If you have a question you'd like Jim to answer, please fill out the form below. Each month, we will post selected questions, along with Jim's answers, right here!
In a two drum set-up, what should the primary drum be?
Two Tumbadoras (Congas) one uses in a two drum set-up are, to a large degree, a matter of personal preference. Some players prefer to use a Conga/Tumba combination, and some prefer a Quinto/Conga combination. This depends a great deal upon the style of music you are playing; this determines the tuning you will use.
The primary drum is generally the smaller, higher-pitched of the two Tumbadoras.
For example, in more traditional styles such as some Rumbas, many people prefer two drums that are tuned relatively low. In this case, you will probable want to use a Conga for your primary instruments, and a Tumba for the lower pitched of the two.
In more contemporary musical styles, such as contemporary Latin (Mambos, Salsa, Latin Jazz) Rock, R&B, Funk, etc., many people prefer two drums that are tuned relatively high. This means that the drums are in a higher pitched register in the musical mix, and therefore do not get lost among the lower pitched instruments such as bass guitar and, in the case of Rock, etc., the drumset player's bass drums and lower toms).
I usually use a Conga/Quinto combination, since I play mostly in 8 to 10-piece bands (with drumset, electric bass, a horn section and a keyboard player). We play contemporary music in a wide range of styles. I tune my Conga to a G over middle C, and my Quinto to the C (a fourth) above that. This puts me in the middle and the upper middle of the overall band mix.
Back To Top
Is there a particular tuning, as defined by pitch or intervals, when tuning up timbales?
There are many ways to tune the timbales, depending upon the style of music you play and other factors.
The tuning of timbales is much higher these days than it was a couple of generations ago (as is the tuning of congas). A common method is to tune your Macho (means "male"... the small timbal) and Hembra (means "female"... the large timbal) to a perfect fourth apart, or sometimes a perfect fifth apart. For example, the Macho could be tuned to an "F", one octave above middle C. The Hembra would then be tuned to a "C" one octave above middle C. Of course, the most important thing is that each drum be in tune with itself, that is, you have the same pitch on each lug.
I like to start with the Hembra, then move on to the Macho. Begin by loosening the lugs completely the first time you tune your timbales or when you change one or more of the heads. Then finger tighten each lug to make sure each one starts at the same tension. Then tune each lug with the tuning wrench the same amount in order to make sure each of them will be at the same tension. Begin with any of the lugs and move across the drum to another, then across the drum to another. Repeat this until you have tuned each lug once. Do small increments to start. Once you get to know your instrument, you can do larger increments, especially with the Macho, which will, of course, be tuned higher than the Hembra. The exact pattern of crossing from lug to lug will be determined by how many lugs your drums have. Keep repeating this tuning pattern until you are at the pitch you want to be.
Check your tuning every time you begin a new day of playing. They might go slightly out of tune, and this is the best way to get to know your instruments! Experiment with your tuning until you find one that works with the music you play. Learn to listen carefully to melodies and intervals in order to "tune" your ears! Work with experienced players/teachers whenever possible. Listen to CD's and to live players to get ideas, as well.
How do I tune my bongos correctly?
There is no one and only "right way" to tune bongos. It depends upon the music, the venue and your own style. A good way to learn to tune bongos, and to train your ear, is to listen carefully to the tunings that you hear on recorded music and in live situations. If possible, find an experienced Bongocero(a) and spend some time learning the way he/she tunes the Bongos.
A common tuning, and a good place to start, is to tune each drum to an "A", an octave apart.
Many Bongoceros like to tune the Macho up very tightly, so you get a very sharp, dry cutting sound when playing a tone. Others like a more melodic sound. Experiment with it. Don't be shy about just getting in and experimenting with the tuning until you get something you want to try playing!
Here are a few tips to get you started:
Do the same with the Macho; you can tune each lug in full-circle increments the first two or three times around the head, because you want the pitch to be much higher than the Hembra. As you get closer to the pitch you want,tune in smaller increments. Loosen the heads when you're done playing for the day. This will increase the life of the heads, especially the Macho. Also, the pitches will tend to change with changes in temperature and humidity if you leave them tuned up overnight. Finally, as an additional benefit, you will get to know your instruments, and become more proficient at tuning them, by tuning them frequently.
How do I correctly measure a conga?
One measures the diameter of a Conga head by starting anywhere at the outside edge of the top of the shell (the head can be either still on the drum or off of it) and measuring to the outside edge directly across from the starting point.
