mentioned in the video, the hand to hand technique refers to alternating from right to left exclusively. A lot of Afro-Cuban technique uses heel-toe (left left or right right) like in a marcha (tumbao). We’re not confused about Cuban technique at all. The purpose of the video was to acknowledge that these two approaches to conga drumming exist and are both legitimate.
I play Both conga traditional,djembé African style and i can combine Both Plus my own style😏
Very cool. It’s good to develop a wide range of techniques.
Idk know about this whole argument because honestly it seems to besides the Tumbao and maybe some patterns in other rhythms majority of Afro Cuban Drum rhythms are hand to hand
For sure
Well that was certainly educational :-)
I’m glad you learned something
I learn both techniques, so I have more repertoire
Exactly! Right on.
WHEN HE SAID AT 10:56 " ...A SEA OF BEAUTIFUL BLACK HUMANITY "...
LETS ME KNOW THAT IF WE TRIED WE COULD REALLY FIND LOVE AND APPRECIATION FOR ONE ANOTHER...
CONTINUE ON MY GOOD SIR...😢😊
I think love is something that comes natural to humans. Hate is learned over time. Stop hate and finding love is as simple as being human.
It sounded a bit over the top, to me - in a way that is sickening. Especially when he alluded to Woodstock being more popular because of white supremacy, or something. I'm sick of the marxists and their racial politics. Not saying this guy is that but I'd bet that he may be the kind of racist who thinks that black people need his beneficence. I'd bet that he'd get on his knees and ask black people to absolve him of white privilege.
If you are talking about my guest Norm Bergeron, you are way off. He is not racist and he wouldn’t get on his knees … he is a scholar and a wonderful person who encouraged me to explore new cultures throughout the world that I would have never been exposed to otherwise. He’s a wealth of knowledge and accepts people for who they are.
That's all fine and dandy but WE don't live in that world anymore. I wish we did.
Marxists, leftists progressives are the most sinister, underhanded racists that exist and they think it's virtue. I'm sick of it. I call it out.
I use both because I started out learning Afro Cuban then I played West African djembe and dun dun.
Right on!
Nice vid, but I would say that as a conga player, I would apply what would be best for the type of music is being played. I think is easier to apply certain Afro-Cuban patterns to Soul, Funk and especially Jazz, as they lend themselves musically to accept a bit of Latin flavor. Rock music, depends of what is played, and if it calls for any hand drumming but that can be also said for my previous comment. Again, in my opinion you can apply any style depending of what is been played, to me hand drumming is a "feel" thing.
I agree. It's important to develop a wide range of techniques but the music and what feels best comes first.
@@RhythmNotes That's the ticket, and like they say back home "Sabor!"
I use all when it's Latin or when R&B groove I started back in the seventies with disco music house salsa merengue Bomba plena 6-8 samba
That's awesome! Thanks for sharing.
Do you have any examples of the difference between American and Cuban?
Cuban th-cam.com/video/uIQ8cNI8VXQ/w-d-xo.htmlsi=OHHZIpEt24D9M8MI&t=62
"American" th-cam.com/video/u4Wd9BW42bo/w-d-xo.htmlsi=Wg-RvFsJt856y1li&t=107
@@RhythmNotes thx 😊
Seems to me "American" = African drumming like you would see someone on a djembe for example if I'm not mistaken?
Exactly ... It's not really "American." It's hand-to-hand.
If you listen to the way drummers play cuban style congas in the various nations/cultures in Africa you will see different hand styles and techniques.It's the same as the way different drummers play the drumset differently depending on the genre of music.The LP,Toca,Gon Bops/etc conga has evolved to be a versatile drum.The traditional hand technique on the conga you are referring to is really a language that musicians are playing with their hand patterns. Cuba based rhythms mostly come from the tradition of rumba/Santeria/ Cundemble/ Voudon.These are belief systems descended from the root religion Ifa which comes from the Yoruba people/tribes in Nigeria West Africa.Cuban conga playing specifically evolved into popular Cuban music through the roots of rumba rhythms/ drumming which has at it's core religious or ceremonial drumming from the religion/ belief system of Santeria. American conga drumming comes from African American musicians original expressions of African ancestry in Black American music.Remember,going back to the time of slavery,hand drums were outlawed to Black people enslaved in the U.S.
Kurt, thank you for the excellent summary! I've learned all of what you are sharing, but your explanation is the best I've ever read. ⭐
Thanks I grew up listening to American style congas and didn't get exposed to traditional Cuban conga playing and West African djembe drumming until I was about 22.I've been playing congas,and djembe/dunun for over 40 years,drumset for over 50 years.
Look for and listen to Master Henry Gibson,the percussionist/ conga player with Curtis Mayfield. Also look for Bill Summers,he played congas with Herbie Hancock during the Headhunters/Chamelon era.These are two of the best American style conga players who each played with a lot of Cuban hand language.
@@kurtpatterson1296 Excellent! Add to the list Eddie Bongo (of course), Earl DeRouen (with Donny Hathaway), Karl Potter with The Isley Brothers. AND, I agree with your other comment about African People brought to the US being cut off from the hand drum culture. In the late 60s and early 70s there was a great movement in our community for social change. We heard it in the music of that time. But from your comment I think you already know this. Peace bro!
@@kevinjones8624 Thanks for your comment Bro.I also play with a lot of professional West African djembe based musicians. I am a sangban drum specialist. There is a community of djembe and dunun players from the U.S.,Guinea,Mali,Senegal,Ivory Coast who work a lot of gigs in the U.S. and abroad both with West African dance companies and as djembe teachers.
