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See Accompaniment Role-Guidelines for more general application of these principles to the Accompaniment (i.e., vocals and melodic & harmonic instruments).

You really only need 1 Advanced Time-Keeper in the Show played on a Cowbell, drum’s shell (Paila) or rim, Claves, Woodblock, Ride Cymbal, or other “cutting” instrument.

Their Offbeat Syncopated Note-Group Phrasing, Clave rhythms (“keys”), Time-Guidelines, or Bell/Palito patterns function to: Add rhythmic interest, Dialogue with other instruments (like Role 6 Solo Drums do), help provide a “Landmark” for others to find their place in the music, help others Keep Time (though often less Steady than Role 2 does), or provide Anchors for other’s Note-Group Phrasing.

Here, we’ll provide common Traditional patterns to add to your vocabulary and develop your coordination.

But we’ll also give Guidelines to improvise your own patterns that Support, Embellish (including Flams, Setups or Pickups, Echoes, and Buildups), and Dialogue (Call & Response) with others.

We’ll also include various counting and singing methods of learning these quicker and then playing techniques and body movements to help convey Time-Keeping and Syncopation to the other musicians and audience.

Click here for DVD & ONLINE Video ORDER options of Role-Guidelines Package #6:

You really only need 1 in the Show on a Cowbell, drum’s shell (Paila) or rim, Claves, Woodblock, Ride Cymbal, or other “cutting” instrument.

Their often Offbeat Syncopated 1- and 2-Bar rhythmic Phrases, Claves (keys), Time-Guidelines, or Bell/Palito patterns function to: add rhythmic interest, Dialogue with other instruments (like Role 6 does), help provide a “Landmark” for others keep their place in the music, help others Keep Time (though often less Steady than Role 2), or Anchor other’s Phrasing.

Here, we’ll provide common Traditional patterns to add to your vocabulary and coordination, but also the Support (including Accents), Embellishment (including Flams, Setups/Pickups, Echoes, and Buildups), and Dialogue (Call & Response) Guidelines to improvise your own.

We’ll also include various verbal methods of learning these quicker and then playing techniques and body movements to help convey Time-Keeping and Syncopation to the musicians and audience to “ad lib” (improvise) Syncopated rhythmic patterns using the principles of Support, Embellishment, and Dialogue.

Learning established rhythmic patterns is important when you play Traditional, Folkloric, Period, or Authentic music in order to be true to the Style and respectful of the audience. This discipline also helps train you in playing Syncopated patterns with Tonal, Articulation, and Dynamic variation for a variety of Time-Keeping instruments.

However, we also teach Instrument Role-Guidelines so you can make music “on the fly” in any situation. Here are the Guidelines for Role 5 Advanced Time-Keeping:

Support (Imitate, Lock-in, Mimic): Reinforce the Pulse (e.g., Counts “1 & 3”), the Beats/Counts (e.g., 1 2 3 4), and Subdivisions of it (e.g., 1 + . . . , 1 te ka . . . , or 1e+a . . . ) to stabilize the Tempo like Role 2 Steady Time-Keepers do. Also reinforce the Role 3 “Mother” Drum Groove. For example, here I play Open tones on the Cowbell to contrast the Bass tone Pulses (or Accents) of the Role 3 “Mother” Drum to help them “cut” through.

Embellish (add Ornamentation or Flourish): Add a little “spice” or “tensile” to the Groove, listening for “holes” (Rests), though these may be small: Use Setups or Pickups (leading to the Principle Note), Echoes (trailing it), Buildups (long Note-Groups that build momentum and tension), and Syncopation (Offbeat emphasis). For example, here I’m sometimes Supporting the Bass tones with the Mouth of the Cowbell. Sometimes I’m playing higher-pitched Setups (or Pickups) or Echoes on the Cowbell’s Center or Neck. Sometimes I’m playing Offbeat Syncopation for a jerky Feel. Notice, I also repeat many of the Note-Groups, and sometimes add a little variation to them.