For example, the LP Quinto head measures 11" in diameter, the LP Conga head is 11-3/4" in diameter and the LP Tumba head is 12-1/2" in diameter.
I recently held a drum circle at my job for an hour, and the feedback was good. I had several types of percussion: congas, bongo, castanet, guiro, maracas, tambora, claves. I own your DVD on Community Drumming and you make the grooves look so smooth when it comes to keeping their attention. How can I keep their interest with building on one groove for such a long period of time?
I use a number of Drum Circle Facilitation Cues and Techniques that I've developed over the years to help people stay in the groove together, to connect with each other and to have fun. I use them during the drum circle at the end of my "Community Drumming For Health & Happiness" DVD that you mentioned. A few are:
These are just a few ways to bring the participants together and to enliven the experience.
I am starting a drum circle at work and there may be some who want to play along with music (3-5 minute songs). Is this advisable?
It depends upon the purpose of the drum circle and why some people would want to play along with recorded music. I sometimes use recorded music, children's songs, in my work with kids. This gives them something to relate to and puts them in a groove together.
Most of the time I don't use recorded music, even with kids. I never use it with adults. My intention with my drum circles is to help the participants create their own grooves and to support each other's creativity. Most non-musicians need longer than the length of a 3 to 5 minute song to get comfortable with their instruments and to get into a groove together where the music flows and they get into a comfort zone.
If the people who might want to play to recorded music want to because they already know what to play, I suggest that, since they are experienced musicians, you ask them to be the foundation of the circle, to be the "groove mentors". That is, ask them to play simple, fundamental repetitive patterns that help the less experienced participants to get into the groove as a group.
I have an old Mambo Cowbell that has a 2 inch crack and I would like to know if I should cut away a 2 inch chunk of metal or buy a new one?
I've tried many ways to fix broken cowbells over the years, including welding cracks and cutting them down. Unfortunately, I've never been able to come up with a solution that produces an instrument that sounds anywhere near a good as the original.
You could have the bell cut down to just below where the crack begins, (you'd have to find a metal worker with the right power tool to do this or you could try with a hacksaw, but it's a lot of work!) but the new, smaller bell will not sound anything like the old, larger one. A good bell is made to very specific dimensions; changing them will result in the loss of the frequencies that made the original bell sound good.
Short answer... give your old bell a respectful "goodbye" and have fun finding a new one! Here is a link to LP's Mambo Cowbell.
How do I keep a new conga head in good condition and durable?
Care of your conga head depends a lot upon the climate and the playing environment. If you live in a very dry climate, or a very cold one, and/or play a lot under very hot stage lights, the head will tend to dry out and therefore wear out quicker. In this case, I suggest using a very light application of lanolin-based hand lotion regularly. Rub some into your hands before playing (good idea to take care of your hands, too!), then rub a little of the excess lotion into your conga head. Don't use too much or hand oils and dirt might stick to it.
I also highly recommend tuning your congas down at the end of every day. This can greatly extend the life of the heads, plus you will become more in touch with the sounds and different tunings of your instruments... always a good idea for a musician!
In fact, this information, and more, is included in a couple of article on tuning congas I wrote for the LP web site: "Tuning Your Conga Drums" and "Tuning Your Conga, Part 2: Specific Pitches And Intervals" Here is a link to LP's Tech Support Article List.
How do I start learning the reggae drum playing technique and is there any web pages or books that could help me out?
I recommend listening to reggae CDs and playing along to what the conga drummer is doing. Remember that it is not Afro-Cuban based, so the usual Tumbao pattern won't necessarily work. Reggae conga playing is often based on a Jamaican style of drumming called Nyabhingi. Listen to Jimmy Cliff's song, Bongo Man, for a great example of this style of drumming. Of course, once you learn how to play Reggae from accomplished Reggae percussionists, feel free to develop your own style, as well. The main goal is to groove and serve the music.
I would like to persue a career in hand-drumming, is there any advice you can give me as to how to find decent gigs?
Djembe gigs are possible, but more limited than congas. There are also a lot more gigs available if you are also proficient on bongos and hand percussion instruments like claves, maracas, shekere & other shakers, tambourine, miscellaneous hand-held and mounted percussion sounds.
What is the name of the conga riff: LLRLLRLLR etc., with the left hand leading and always playing heel-toe, while the right alternates between other sounds?