I take great pleasure in gatekeeping this concept: congas are not djembes, one can not call themselves a conga player if they have not mastered the basic marcha. This is akin to calling oneself a blues guitarist but not mastering the pentatonic scale
Someone has to
I am starting out! from scratch. So trying to accumulate a collection of American Soul and Funk songs and music style.
Here's a list I've been putting together. I'm still refining it for future videos and articles to write, so it's certainly not exhaustive or complete (and I apologize if there's a mistake).
1. What’s going on - Marvin Gaye
2. What’s happening Brother - Marvin Gaye
3. Walk Away From Love - David Ruffin
4. “I Second That Emotion” - modern funk - Smokey Robinson and the Miracles
5. Love machine - Smokey Robinson and the Miracles
6. Ain’t no woman - four tops
7. I Want You Back - Jackson 5
8. Never Can Say Goodbye - Jackson 5
9. Sugar Daddy - Jackson 5
10. Love’s In The Need of Love Today - bolero - With Stevie Wonder
11. Across 110th Street - Bobby Womack
12. Keep On Trucking - Eddie Kendricks
13. Boogie Down - Eddie Kendricks
14. Ain’t Nothing Like the Real Thing - Marvin Gaye & Tammi Terrell
15. You’re All I need to Get By - Aretha Franklin
16. “Everybody’s Got a Story” Thelma Houston (breakdown pattern)
17. “Move on Up” - Curtis Mayfield (Master Gibson)
18. “Love In Them There Hills” - The Pointer Sisters
19. “Chainy Do” (conga tumbao feature intro) - The Pointer Sisters
20. “Shame” - Lenny Williams
Cuban style is easier on the shoulders and it makes it easier to play in any direction.
That's interesting. I've never thought of that.
You can't put a pattern Latin groove that's traditional known to be in the Latin into another melody it won't neserarly work the African cuben don't cross there groove if it's not with in traditional Latin Field
No cruzado, si?
"Absorb what is useful,," Bruce Lee
Wise words, for sure!
The "Summer Of Soul Movie"...
✔️
CUBAN
✔️
Cuban drumming is mostly hand to hand
When we refer to Cuban technique in this video, we’re talking about marcha which has a lot of heel-toe (LL or RR).
Cuban
Do you play live gigs? Professionally? As a hobby?
@@RhythmNotes No live gigs and just a hobby. I used to play in amateur Salsa band. Last three years though I've been trying to understand Rumba.
Very interesting topic.
Afro Cuban vs non Afro rest of America.
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just point of view, handled both, of course, afro cuban speak more.......got it?
Absolutely!
African Technique vs Cuban Technique surely! It started in Africa ..... This is not American KFC , it’s hand drumming. Keep it real please.
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I think they are using language in this context for the sake of the discussion. obviously both men have great respect for African and Cuban culture along with they're own culture, which is American. It's like if I said there is no African technique on a drum set. Drum set is an American invention. That's obviously a silly statement.
@@MaTTheWish It is not about the language, it is about the history and roots of the techniques being compared. Drum kit techniques also recognise their root , for example grips, French , German etc. My point is particularly for hand drums (and rhythms). Africa is the motherland and we should honour that. I think it is important for people who are new to drumming to keep the history in tact. The author seems to recognise what I am saying. I share the love and respect for this beautiful instrument with him. Peace
@@richarddickson6312
It's not KFC....that's what you said..
If you don't learn the Afro-Cuban and Caribbean styles of conga drumming, where btw it was born, then you don't know how to play!!!! Just like rock n roll bastardized R&B and Jazz we will not let Americans bastardize conga drumming. Frankly outside of a few pop conga drummers, i.e. Chepito Areas, Mingo Lewis, most are pitter pattering on the drum. Frankly those American conga drummers are the same ones that could play in a drum circle (ugh) but cannot sit and play in a rumba, bombazo or bembe!! Yes, other African styles have influenced conga drumming in the USA, specifically ginbe drumming, but the prevalent style will always be the Afro-Cuban and Caribbean conga style of drumming!!! And if anybody did develop the so called American style of conga drumming it was non other than two of the greatest and influential conga drummers of the 20th century, Mongo Santamaria, an Afro-Cuban and Ray Barreto, a NewyorRican!!
Thanks for sharing. I agree that developing Afro-Cuban technique on the instrument is the best path to success.
¿American technique? Really being that? United States of América not are the continent, it's just a little part, cuban technique is the technique, not USA tech.
You are formally correct … but American is a colloquialism referring to that which is derived from USA. Canada has Canadian, Mexico has Mexican, etc.
How about playing some and talking less
This was a discussion. There are plenty of performance-based videos on the channel.
Typical European appropriation of traditional art forms. Lol want to know anything about afro or afro Cuban....ask a white guy lol
Typical European appropriation? ... no one in this video is European. I'm not sure what you're talking about.
@@RhythmNotes and the white guy replies
@@tiniterangiita6976 Your confused.
This was truly a waste of time to watch.
Were you expecting to get something else out of the video?
I think I use both depending on the conga pattern. 🎼🎵🎶🪘🙌
Right on … I try to let the pattern serve the music and let the technique serve the pattern. Sounds like a lot of drummers are on the same page. Good stuff!
@@RhythmNotes As far as the heel/toe motion and the light touch (finger tips) I take 'em as hi hat, slap as a snare drum, open tone as rack toms and bass (bajo) as a bass drum. This conception of drums helps me to build a conga pattern. I suppose there are some other ways to create it. 🎼🎵🎶🪘🙌
That’s a fine approach, for sure!