Category Archive Bongo pattern

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Bongo pattern

After defining your tones, slaps, and other sounds, playing congas is about the conga patterns. Some of the rhythms and conversations are traditional, while others are modern and improvised. Conga drums were built for certain patterns, and Tumbao, a Cuban concept, is the most important one to know.

Although the bolero is from Spain, the music was reinvented in Cuba and the Caribbean with Afro-Cuban rhythms and instruments. Many of the patterns listed below have a similar back story.

Other rhythms, like merengue, have moved from the street to the premier dance venues. Regardless of where these patterns are played, conga drummers must know them to be fluent on their instrument. Tumbao refers to a rhythmic concept in Cuban music. The concept is most associated with the bass part for music derived from son cubano — mambo, timba, and salsa, to name a few. The conga pattern for most of these genres is also called tumbao. The pattern includes a few different crucial elements.

The marcha is the rhythmic aesthetic and timbre you achieve when the heel and toe strokes are played on the drum. The following examples include the basic tumbao that works for most son-based musical styles. The variations are more sophisticated in terms of their accents and conversational differences — substituting tones for slaps or adding slaps, for example. Make sure you play the low drum part of the tumbao pattern on the 3 side of the clave.

The bongocero will also change to compana cow bell during this part the arrangement. Congas and bongo provide the drum parts that establish most of the bolero rhythm section. The conga pattern is much like the tumbao with a slight twist with the open tones.

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The example shown below is an extended phrase. This is sometimes good to use when the low-high-low open tones sound too busy for the song. The basic bolero is the second measure of the example below repeated until the song arrangement dictates otherwise.

For harmony that changes often, the one-bar phrase sometimes makes the most sense. The extended phrase written below is often the way I play it so I can open up the groove and make it more interesting over the course of the song.

This is the most significant of the folkloric patterns on this list.This is going to be a lot of work. I wanted to cobble together as many rhythms in hopes to make this the one stop shop for your bongo rhythms needs. Ahh… the Martillo—the fundamental rhythm of so many styles of Latin music. The martillo is simply made up of straight eighth notes, but the notes are given variety by different techniques.

With the basic martillo you can accent the notes on the clave, and make the rest of the notes quiet, or vice versa—make sure you spend the time to become super familiar with this rhythm. The hardest part of this rhythm is the roll starting on the 4th note. This one lines up with the Rumba Clave, and it is one of the more difficult rhythms in this list.

This would be an excellent rhythm for a transition piece as it has a lot of energy. Another of one of the more difficult martillo rhythms on this list—I have put the beats in the pattern so you can see where your foot can tap.

Bongo Cat – Crochet Pattern

This fits very well with the rumba clave. Bongos have an amazing sound that is often overlooked in many styles of music.

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Bongos fit very well in rock music. But if you convince the rest to crank up your mic, then there is absolutely room for bongo techniques!

Rock music is iconic for accenting beats 2 and 4. This rhythm is a a bit tricky so I put the downbeats in the top of the pattern. Starting with your left hand will help you get this one down.

Not too different from the rhythm above, but this one is much easier to play.

Basic Bongo Rhythms | Bongos

You can put some of that paradiddle practice to good use in this pattern. Also a great driving rhythm.

bongo pattern

This one looks a little tricky because of those ghost 32nd notes after the 2nd beat. If you slow this one down though it plays very naturally as the left hand only plays on the hembra the bigger drum on the last note and for the rest of the rhythm the left hand stays on the macho.

Bongos go great with the smooth sound of bongos.

How to Play Your First Rhythm on Bongos--A Lesson for Beginners

This builds off of the previous rhythm by adding another note after 3 and another notes after 4 making this rhythm a bit more dynamic.

You can accent the note right after beat 3 on the macho or you can play it as a ghost note. These flams accentuate the clave. The grace notes that build the flam should be very quiet and tight so as not to make this rhythm too busy. This is probably one of the harder rhythms to get in this section since it is so syncopated, but it will feel natural after a bit of practice.

The notes between the accents should be as quiet as possible to allow the groove to focus in on the clave. Similar style to the previous, with the open tone on the macho during the brief martillo like rhythm played softly. This was a lot of fun to put together. You've had your drumset for a while and you've noticed that it's starting to look a little dingy. How do you clean your drums without damaging them?

Furthermore, it would be nice to know if youYou will also need to consider whether to go for Calf heads or synthetic heads. For a number of reasons I choose the latter. If we look at the picture below, we can see the way the drums are held between the legs.

This really is a case of finding the most comfortable position. Playing position sitting When tuning the drums, the small drum should be cranked up as high as you dare whilst the larger drum should be tuned somewhat lower than this personal preference. I have come to prefer the Remo bongos with heads that you can leave tuned up when you have finished playing and rely on even in a very humid environment.