I'm familiar with the conga riff you mentioned, but I don't know that it has a traditional name. I think it is just based on heel/tip exercises played as triplets. It is then thrown in to create the triplet feel within a pattern. The heel/tip exercises, whether played as straight eighth note, sixteenth notes, or triplets serve as the basis of a lot of improvising on congas. There are an almost infinite number of possible varieties of riffs based on the heel/tip patterns.
What is a drum circle and how is it different from a drum class or workshop?
A drum circle can mean entirely different things to different people. There is no absolute, universally accepted answer to this question. There are different styles of drum circles just as there are different styles of playing musical forms such as Rock or Funk! This experience, though, is rooted in the concept, found in many cultures, that the average person can have fun making music even if they have no desire to perform.
I usually avoid calling any of my programs drum circles since there is no universally accepted definition of the term. I use the blanket term Rhythm Based Activities to be an overview of my work, and then define my different types of programs with terms that give specific images of what they are and what their goals are. For example, Interactive Rhythm-Based Team building Program.
I would very loosely define drum circles as drumming or rhythm based-jam sessions. Some are led, or facilitated, by one or more people and some are more freeform, spontaneous experiences. Some people refer to any gathering of percussionists as a drum circle. Others feel very strongly that a group that is playing traditional rhythms with the intention of staying true to the traditions is not a drum circle. Again, there is no wrong answer or one right answer.
Some people refer to rhythm games and exercises as drum circles, even if no drums are actually used. All are acceptable, if somewhat vague, definitions.
How is a "drum circle" different from a drumming class or workshop? Again, there is no single definitive answer. Different leaders and facilitators have different styles and approaches that range from "don't teach, just let people play whatever they want" to various amounts of instruction.
I always incorporate elements of teaching in all of my drumming programs. I've found that people usually appreciate knowing something about the instruments and the traditions behind them. This gives them a sense that they are part of the rich tradition of drumming around the world, and shows respect for the people who developed the instruments. I also make it a point to teach something about the playing of the instruments so that people get the best sounds possible and avoid hurting their hands (in the case of hand drums). In some of my programs I just give the fundamentals of playing and the traditions, in others I go deeper into these elements. It all depends upon the themes and goals of my clients and of the group.
How do you get novice drummers to play consistent parts?
I use the "say it and play it" method of teaching that I learned in Africa. That is, I introduce the fundamental playing techniques assign a verbal sounds to them that sound like the sounds we want to play, and then have the players say the patterns using those sounds. Keep it simple for beginners! Don't get too complicated when assigning sounds.
When we say our part we are getting the part into our bodies, where our voices originate, and out of our heads! If the conscious mind tries to analyze, process, categorize and authorize each and every sound within the pattern, then we get into "mental & physical gridlock" and it simply just doesn't groove.
I've found that this method also makes it easier for beginners, and others, get back into their patterns if they get off, since the muscle and nerve memory of the body will remember the pattern, while the conscious mind might go into a panic state and hold the body back. This works!
If you make a mistake you just can't start playing randomly and try to "find" where you should be; you'll end up playing a lot of sounds that do not fit into the groove which pulls other people off. What you can do to get back into the rhythm is to first let go of the mistake, remain calm and focused, listen to what everyone else is playing, find the place to start, say your pattern, then play it.
Also, if someone is very shy and / or lacks confidence then give him or her a part that can contribute to the group, but not dominate the sound. I use maracas and other light weight shakers for these good folks to help them gain confidence before giving them a crucial foundation part. Have them say "Shaker, shaker, shaker, shaker, etc." with the "shake" part on the out swing and the "er" part on the back swing.
When leading drum circles, how do you know when to lead and when to just let the group play?
"Over leading" is like a musician "overplaying". Sometimes there is the temptation to do, or play, something just because we can. Many people call our work, Drum Circle Facilitation, rather than leading, because it is our role to help the group help itself
I've been blessed to play with many accomplished musical elders in a wide range of styles in my career, and one of the things I always observe in their playing is that they no longer play the notes that don't matter! Many times they are simply not able physically to play all the things they could when younger, and they used their maturity and wisdom to just play what served the music. Babatunde Olatunji, for example, in his later years would not play a note for long periods of time, but he would inspire the other musicians and the audience by his very presence and his beautiful singing. Then, BOOM!, he would make one hit, the perfect sound in the perfect place, and the whole place would be elevated to a new level!
Our jobs as drum circle facilitators is, as I mentioned, to help the group help themselves. We must have our finger on the pulse of the group, so to speak, so that we do only what is necessary for the group to groove and meet its needs and goals. What are the goals of the group? What does the group need in order to reach these goals? These are the choices we make for every group we lead.
