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Rhythms
John
with
Manuel
Valera
&
New
Cuban
Express
Jazz
Standard,
2013
Photo
by
Tom
Ehrlich
While
the
other
exercises
in
this
book
deal
with
a
variety
of
different
rhythms
to
gain
flexibility
with
the
clave,
it
is
of
course
very
important
to
see
how
basic
instrumental
parts
relate
to
the
clave
as
well.
For
bass
players,
this
means
the
various
fundamental
tumbaos
that
are
most
commonly
dealt
with.
98
clave-neutral
tumbao
rhythms
that
are
most
common
in
Afro-Cuban
music
and
salsa,
as
well
as
four
different
variations
of
these
common
patterns.
The
names
given
to
these
rhythms
were
codified
in
the
books
of
prolific
author
Kevin
Moore,
whose
extensive
Beyond
Salsa
series
sheds
light
on
almost
every
facet
of
Cuban
music
imaginable.
Much
of
the
nomenclature
used
in
his
books
work
so
well
they
are
very
hard
to
advance
upon.
Therefore,
many
of
the
terms
used
in
this
book
have
been
adopted
from
his
lexicon.
The
four
tumbao
forms
are
very
similar
to
one
another,
usually
differing
by
the
placement
of
one
accent.
However,
these
subtle
differences
result
in
significant
changes
to
the
overall
feel
of
the
line.
Numerous
combinations
of
these
sixteen
rhythms
are
possible
before
notes
even
come
into
the
equation,
making
them
the
rhythmic
building
blocks
of
this
style
of
bass
playing.
The
four
types
are
as
follows:
Tresillo
Tresillo
is
the
most
common
and
well
known
of
the
tumbao
variations
and
is
the
first
Latin
bass
pattern
most
people
learn.
It
is
also
found
in
many
other
styles
of
music
including
American
pop,
Zydeco,
rumba-flamenco,
Balkan,
Arabic,
African,
Afro-
Brazilian,
Candombe
Uruguayo,
and
a
multitude
of
genres
containing
North
and
West
African
influences.
It
may
in
fact
be
one
of
the
most
versatile
and
widely
used
rhythms
in
music.
Habanera
The
Habanera
pattern
is
similar
to
the
tresillo
however
it
leaves
out
the
tie
between
the
and
of
two
and
beat
three.
Also
like
the
tresillo,
it
is
found
in
other
Africanized
styles
such
as
Reggae,
Reggaeton,
Soca
and
Bachata.
99
Guaracha
Guaracha
is
named
after
the
style
of
Cuban
music
it
is
most
commonly
associated
with.
Guaracha
is
a
style
from
Cuba
that
is
very
similar
to
son
montuno,
however
is
associated
with
musical
theater
and
cabaret
and
is
often
played
at
a
very
fast
tempo.
However,
the
bass
rhythm
can
be
used
in
many
other
styles
including
son,
mambo,
and
chachach.
The
addition
of
beat
two
imitates
the
slap
of
the
conga
and
gives
the
line
a
very
particular
lilt.
It
is
a
very
effective
device
to
add
a
different
flavor
to
other
tumbao
patterns
but
can
serve
as
the
main
pattern
as
well.
Bolero
Bolero
is
also
named
after
the
style.
However,
the
bass
pattern
is
not
exclusive
to
ballads
and
is
very
common
in
older
styles
of
Cuban
music,
especially
charanga.
However,
the
rhythm
and
its
variations
have
found
their
way
into
very
modern
styles
including
songo
and
timba
and
even
Brazilian
afox,
where
it
often
doubles
the
kick
drum
for
an
especially
punchy
effect.
As
stated
in
the
previous
chapter,
the
point
here
is
to
also
demonstrate
the
basslines
relationship
to
the
percussion.
All
of
these
rhythms
are
categorized
via
their
accord
with
the
conga
tumbao.
In
order
to
fully
appreciate
this,
a
basic
knowledge
of
conga
terminology
is
needed.
In
traditional
son
and
salsa
the
marriage
between
the
bass
tumbao
and
the
conga
tumbao
is
essential
in
order
to
make
the
music
feel
right.
While
there
are
many
variations
of
the
conga
tumbao,
some
clave-specific
and
some
not,
the
principal
one-bar
conga
pattern
is
what
we
will
be
dealing
with.
The
three
most
important
hits
in
the
conga
pattern
for
the
bass
are
the
slap,
the
bombo,
and
the
two
ponche
accents
played
at
the
end
of
the
pattern.
100
Basic
1
Bar
Conga
Tumbao
The
slap
is
extremely
important
as
it
gives
beat
two
of
the
measure.
However,
the
ponche
is
where
the
bass
really
locks
in
with
the
conga.
All
of
the
basslines
in
this
chapter
hit
with
one
or
both
of
the
ponche
accents.
In
fact,
all
of
the
variations
discussed
in
this
chapter
are
defined
by
way
of
their
relationship
to
the
ponche.
Unanticipated-Single-Ponche
The
first
is
the
most
basic
pattern
that
you
see
in
the
first
group
is
in
fact
the
same
as
the
examples
shown
at
the
beginning
of
the
chapter.
Their
relationship
to
the
conga
is
referred
to
as
Unanticipated-Single-Ponche
or
USP.
As
you
can
see,
the
third
note
of
this
bassline
will
line
up
with
the
first
ponche
of
the
conga.
When
the
two
parts
hit
at
the
same
time,
there
is
a
defined
statement
of
where
the
time
is.