10 Conga Patterns Every Percussionist Should Know

The high-pitched sound is articulated by striking with the tip of the finger for quieter playing or with the tips of all the fingers for louder playing.

The fingers should strike as near the edge of the drum as possible and should create a very high pitched tone. The small drum should be cranked up as high as you dare. Try this simple single stroke pattern with both hands on the hi Bongo. Open tone hi bongo, Right hand single finger. Open tone hi bongo, Right hand all fingers. Open tone hi bongo, Left hand single finger.

Open tone hi bongo, Left hand all fingers. Next we have the open tone on the larger drum. This is articulated with the first finger played slightly more towards the centre of the drum than on the small drum.

This helps accentuate the bass tone by bringing out some of the lower harmonics. Experiment by hitting the bass drum near the edge as with the high drum and see how different the sound is. Again, it is possible to use all four fingers for louder situations, although I still prefer to stay with the single finger on the larger Bongo. Open tone Lo bongo, Right hand one finger.

Open tone lo bongo, Right hand all fingers. Now we'll move on to some simple rhythmic motifs and some grooves based on the simplified form of the Cuban Martillo mah-tea-oh. We will move on to some more intricate Bongo techniques a little later.So you want to play the bongos, eh?

Playing rhythms by ear is a common way to learn, but learning to play bongos is a lot easier if you can read the bongo rhythm notation. I thought that the answer for this would be completely straightforward, but it turns out there are a few methods of bongo notation. I did the research for you so you can quickly get playing without the fuss! The bigger, deeper drum is called the hembraand the smaller, more highly pitched bongo drum is called the macho. Traditionally, bongos are held between the knees in a seated position, with the macho on the left and the hembra on the rightalthough this can be reversed depending on your playing preference.

Bongo drums are also often placed on stands when many drums are being played. The music notation for bongos is very simple, although it varies from one music arranger to another. Ultimately, there are only two drums and sometimes a bell involved, so music arrangers may give you more or less notation. The higher note is the macho drum while the lower note is the hembra drum. Sometimes tricky rhythms are notated with hand patterns to help the musician play the rhythms without getting tangled up.

Drummers often practice drills which are called paradiddles. Paradiddles essentially help you play common patterns found in drum music, and they very often have right or left hand notation to help the drummer be able to flexibly play any rhythm in any situation.

In this example, the L means the left hand, and the R means the right hand. You can always reverse if you are more comfortable with your left-hand, but being ambidextrous in your playing will prove more helpful to you than always having to rearrange things as well as give less mental strain. Many drummer paradiddles are meant to be played starting with the right hand as well as starting with the left hand to improve the flexibility of the drummer. If you find yourself crossing hands then it might be a sign you need to go back to the fundamentals of the rhythm you are playing.

If you want to be the best bongo drummer you can be, pay attention to right-left hand notation to be more efficient in your playing. If your music such as if you are playing Salsa music features a bongo bell, then you might see notation similar to this:.

The bell may not be in this exact position shown here, but it will be higher than the other two drum notes. So, playing any hand drum is never as simple as just hitting something.

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Depending on the way you strike the drum with your hand, you will get a different sound. Before I jump into the tone notation, check out my video on bongo techniques so you can hear and see the techniques so you can know what the notation actually means:.

What they will tell you is what notes to accent. Well, not exactly. You can do that, but it turns out that our brains perceive pitch way better than we perceive volume. You can probably tell the difference when someone hits a drum quietly and when they do it loudly, but it turns out you might not be able to tell the difference between striking the drum loudly and striking more loudly.

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If you do this closer to the rim of the drum, you will get more resonance and therefore your note will be better perceived as an accent. On the other hand ba doom pshif you want to mute your bongo tone, you can experiment with different strikes and snapping your fingers off the drums to get different resonances.

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This is where bongo notation can vary wildly. The notation for the different types of tones from a bongo is all over the place. It completely depends on who is writing the rhythm. Some bypass using musical notations altogether and instead just put letters up above the note. Fortunately, drum rhythm makers often will give you a legend so you can interpret the meaning of the notation. In practice, you will see any number of notations being used, hopefully this gives you an idea of what you might expect to see.

Bongos are meant to be a hand drum, first and foremost. However, there are alternatives.A bell pattern is a rhythmic pattern of striking a hand-held bell or other instrument of the idiophone family, to make it emit a sound at desired intervals. In band music, bell patterns are also played on the metal shell of the timbalesand drum kit cymbals. Gerhard Kubik notes that key patterns are not universally found in sub-Saharan Africa: "Their geographical distribution mainly covers those parts of Africa where I.

The use of iron bells gongs in sub-Saharan African music is linked to the early iron-making technology spread by the great Bantu migrations. The spread of the African bell patterns is probably similarly linked. Throughout Africa, wherever these gongs have occurred they have been manufactured by the same process of welding the two halves together along a wide flange.