It is important to learn different facilitation skills in order to have them available when needed. It is equally important to know when, and when not, to use them!
I want to learn reggae on conga, so what's best for me to do?
The best way to learn how to play Reggae on congas is to study with a percussionist who is an accomplished Reggae player. Of course , I realize that there may be nobody where you live who fits the bill. (where do you live?). This can also be done by learning from percussionists who play on Reggae CDs. I do recommend that you study conga fundamentals with someone who is qualified to teach the basics, including tuning and maintenance of congas, the fundamental techniques (bass sounds, open tones, slaps, etc), the fundamentals of music (learning to truly hear and feel what is going on in the music, different types of rhythms and the effects they have on people, how to find and maintain a groove, different note values and their applications in various musical styles, how to support the music with our playing). As far as specific conga rhythms that work with Reggae (and, of course, there are various styles of Reggae that require their own rhythmic approaches), very often the percussionist in a Reggae band play "color" as much as a repetitive pattern. By "color" I mean wood block and bell accents, timbale riffs and accents, very sparse, open-ended conga patterns. One of the roots of Reggae is a style of drumming called Nyabhingi. It has a repetitive "heartbeat" type pattern on the low drums with lead "riffing" on the higher pitched drums. I recommend listening and playing to any Nyabhingi recording you can find to get grounded in the roots of Reggae. Jimmy Cliff's recording of the song, "Bongo Man" is an example that is readily available. Enjoy your Reggae journey!
Do you think drum circles invited certain spirits? If so what kind?
If by "spirits" you mean from the spiritual realm... then I guess it would depend upon the intention and the spirituality of the drummers. If by "spirits" you mean the mood of the participants, as in "raising the spirits, the physical and emotional mood, of the participants", then absolutely yes! Drum Circles are not the same as traditional spiritual rhythms and ceremonies that people worldwide have engaged in for thousands of years. Those rhythms and ceremonies have evolved out the the needs, goals and experiences of the cultures and the peoples who originated them. They are highly developed and very specific in nature, in intention and in execution and require many years of study, discipline and intention to create the desired outcome. These rhythms and ceremonies are sacred to the peoples who have developed them. My firm belief is that anyone who wishes to engage in them should spend the time and intention to study with source people who have themselves spent this effort to learn them, and who have the authority to teach them. Drum Circles are a broad definition of many different types of rhythm jam session and rhythm-based activities that are strongly rooted in the universal nature of humans to entrain together and to cooperate and communicate through drums and percussion. I believe that people who drum together with the intention to create positive connections with others will become more aware of Spirit, the everlasting, universal force that is present in all of Life, and that their awareness of Spirit can have enormous positive effects upon their lives and, by extension, the lives of all whom they touch.
Please tell me about the subtleties with which traditional congueros play versus the more aggressive style of playing found in West Africa (djembe).
Is the diameter of a conga head measured at the wooded top or is it the diameter of the metal ring?
The diameter of a conga head is measured from the outside edge of the wooden top of the drum shell to the outside edge of the other side. Here is a link to an article I wrote for Latin Percussion Instruments about tuning congas, the various sizes of the drums generally called "congas" and some other conga tips. There are also a number of other articles and short video lessons listed on this page: http://www.communitydrumming.com/learn/index.html
When we have to select the instruments for our percussion set, do we have to think about the music we are playing or about my skills as a percussionist?
Choosing the instruments that you will play will be determined mostly by the type of music you are playing, but your skills as a percussionist do also matter, especially if you are a beginning to intermediate player. The most important thing is to be able to play the music with the right feel and to be able to groove, to entrain with the rest of the musicians. For example, if you are playing Afro-Cuban music it would be necessary for you to be able to play the fundamental patterns on claves, maracas, guiro and tumbadoras (congas). It is most important to listen to the other musicians and to play the basic patterns with the right feel and to groove; more advanced patterns and rhythmic figures can be added later, as long as they come from the groove. Of course, if you were the timbalero in the band, it would be required that you know all the common patterns, accents and rhythmic figures (Abanico, etc.) on timbales. Different styles of music require different instrumentation, but what they all have in common is the importance of authenticity and groove. These are much more important than flashy riffs and chops.
I'd like to know exactly where in the guaguanco clave, where do the conga parts start?