Dialogue (Call & Response/Answer): This is like having a musical conversation with another band member. Listen for the “holes” and Answer the “Call” through Imitation (Mimicking it, like an exact Echo), a slight Variation (Re-capitulation) of the “Call” (thus acting as a Theme), or with something completely different (i.e., New Material). For example, here the Cowbell is Supporting much of the Role 3 “Mother” Drum Groove, which helps me better hear the “holes.” Notice I also sing to hear the Groove internally. I also dance, sway my shoulders, and bob my head to better feel it. Then, I add repetitive 2-3 Note patterns to Answer the Groove (like Role 4 “Child” Drum does). I also add more Notes for Buildups, and occasionally play single Notes spaced apart in a Syncopated pattern but not so long I loose the Beat/Count or Groove, lest it throw the other players off.

These 1-Bar (especially for slower Tempos) and 2-Bar Phrases (especially for faster Tempos) act as “Landmarks” for others in the band - the 2nd half is usually enough different from the 1st that they help the musicians know what Measure/Bar they are in. These players often start or stop their Note-Groups on key Note “Anchors” to form their Phrasing, thus they act as Clave patterns (meaning “key” in Spanish) - see also GLP6-13.

These are played in medium-fast Tempo Rock, Funk, 1-Drop Reggae, Disco, and on the Conga in Latin Tumbaos.

Tap your foot or bob your head while counting the Beats/Counts (1 2 3 4) so you can feel where the Offbeats (+’s) are.

This pattern is mostly on the Beats/Counts (so it’s more like Role 2 Steady Time-Keepers), but the “+” Accent that starts the Buildup to Count “4” (a Resolution point) gives it that slightly jerky, Syncopated Role 5 Feel. Notice, we leave a “hole” after “4” so it acts more like a “period” at the end of the rhythmic “sentence.”

The Double-Time (2 Cuban Triplets squeezed into 1 Bar) Clave or Sovu Bell pattern: |1_ _a _ _+ _3_ _ a _ _+ _| has all but the “a” Notes Traditionally Accented (played on the Mouth with Open tones). Sometimes, I Accent the “a” Notes by themselves to create a really Syncopated Feel. This Clave is played on the Snare Drum in Calypso, Sikyi (also with a Cross-Stick or Rim-Click effect or with Open vs. Muted tones on a Tamalin Drum), Highlife, and Soca music.

Adding 1/16-Note Role 2 Steady Time-Keeping on the drums (“1e+a2e+a3e+a4e+a”) may help you count the Cowbell’s trickier Syncopation. Play Slaps tones on the “+” Offbeats with a 4-Pulse Feel (using Bass tones) to help create that Double-Time “Upbeat” Feel. Instead, you can add Slap tones on the “2 & 4” Backbeats to contrast the Bass tones on “1 & 3” to create a 2-Pulse Feel that brings out the Syncopation of the Cowbell.

Then, I’m adding a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-16, -17, -18, -27) on the drums with Fill-ins for some of the “holes.”

Now, I’m adding repetitive, “chatter-like” (see Role 4 “Child” Drums) Claves and then the Guiro over it.

Now, I’m adding all kinds of Syncopated patterns on the Guiro to interact (Dialogue) with the Cowbell’s repetitive pattern.

Even I have to walk/sway on the Beats/Counts when adding Role 6 Solo Drums on top of it.

Then, I’ll add Role 6 Solo Drums with similar types of rhythms along with Time-Keeping and Pulse-Supporting rhythms (Counts “1 & 3” as Bass tones) and Backbeat Supporting rhythms (Counts “2 & 4” as Slap tones).

Then, I add Role 6 Solo Drums using various Steady Time-Keeping rhythms (Role 2’s 1/8-Notes, Trotting Horse, and Galloping rhythms) with different tones (e.g., Bass on the Pulses) and add 1/16-Note Fill-ins (notice how starting the cycle with “1e+a” acts like a Landmark).