This indicates a common origin. Kubik observes that "at the broadest level," the various key patterns "are all interrelated. Put simply, key patterns epitomize the complete rhythmic matrix. Key patterns are generated through cross-rhythm. The axatse Ghanaian beaded gourd instrument part which typically accompanies the pulse standard pattern in Ewe music is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa".

The "pa"s sound the standard pattern by striking the gourd against the knee. The "ti"s sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand.

As is common with many African rhythms, the axatse part begins first "pa" on the second stroke of the bell 1aand the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm. See: standard bell with accompanying axatse part. There are many different triple-pulse bell patterns found in sub-Saharan Africa. These are but a small sample.

Bell patterns 1 and 2 are considered by A. Jones to be the two simplified forms of the standard pattern. The geographical border of Pattern 3 seems to be the Niger River. Kubik states that east of the Niger, Pattern 3 is used "among the Igboand the large group of Benue-Congo speakers from eastern Nigeria through western Cameroondown to southern Democratic Republic of the Congoeastern Angola and northern Zambia.

Pattern 4 is a bell pattern used by the Hausa people of Nigeria. The figure is sometimes referred to as a horizontal hemiola.

There is a category of 12 8 bell patterns based on "slow" cycles of three cross-beats across four or eight main beats. Three-over-eight is one of the most metrically contradictive, and extraordinarily dynamic cross-rhythms found in African music.

Within the context of a single four-beat cycle single measure or musical periodthe cross-rhythmic ratio is 1. The three cross-beats, spanning 24 pulses, are represented as whole-notes below for visual emphasis.

The following pulse bell pattern is used in the Ewe rhythm kadodo. The kadodo bell pattern is an embellishment of three "slow" cross-beats spanning two measures, or three-over-eight Pattern 1 4 4 standard pattern is played on the head of a small Yoruba bata drum in Benin.

bongo pattern

Some bell patterns are single-celled and therefore, not key patterns. The most basic single-celled pattern in duple-pulse structure consists of three strokes, known in Cuban music as tresillo.There are two facets to improving your bongo playing: listening to rhythms and music until the rhythms are embedded inside you, and do repetitive hand exercises to give your hands the speed they need to let those rhythms out.

The more you play, the better you play. Bongos are a soloing instrument, and solos are constructed of all of the ryhthmic pieces you have absorbed into your unconcious. If you have trained your hands along with your ears, the music will spring out before you have had a chance to think about it. Only strike with the pads of your fingertips. Keep your movements economical and smooth. Try to pick one tempo and stick to it for as long as you can.

Consistency at a slower speed will give the rolls you play later a professional smoothness. Then try a double-stroke roll. Snare drumming uses multi-stroke rolls because the sticks bounce quickly off the drum head.

It's harder for a bongo player to use these rolls because fingers don't bounce the same way. However the exercise is good for developing consistent control over your hand movements. Then try paradiddles. It takes a minute to get accustomed to the pattern, but then it becomes easy. Again, aim for consistency of strength and tempo. Play with no accents on any of the beats.

With any of these, try alternating between different fingertips.

bongo pattern

Next, practice the "manoteo", or "heel-toe". It's a four-stroke pattern, alternating the thumb and fingertips on each hand. Hold your hands flat over the drumhead or tabletop. Push down with the base of your right thumb, then the left. Then let the fingertips of your right hand drop down as you raise your wrist, and then do the same on the left.

The pattern is heel-heel-toe-toe. You don't have to put strength into it, just stay flexible.Sew the tail to the body around where you inserted the pipe cleaner. Do Not cut Tan. After you make the first bongo, set aside and begin the second one, stop when you get to this point. Twist the ends together to secure and cut the excess. Using the Brown yarn, attach yarn to the front loop of Round 7, 1 sctog, Ch 3. Cut and sew yarn tail to Round Do this 2 more times on the bongo evenly spaced out.

Do this for each Bongo. This pattern and all information contained in this post is the property of Tiffany Horton.

You have permission to sell any finished product created using this pattern, a link back to this pattern is appreciated. The information contained in this post the pattern, media,etc may not be copied, reproduced, distributed, or shared in anyway. Rewriting, reselling, distributing, or copying this pattern electronically, verbally, written or otherwise, including translations, is prohibited.

Notify me of follow-up comments by email. Notify me of new posts by email. Skip to content Secondary left navigation Search Secondary right navigation. Materials 3. Round 6 sctog. Using the amigurumi piece join method Attach the ears to the top of the body, stuff lightly. Attach the arms between rounds Stuff firmly. Attach the Legs between roundsstuff lightly. Attach brown yarn, cut tan.

40 Bongo Drum Patterns: Martillo, Rock, R&B, Swing, Bachata, Funk

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