The Guaguanco drum parts start on the three side of the Rumba Clave (or Clave de Guaguanco). That is, they start on the first beat of the Clave in the measure that has the three hits. I'm assuming you know the Rumba Clave since you know the right question to ask. It is crucial that all the parts are aligned correctly with the Clave. The Clave defines the groove, the feel, the tempo and the alignment of the parts. The Clave is the essence, the heart and soul, of Guaguanco. The drummers, the singers and the dancers all integrate the Clave into their parts. Let's assume the clave is written as a two measure pattern using eighth notes (though I have seen it written as a one bar pattern, using sixteenth notes) Generally, the Guaguanco starts with the Rumba Clave, beginning with the measure with the three hits (the "three side"), then the Tumbadora (the low drum) enters with an open tone on the fourth quarter note of the second bar of the clave. Then the Secundo (the middle pitched drum) enters, then the Cata (two sticks that traditionally play a piece of bamboo) then the Quinto (the highest pitched, lead drum).
I need a drum for belly dancing. Can you tell me any information about belly dancing drumming?
The typical drum used for middle eastern belly dancing is the Doumbek. This is a chalice shaped drum, usually metal, that is played on the lap. Of course, middle eastern dancing and drumming has many, many different styles and rhythms. I suggest that you study with an accomplished drummer who is also a dedicated teacher, focus on the fundamentals of technique, groove, style and authenticity and stay with one or two basic patterns until you become comfortable with the instrument. You can then move on to more complex patterns and other rhythms. In general, the lead drummer works with the lead dancer to get cues for tempo, volume, accents, embellishments and rhythms. The role of the other drummers is to listen to the leader and support and complement the dancers.
I am a conga-player beginner and I bought 10" and 11" LP Aspire Congas. I enjoy playing these drums and I have two questions. 1st - When I place my hand on the Conga it covers the whole drum head and I wanted to ask if I should buy Congas with bigger diameter. 2nd - I heard about drummer (percussionist) "prayers" (rhythmical verbal sequences that you can learn) but I did not manage to find much about them, I have read about your "say it and play it" technique so I was wondering if this is familiar with the "prayers".
About the size of your congas and the size of your hands: it sounds like your hands are large. You can still play on the LP Aspire Congas if you can get a good bass sound and you can fit both hands on the drum head when playing heel/finger patterns. The bass sound requires that you use the palm of your hands in the middle area of the drum. If you can do this, then their is no problem. The heel/finger patterns require that you be able to get both hands on the drum at the same time. If you cannot do either of these, you might want to consider getting larger drums. Regarding "drummer prayers". Great question! As you mentioned, I use the "say it and play it" teaching method that I learned in Africa. This means just saying a sound like the sound you want to play, then saying patterns of these sounds in the pattern you want to play. For example, if you want to play a Bass sound, then say "Bass" or "Boom" or "Doon", etc. There is no universal drum sound vocabulary, everywhere I've traveled people have their own sounds. There are, however, "drummer prayers" in the Afro-Cuban tradition, especially when playing Batas, the two-headed, hour glass shaped drums traditionally used in Santeria (also known as Lucumi) ceremonies. These rhythmic prayer phrases are called Toques. Each Toque is considered sonically attuned to particular Orishas, the Spirits of the Santeria pantheon. These are rooted in the Yoruba traditions of west Africa. I am not an expert in this by any means. I've played with people who are, and I've studies non spiritual forms of Afro-Cuban music, but I don't do this music because I have the highest respect for the people who do dedicate their lives to it.
I wanted to know what skin is the best for a conga? Also what skin is good for Tumbadora, Quinto, and conga respectively. I'm a conga player from India, but I don't get the correct skin I feel.
Many manufacturers of congas these days use water buffalo skins from southeast Asia. Latin Percussion Instruments, uses these skins that they get from Thailand. The Tumba should get the thickest skin, the Conga the middle thickness and the Quinto the thinnest skin. I suggest contacting a music store that carries LP congas and ordering drum heads from them. You can either get heads that are pre-mounted and shaped for your specific instruments, or get flat, un mounted rawhide rounds and mount them yourself. You do this by soaking them in water, mounting them and then trimming the excess skin. This, however is is difficult to do do if you don't have someone to show you how. I've done many of these over the years. I enjoy the process of mounting my own conga skins, but I don't have the time these days! Some conga manufacturers still use cow hides for their rawhide skins. I know that there might be a problem with this in India.
Can all drum notations be used to play any drum or do different drums have their notations for playing?