GLP6-14. Video-3127 - Metal (Cowbells, Double-Bells, etc.) playing Cascara Rhythm:

Notice that often when 2 Notes are close together, the 2nd is Accented (and often on a lower pitch) to show that it’s the Principle Note, and the 1st is Muted (with the fingers and/or by Dead-sticking, often on a higher pitch) to create the contrast (see also GLP6-15 and GLP6-26).

Now, you keep the 1/4-Notes on the Role 1 “Father” Drum for a Pulse and I’ll play the pattern on the Cowbell.

Then, I’ll add some Role 2 Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -17, -18, -27) Time-Keeping on the drum, then match your Role 3 Groove, and then add some Role 6 Solo Drum Embellishment (Fills and Fill-ins using Setups/Pickups and Echoes).

Here, I’m playing Backbeats on the drums: 1/4-Notes (1 2 3 4), and then 1/8-Notes (1+2+3+4+) with the “2 & 4” as Slap tones, then a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -18, -27), and then a Fill-in on Count “4” in the 2nd Bar before your Pickup Note, so I’m doing a Setup Call and you’re Responding/Answering (Dialoguing) with the Pickup Note.

While the R-stick keeps the Clave, you can even vary the L-hand Fill-in drum tones so that it sounds undulating or melodic.

Reach up only on the “+” Notes. The Beats/Counts “1234” are down where you are stepping “RLRL” to the Tempo, so keep your hands down on these (see also Guidelines Package #3 GLP3-10 and GLP3-11).

The Bossa Clave is played on a Woodblock or Cowbell (during high-Dynamic sections) in the Bossa Nova. It helps to sing “Girl from Ipanema” (“Barota de Ipanema”) from Antonio Carlos Jobim.

It’s like a 1-Bar Clave (see GLP6-7) in the 1st Bar and continuing this spread-out Triplet Feel for 2 more Notes into the 2nd Bar. It can also be written: |1_ _ a _ _ +_ _ _ + _ _ e _ _ | as a 1-Bar Phrase using 1/16-Note counting.

Here, I’m using African Claves. Then, I’m adding a Guiro for Role 2 Steady 1/8-Note Time-Keeping.

You could play this Clave rhythm on the Guiro with harder, lower-pitched, stick-shank scrapes and add 1/8-Note Fill-ins near the tip for a lighter, higher pitch.

GLP6-21. Video 7-188 - |1_ _ 2 _ ka 3 _ _ 4 _ ka | 1/8-note Partial Triplets Swing:

A great way to feel this Swing rhythm is to strike down on the “2 & 4” Backbeats and “skip” from the “ka” to the next Beat/Count (“1 & 3” Pulses) sideways and back up after the “1 or 3.” This creates a circular motion which has its own built-in momentum (centripetal and centrifugal forces coming into effect). You can use your fingers to propel it faster or even bounce the stick off the Cymbal.

I can play the “te” Rests as a Fill-in with the other hand on the drum, even using another stick, playing on the rim or head (carefully - use a light stick, brush, or “Rod”). Careful, if the “te” is too loud, it can mislead the band in thinking it’s the Beat/Count as if: “te ka 2, te ka 3 ,…” as “LRR, LRR, . . ..”

This is played in slower to medium Rock & Funk and as a New Orleans Cajun Shuffle.

It consists of 2 1/16-Note Triplet Shuffles per Count with each “te” Rested, giving it a Double-Time Feel. Again, you can count the “te” for more accuracy but it will tongue-tie you at faster speeds.

You can put the Beat/Count on the bell/cup of the Cymbal as an Open tone helps you differentiate this from the “+” Offbeat and the “ka” Setup (or Pickup) Notes, which I’ve Muted with my other hand. Playing with “Rods” or bamboo sticks will lighten it up.