101
Tumbao
Example
1b
(Habanera)
USP
Unanticipated-Double-Ponche
Unanticipated-Double-Ponche
or
UDP.
It
is
not
used
as
often
as
the
other
three
but
it
is
prevalent
in
older
Cuban
styles
as
well
as
salsa.
As
the
name
would
have
it,
the
two
eighth
notes
played
at
the
end
line
up
with
both
ponche
accents
of
the
conga.
102
Tumbao
Example
2c
(Bolero)
UDP
Anticipated-Single-Ponche
Anticipated-Single-Ponche
or
ASP.
Harmonic
and
rhythmic
anticipation
are
key
traits
of
Afro-Cuban
music.
The
tresillo
ASP
is
by
far
the
most
well
known
bassline
associated
with
salsa
and
Cuban
music.
An
insurmountable
number
of
tumbaos
have
been
created
using
this
rhythm.
It
is
so
common
that
many
consider
it
to
be
the
foundation
of
Afro-Cuban
bass
playing.
103
Tumbao
Example
3d
(Guaracha)
ASP
Anticipated-Double-Ponche
Anticipated-Double-Ponche
or
ADP
is
a
cool
variation
that,
one
might
say,
most
closely
mimics
the
conga
tumbao.
Due
to
its
relatively
higher
level
of
syncopation,
it
is
most
often
used
as
an
alternative
variation.
However,
it
can
often
stand
alone
as
part
of
the
primary
bassline
of
a
song
as
well.
Bassist/bandleader
Juan
Formell
Sr.
was
a
great
example
of
someone
who
used
many
of
these
punchy
rhythms
to
create
a
surprisingly
modern
effect.
While
he
may
be
most
widely
known
for
his
role
in
the
modernization
of
Cuban
music,
including
creating
a
lexis
of
new
and
often
clave-aligned
basslines,
his
approach
to
composing
bass
parts
took
an
interesting
and
almost
contrasting
approach
as
time
went
on.
As
Los
Van
Vans
music
became
more
modern,
often
his
basslines
become
more
minimalistic
and
more
akin
to
his
musics
son
and
charanga
roots.
With
very
careful
placement
of
these
rhythms
coupled
with
his
unique
approach
to
harmony
he
was
able
to
create
very
powerful
repeated
lines
that
were
often
the
primary
hooks
of
his
most
famous
songs.
104
Tumbao
Example
4c
(Bolero)
ADP
Each
rhythm
discussed
in
this
chapter
can
work
on
either
side
of
the
clave.
However,
different
combinations
of
these
rhythms
often
imply
clave
direction
more
than
others.
Each
rhythm
has
its
own,
almost
melodic,
interaction
with
the
clave.
For
example,
the
same
rhythm
can
feel
surprisingly
different
if
played
against
son
or
rumba
clave.
These
are
important
details
to
be
aware
of
and
will
result
in
subtle
yet
significant
changes
in
the
overall
feel
of
your
tumbaos.
As
stated
before
each
of
these
rhythms
can
come
alive
in
different
ways
if
you
practice
them
in
this
manner.
By
practicing
the
different
tumbaos
against
the
different
claves
and
clave
directions,
you
will
quickly
see
the
difference
in
how
they
swing.
As
with
any
of
the
exercises
in
this
book,
it
is
important
to
leave
notes
out
at
first
and
simply
feel
things
from
a
rhythmic
perspective
first.
Traditional
Cuban
son
and
salsa
prove
single
handedly
that
there
is
almost
no
limit
to
the
amount
of
music
that
can
be
created
via
these
relatively
simple
rhythms.
This
fact
is
well
documented
in
the
plethora
of
recordings
that
exist.
There
are
thousands
of
beautiful
baselines
that
have
been
created
using
nothing
but
these
rhythms.
They
have
stood
the
test
of
time
and
are
used
as
much
today
as
ever
before.
A
bass
players
merit
is
often
measured
by
his/her
strength
in
this
particular
area.
No
book,
no
matter
how
thorough,
can
cover
all
the
combinations
and
variations
that
exist
in
the
realm
of
tumbao
playing.
There
are
many
rhythmic
variations
of
these
basslines
and
some
do
not
fall
into
the
categories
listed
above,
yet
are
still
clave-
neutral.
There
are
many
other
elements
in
the
music
that
can
dictate
the
rhythm
of
a
tumbao,
including
the
harmonic,
melodic
and
rhythmic
influence
via
other
instrumental
and
vocal
parts
within
a
song.
To
optimize
your
understanding
of
these
rhythms,
refer
105
to
the
incalculable
number
of
son
and
salsa
recordings
from
all
eras.
Learning
a
sizable
number
of
the
countless
tumbaos
out
there
will
help
unlock
how
this
elusive
system
works.
This
book
addresses
the
rhythmic
aspects
of
the
music
in
relation
to
the
clave
versus
a
stylistic
overview
of
Latin
bass
playing.
There
are
many
other
books
that
have
covered
traditional
Afro-Cuban
basslines.
The
Latin
Bass
Book
by
Oscar
Stagnaro,
The
True
Cuban
Bass
by
Carlos
Del
Puerto
and
Silvio
Vergara
and
Beyond
Salsa
Bass
by
Kevin
Moore
provide
different
yet
equally
helpful
information
on
the
history
and
vocabulary
of
this
style.
John
with
Manuel
Valera
&
New
Cuban
Express
Jazz
Standard,
2013
Photo
by
Tom
Ehrlich
106