Download ADVANCED INSTRUMENTAL STUDIES

ADVANCED INSTRUMENTAL STUDIES-1 (Drums)
WEEK 5
Lesson Aim: To examine the musical style of Songo, with specific reference
to left-hand improvisation.
HISTORICAL CONTEXT
The Afro-Cuban songo rhythm was developed for the drumset in the 1970s by the
renowned Cuban percussionist Jose ‘Changuito’ Quintana, famous for his work with the
band Los San San. Throughout the1970’s and beyond, ‘Chanquito’ continued to innovate
with songo - incorporating new techniques, rhythms and combinations of percussive
instruments, including drumset. Nowadays, many musical styles such as funk, gospel and
jazz/fusion, have been influenced by the evolution of songo.
Example 1
This shows the basic linear songo pattern, in 2:3 Clave. The bass drum part in this
example is more common in more contemporary funk/fusion contexts, complementing the
popular bass Tumbao rhythm. Traditionally, the ride line would be played on cowbell or on
a combination of bells. At this stage, we will play on the hi-hat or ride cymbal (body or bell).
Example 2
This shows the same general pattern with an alternative bass drum part. This bass drum
pattern is more traditional, complementing the Bomba drum note. It is also acceptable, in
either example, to play an additional bass drum note on the first note of the first bar.
However, this should be occasional rather than regular, so as not to state the downbeat of
the pattern too often.
We can effectively incorporate any of these bass drum parts when playing songo, though
for the remainder of our studies we will be using the bass drum pattern shown in Example
1.
Similarly, we will only be referring to Clave in 2:3, though all themes and examples can be
played in 3:2 Clave by simply starting the pattern on the second bar.
Please note that throughout our songo studies, all text will refer to right-hand lead.
All left-hand lead students to interpret as left-hand lead.
© Perform Music Ltd 2009-17
Material prepared by Paul Elliott
This PDF document has a digital signature attached for security purposes.
1
ADVANCED INSTRUMENTAL STUDIES-1 (Drums)
WEEK 5
LEFT-HAND MOVEMENT
As stated, this basic pattern is of a linear nature, which lends itself easily to improvisation
with both hands. With reference to hand movement, we will begin with the left-hand part.
We can see that there are three left-hand accents within the pattern, interspersed with
ghost notes. An effective way to create alternative grooves is to experiment with
permutations of these accents as follows:
1.
2.
3.
4.
5.
6.
7.
Play all accents, as shown above.
Play accent 1 only (accent 2&3 ghosted)
Play accent 2 only (accent 1&3 ghosted)
Play accent 3 only (accent 1&2 ghosted)
Play accents 1&2 only (accent 3 ghosted)
Play accents 1&3 only (accent 2 ghosted)
Play accents 2&3 only (accent 1 ghosted)
We can try each of these 6 permutations in the lesson. The patterns have deliberately not
been written out, so that we can and feel and memorise the permutations, which will prove
to be a beneficial exercise. From a co-ordination and feel point of view, it is very important
to concentrate on maintaining a regular flow of notes and good balance of sounds, through
correct technical execution of dynamics, as written.
LEFT-HAND MOVEMENT TO HI-HAT
Another effective way of improvising with the left hand is to move it to the hi-hat.
Essentially, we can practise this by using the format shown in above, the difference being
that we play all the ghost notes on the hi-hat. The following example shows this idea with
the full accent pattern on the snare drum. We should then work in a similar way using the
other accent permutations above (figures 2-7). In this example, the ride line is played on
the ride cymbal, though it is musically feasible to play the ride line on the hi-hat.
Example 3
We can also move accents to the hi-hat with the left hand. The following example shows
the basic pattern played over 4 bars, with selected accents/ghost notes moved between
the snare and hi-hat. Please note that there are many accent/ghost note permutations of
left hand movement between hi-hat and snare and we should not worry about writing
everything down and trying them all out because they will just appear to be more difficult
than they are. It is best to improvise with the theme and find out which patterns feel and
sound good to you. Ultimately, in performance contexts we would be more likely to
improvise within this theme rather than play set patterns from exercises. This philosophy
stands for all of our songo studies.
© Perform Music Ltd 2009-17
Material prepared by Paul Elliott
This PDF document has a digital signature attached for security purposes.
2
ADVANCED INSTRUMENTAL STUDIES-1 (Drums)
WEEK 5
Example 4
ALTERNATIVE LEFT-HAND MOVEMENT
Apart from improvising with left-hand accents on the snare and hi-hat, we can create new
patterns through alternative left-hand movement. This basically means that we move the
left hand to other voices (sounds) on the drumset, beginning with the toms.
One general idea is to moving the left-hand accents between the snare, high and low
toms, with all ghost strokes played on the snare. This can be technically challenging so
work slowly and get a feel for the movement and sounds involved. There are many
permutations using this idea, though the following examples are a good place to begin. For
physical and technical ease, these patterns are best played with the ride line on the ride
cymbal.
Example 5
Example 6
Example 7
Feel free to experiment with other similar left-hand applications.
The next stage is to move the left hand with less restriction on dynamics, which means
that all notes can be played on any toms (not just ghosted on the snare drum, as before).
© Perform Music Ltd 2009-17
Material prepared by Paul Elliott
This PDF document has a digital signature attached for security purposes.
3
ADVANCED INSTRUMENTAL STUDIES-1 (Drums)
WEEK 5
As such, the following examples show left hand movement around the snare and toms,
though no ghost strokes are written. We should get familiar with the movement involved
and then improvise with dynamics (including ghost notes). These grooves will tend to
sound less funkier than the earlier examples.
Example 8
Example 9
Homework:
1) Further research on the historical context of songo rhythms.
2) Listen to some recording of ‘Chanquito’ with Los Van Van.
3) Study lesson notes and practise selected themes.
© Perform Music Ltd 2009-17
Material prepared by Paul Elliott
This PDF document has a digital signature attached for security purposes.
4