You can use tight-sounding Beaded Maracas and buy them pitched differently so you can hear the rhythmic interplay between them. Be careful when you buy Maracas made in Mexico - they are often imprecise, so keep the inside beads near the tip by playing them slightly dipped forward and use quick flicks of the wrist, with your finger pointed for more support. Otherwise, you’ll hear a delay in the movement of the beads, creating a lag in your Time-Keeping, creating “mushy” rhythms. The LP brand is made of hard plastic (won’t break if you drop them), is more precise, and much louder.

Here, I’m playing it while singing “These are a Few of my Favorite Things” from Sound of Music given a Swung Feel. Dave Brubeck, “Take Five” has some of this 3/4 Meter Feel along with 5/4 Meter Feels.

Here is a common 6/8 Afro-Cuban Bell pattern variation using African or Cuban Claves as: |1 _ 3 _ 5 6 | _ 2 _ 4 _ _ |, but Traditionally played on a Guataca Hoe Blade but also on the Cencerro, Campana, Bongo, Salsa, or Hand Bell in Bembe, Rumba Columbia, Guiro. This leaves a big “hole” at the end for others to Fill-in.

Here the Accents: |1_2_ _ _ _ + | _ + _+ _ _ _ _ | are as Open tones on the Cowbell’s Mouth.

All the +’s in a row create a Buildup of tension to the Resolution on “4” (dip your body to show this), leaving a “hole” after it for someone else to Fill-in.

Here, I’m adding a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -17, -18) on the drums: |1_ 2 _ 3 _ 4 + |. Notice how the “4 +” Fills-in at the end of the Bell pattern.

For lower Dynamic sections, you could instead play with 1 heavy and 1 light stick-on-rim or shell (Paila).

Now, I’m adding Role 6 Solo Drums, which I should have done on a very high-pitched drum. You can hear too much blending of tones here, but the high Slaps stand out and help bring out the Syncopation.

Play as |RRLLR L RRLLR L| ending L hand (or both hands together) Accents, using Maracas (beaded or more precise but quieter) or Hi-Hat or shell (Paila) in Chachacha, Son style (especially Son-Montuno), Mambo.

Use your walking/swaying “R L R L” for “1 2 3 4” and add some body motion for visuals, circle the Maracas, and reach out for Accents.

I’m adding Role 6 Solo Drums. Notice that much of it is Steady (like Role 2) and quieter to better hear the Articulation of the Maracas, Slapping on the “+ of 1” so that the Maracas on the “+ of 2” Answer it. I’m also doing a Fill-in between the Maracas Accent and the next Beat/Count to add to the Dialogue.

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	Krakatoa - More ONLINE Videos & DVDs - Role 5: Advanced Time-Keeping

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	Role 5 Advanced Time-Keepers (Bell & Palito patterns, Claves, and other Time-Guidelines):
	See Accompaniment Role-Guidelines for more general application of these principles to the Accompaniment (i.e., vocals and melodic & harmonic instruments). You really only need 1 Advanced Time-Keeper in the Show played on a Cowbell, drum’s shell (Paila) or rim, Claves, Woodblock, Ride Cymbal, or other “cutting” instrument. Their Offbeat Syncopated Note-Group Phrasing, Clave rhythms (“keys”), Time-Guidelines, or Bell/Palito patterns function to: Add rhythmic interest, Dialogue with other instruments (like Role 6 Solo Drums do), help provide a “Landmark” for others to find their place in the music, help others Keep Time (though often less Steady than Role 2 does), or provide Anchors for other’s Note-Group Phrasing. Here, we’ll provide common Traditional patterns to add to your vocabulary and develop your coordination. But we’ll also give Guidelines to improvise your own patterns that Support, Embellish (including Flams, Setups or Pickups, Echoes, and Buildups), and Dialogue (Call & Response) with others. We’ll also include various counting and singing methods of learning these quicker and then playing techniques and body movements to help convey Time-Keeping and Syncopation to the other musicians and audience.