Standard "western" musical notation can be used to notate all types of drums and percussion instruments. You will first determine where on each line and space of the staffs you want to place each specific instrument. The just use standard note values to notate the rhythm patterns.
Do you have any tips or exercises that you could recommend for improving hand independence?
There are many way to do this. Here are just a few to get you going:
Of course, with all of these exercises, stay relaxed, breathe, start slowly, keep a solid groove and play the sounds consistently before increasing the tempo. Stay focused, don't let your mind wander as we sometimes can when practicing something over and over. If we tend to let our minds get distracted during practice sessions, we are practicing this behavior, and might tend to slip into this when performing! When you're comfortable with an exercises, then practice it along with a CD of music you love! This way we are also practicing having fun... this alone is worth the time!
When I play percussion, should I try to keep a beat with the tambourine and rhythm with the conga at the same time or go back and forth with both?
Ultimately, it all depends upon what serves the music. If you have the capability, and it adds substance to the song, then go ahead and play two instruments at the same time. If the music sounds better when leaving more space between the two parts, then that is what we should do. Experiment with your playing techniques and your setup to find what works! In the ten piece corporate events band in which I play, I often play a conga and/or bongo part with one hand (I usually use my dominant hand for this, but it's up to you) and a mounted tambourine, cowbell, etc., with a stick in my other hand. I also sometimes play the mounted tambourine (carefully!) with just my hand. I might also play a tube shaker (usually the LP Rock Shaker) with one hand and a mounted bell pattern with a stick in the other.
Of course, the most important thing is that it all grooves! I encourage my students to become very comfortable with playing each pattern separately before trying to combine them.
What is a groove?
A Groove is the experience of interacting with one's internal and external environment is an intuitive, focused and alert way. A musical example would be when a musician or musicians get into the flow when playing. This is the same transcendent state that athletes call The Zone, that Martial Artists and meditation practitioners might call Effortless Mastery and that psychologist sometimes call Flow. It is the result of repetition with a focused intention to be relaxed, focused, disciplined and have a "can-do" attitude about the activity in which we are engaged. It often refers especially to the rhythmic part of music, (and Life!), but also includes melody and harmony. When we get into the Groove, we experience an undeniable "aha!" moment; this is the Mind/Body connection that has been recognized throughout history as being the place that help us empower, focus and uplift ourselves and our communities. This is the state where we are our most creative and fearless, and where we are alert on the conscious, as well as the sub-conscious, levels. When we are able to bet back to this "aha" moment often, and stay there for longer and longer periods of time, then we get deeper into the Groove.
What's the main difference between an open/free drum circle and one in a specific population like corporate or health settings?
The main difference between an open/free drum circle and one for specific populations would be in the intention behind the event. If the open/free event is just an open jam session, then pretty much anything goes (hopefully the participants are actively listening to each other and actually playing together!). There won't usually be a "drum circle facilitator" at a true open/free drumming event. However, a facilitator might be present to help get grooves going and help people who are struggling to stay in the groove. Usually, facilitation is kept to a minimum for free-form drumming events. My style of conducting drumming events is to emphasize the groove, respect for the drumming cultures who have come before us, communication, cooperation and celebration. I will always incorporate some of these elements into all of my drumming events. What I prefer to call "interactive rhythm-based programs" for specific populations such as corporate, community, school, therapeutic and private groups have more thematic elements, shared goals and specific objectives. For these types of programs, I will also incorporate their specifics, such as team-building, communication skills, creativity, risk-taking, trust/support and an upbeat "can-do" attitude about life. There is much more active "facilitation" in these types of events, so the facilitator should be familiar with the type of population being served, as well as will the specific "drumming event facilitation" skills, techniques and models that will serve the group.
What is the name of this conga riff: Right-handed players playing LLRLLRLLR etc., with the left hand leading and always playing heel-toe while the right hand alternates between tones, slaps and other sounds, sometimes switching drums. The LLR is often played as eight-note triplets but can be played as sixteenth notes or sixteenth note triplets. I know you are familiar with this riff. My question is, does it have a name?
As a self-taught conguero by LP educational DVD's, I can only play slow rhythm along side with bolero, cha cha cha, guajiro, guaguanco. My big difficulty is I am unable to keep up with fast tempo in salsa or columbia combia...etc. The rhythm is so fast the conga basics I've learned doesn't match the beat. Please help and advise what to do. Thanks.
Gaining facility with faster tempos is a common challenge, and an opportunity for growth, for percussionists (as well as other musicians, of course). Here are a few tips that I use in my teaching and in my own playing:
Staying Relaxed: this is the single most important element for playing clear, consistent patterns at any tempo and at any volume. It is, unfortunately, one that many people neglect to incorporate into their playing from the beginning. Begin with sitting or standing in a relaxed position, drop your shoulders (don't wiggle them or force them down... just release them). Breathe comfortable deeply into the belly and release tension on the exhale. Check out master conguero Giovanni Hidalgo's videos for his emphasis on relaxation (not to mention his breath-taking speed and consistency!). Start with simple patterns: don't try to play complex patterns faster until you can play simple ones faster. In other words... begin at the beginning. Increase you tempo gradually over weeks, months and years. The great American Opera singer, Beverly Sills, once said, "There is no shortcut to anywhere worth going." If you feel too much tension while playing faster than usual, slow down until most of the tension is gone. Play at that tempo for a while to reinforce the relaxation, then bump the tempo up a bit. It does take time and gradual incremental increases to make the big breakthroughs! Stay focused on your intentions... playing faster while maintaining a solid groove. Don't let mental or physical distractions, especially frustration at not being where we want to be, keep us from getting to where we want to be! Have fun! Enjoy the journey... notice and celebrate the small successes that come from consistent practice. These small successes get us to the place where we have huge breakthroughs.
As an amateur conguero, my hands and fingers are transforming, becoming bigger and dries...and painful. Any advises to keep them in shape? And what is the softest congahead available in market?
Take care of your hands (and the rest of your body), the way a master craftsperson takes care of his or her tools. Playing congas (and djembes and others of the large hand drums) definitely has effects upon our hands, and much of our upper bodies, but we can minimize long-term damage with intention to caring for them. Much of my playing is done with large groups (congas/bongos, etc. in a ten piece world-traveling corporate events band, and an eight piece soul/gospel/funk band, and others), as well as playing djembe while leading interactive corporate and community drumming programs for groups of several hundred and more). I rarely get cracks and bruises in my hands, even though we often do two to four hour gigs.
My own hand-care regimen includes:
Is there a particular tuning, as defined by pitch or intervals, when tuning up timbales? I ordered a 14" and 15" recently and need to tune them up since the smaller drum out of the box was actually pitched lower than the 15"
Yes, the timbales do not come pre-tuned when shipped so you will have to tune them. There are many ways to tune the timbales, depending upon the style of music you play and other factors.
The tuning of timbales is much higher these days than it was a couple of generations ago (like congas). A common method is to tune your Macho (means "male"... the small timbal) and Hembra (means "female"... the large timbal) to a perfect fourth apart, or sometimes a perfect fifth apart. For example, the Macho could be tuned to an "F", one octave above middle C. The Hembra would then be tuned to a "C" one octave above middle C. Of course, the most important thing is that each drum be in tune with itself, that is, you have the same pitch on each lug.
Listen to CD's and to live players to get ideas, as well.
How do I measure my conga drums for new heads?
The pre-mounted heads for congas, bongos & djembes are sized by head diameter. The head diameter is measured across the middle of the top of the drum shell, from the outside of the shell, to the outside of the shell on the opposite side. The LP Professional Series Congas are: Quinto- 11", Conga- 11 - 3/4" & Tumba- 12 - 1/2".
I go to a pentecostal church, and we play upbeat, contemporary music. What are some other percusion extras i can add, to bring depth, and add layers to our music?
Here are a few suggestions based upon the kinds of things I like to use to add color, texture, spice and drive to music of all types: -Bongos mounted on a stand to compliment your congas.
• Shekere: the LP483 Pro Shekere , with its fiberglass body, is resonant and cuts through all types of music, and is a very versatile instrument. • Tube Shaker: the LP462 Rock Shaker can be soft and loud • Tambourine: LP Cyclops Tambourine has beautiful balance and tone and is a "must" for praise music! • LP Afuce/Cabasa: large or standard, add a crisp texture, especially on "up" beats. • Blocks & Bells: mounted and hand-held such as LP229 Mambo Bell (large) LP204A Black Beauty (small, cha cha bell), LP Jam Blocks (plastic blocks with warm, resonant tones) • LP Rawhide Maracas • LP Vibra Slap • LP Bar Chimes
• Shekere: the LP483 Pro Shekere , with its fiberglass body, is resonant and cuts through all types of music, and is a very versatile instrument.
• Tube Shaker: the LP462 Rock Shaker can be soft and loud
• Tambourine: LP Cyclops Tambourine has beautiful balance and tone and is a "must" for praise music!
• LP Afuce/Cabasa: large or standard, add a crisp texture, especially on "up" beats.
• Blocks & Bells: mounted and hand-held such as LP229 Mambo Bell (large) LP204A Black Beauty (small, cha cha bell), LP Jam Blocks (plastic blocks with warm, resonant tones)
• LP Rawhide Maracas
• LP Vibra Slap
• LP Bar Chimes
For conga playing, which is the real preferred or typical position: seated, or standing?
Your question goes to one of the fundamentals of playing congas... sit or stand? Conga players traditionally played sitting... this is the root position and, I believe, it benefits us in many ways to start this way. We develop a physical connection with the conga by holding the conga with our legs as we play. We can also relax more when playing (very important!) because we can release our weight into the seat and release tension from our arms, shoulders, chest and back. Sitting also allows us to work with the subtleties of our sounds by moving the conga slightly with our legs as we play (an advanced technique).
Standing also provide its own benefits, though. We get a louder, more resonant sound when the conga is elevated off the floor, we are more visible as a performer (if this is an important element), and we are able to play congas and other instruments (mounted bells, blocks, cymbals, etc. and hand held shakers) if this is an important element to our playing.
The master conguero Candido Camera always plays standing for example. This is part of his style and sound. Others always play seated... ultimately, it is up to us to find the ways that work for us and serve the music.
I play both seated and standing, depending upon the situation. With either method, it is extremely important to be at a height that allows us to play without creating tension in our bodies (upper and lower) and with arm and wrist angles that allow us to play efficiently and ergonomically (natural body movements).
For example, if we sit or stand too high above the conga, we have to reach down at too great an angle; this forces us to bend our wrists at a sharp angle... bad for the tendons running through our wrists!I suggest that we sit or stand so we can play with our forearms more or less parallel to the ground. It is well worth the expense to get a seat or stand that gets the instrument at the height that works for us!
I have bruises on my hands because I've been playing a lot of djembe in drum circles. Its mostly on my first and last knuckle (palm side) and they don't seem to go away. What can I do to heal them and still be able to play?
To start: see my article on this web site entitled, "Hand Care For Hand Drummers: Lubricating Our Hands". Playing hand drums, especially the djembe with it's thin goatskin head provides no cushioning, which definitely effects our hands. This is a fact of djembe playing. Many experienced djembe players, however eventually realize that it is not necessary to hit so hard as to brutally bruise our hands. Drum Circle players in particular seem to be most likely to suffer from hitting too hard because many times the volume level gets very loud due to inexperienced players, or players who have not studied with experienced players, simply hitting harder than necessary. I play congas and djembe from twenty to thirty or more hours a week in my practicing and in my corporate and community drumming work and in the ten-piece corporate events band I'm in. I never bruise my hands, and I play as loudly as musically necessary. Taping your hands is an option, especially if you've already damaged them. It's simply not as much fun to play, though, if we can't feel the drum head! Therefore: Here are a few suggestions and comments relating to this that I cover in all my workshops and instructional videos:
Given all that, I suggest trying some hand products that promote the healing of bruises. Arnica gel works well for bruises and muscle strain. Of course, I'm not a trained medical practitioner; I am physically very active, though and I've found it works for me. You should be able to get it in any health and wellness store. Talk with a dermatologist about this, as well. He or she would be able to give you more suggestions about products. Have fun, play much and share your rhythm!
Can you recommend a way to practice with a full-size shekere that provides a muted sound that's easier on the ears and compatible with play-along practice?
There is no easy solution to your dilemma! Here are a few suggestions, but each has drawbacks:
I assume you have already explored other options such as finding a time to practice when nobody else is at home, finding a room in the house that you can sound proof or finding a practice space outside of the house Let me know if any of these work for you.
Is covering up the non-chamber hole on the end of an udu a legitimate technique for playing the drum, and what other techniques are there besides those?
One of the important elements to playing the udu is to get a good seal with the palm of the hand when you hit over the hole... any air/sound that escapes around you hand will lesson the volume and resonance of the sound.
Yes, experiment with covering up the other hole, as well. Also try varying the amount of the other hole you cover as you play the the shell and the main hole... you can get a kind of "walking" bass line when you do so. In fact, experiment playing with the finger and different parts of the hands on different parts of the udu... you will find a lot of different sounds!