	Click here for DVD & ONLINE Video ORDER options of Role-Guidelines Package #6:

	GLP6-3. Introduction Video 1-158:
	You really only need 1 in the Show on a Cowbell, drum’s shell (Paila) or rim, Claves, Woodblock, Ride Cymbal, or other “cutting” instrument. Their often Offbeat Syncopated 1- and 2-Bar rhythmic Phrases, Claves (keys), Time-Guidelines, or Bell/Palito patterns function to: add rhythmic interest, Dialogue with other instruments (like Role 6 does), help provide a “Landmark” for others keep their place in the music, help others Keep Time (though often less Steady than Role 2), or Anchor other’s Phrasing. Here, we’ll provide common Traditional patterns to add to your vocabulary and coordination, but also the Support (including Accents), Embellishment (including Flams, Setups/Pickups, Echoes, and Buildups), and Dialogue (Call & Response) Guidelines to improvise your own. We’ll also include various verbal methods of learning these quicker and then playing techniques and body movements to help convey Time-Keeping and Syncopation to the musicians and audience to “ad lib” (improvise) Syncopated rhythmic patterns using the principles of Support, Embellishment, and Dialogue. Learning established rhythmic patterns is important when you play Traditional, Folkloric, Period, or Authentic music in order to be true to the Style and respectful of the audience. This discipline also helps train you in playing Syncopated patterns with Tonal, Articulation, and Dynamic variation for a variety of Time-Keeping instruments. However, we also teach Instrument Role-Guidelines so you can make music “on the fly” in any situation. Here are the Guidelines for Role 5 Advanced Time-Keeping: Support (Imitate, Lock-in, Mimic): Reinforce the Pulse (e.g., Counts “1 & 3”), the Beats/Counts (e.g., 1 2 3 4), and Subdivisions of it (e.g., 1 + . . . , 1 te ka . . . , or 1e+a . . . ) to stabilize the Tempo like Role 2 Steady Time-Keepers do. Also reinforce the Role 3 “Mother” Drum Groove. For example, here I play Open tones on the Cowbell to contrast the Bass tone Pulses (or Accents) of the Role 3 “Mother” Drum to help them “cut” through. Embellish (add Ornamentation or Flourish): Add a little “spice” or “tensile” to the Groove, listening for “holes” (Rests), though these may be small: Use Setups or Pickups (leading to the Principle Note), Echoes (trailing it), Buildups (long Note-Groups that build momentum and tension), and Syncopation (Offbeat emphasis). For example, here I’m sometimes Supporting the Bass tones with the Mouth of the Cowbell. Sometimes I’m playing higher-pitched Setups (or Pickups) or Echoes on the Cowbell’s Center or Neck. Sometimes I’m playing Offbeat Syncopation for a jerky Feel. Notice, I also repeat many of the Note-Groups, and sometimes add a little variation to them. Dialogue (Call & Response/Answer): This is like having a musical conversation with another band member. Listen for the “holes” and Answer the “Call” through Imitation (Mimicking it, like an exact Echo), a slight Variation (Re-capitulation) of the “Call” (thus acting as a Theme), or with something completely different (i.e., New Material). For example, here the Cowbell is Supporting much of the Role 3 “Mother” Drum Groove, which helps me better hear the “holes.” Notice I also sing to hear the Groove internally. I also dance, sway my shoulders, and bob my head to better feel it. Then, I add repetitive 2-3 Note patterns to Answer the Groove (like Role 4 “Child” Drum does). I also add more Notes for Buildups, and occasionally play single Notes spaced apart in a Syncopated pattern but not so long I loose the Beat/Count or Groove, lest it throw the other players off.
	GLP6-4. Video 1-178 - Intro to Traditional rhythmic patterns:
	Use these standard 1-Bar and 2-Bar rhythmic Phrases, Claves (Rhythmic Keys), Time-Guidelines, and Bell or Palito patterns as a starting place for building technique, coordination, Timing, and Syncopation. Then mix these ideas together to create your own patterns that fit the music, using the Instrument Role-Guidelines. These patterns aren’t as Supporting of the Beat/Count as Role 2 Steady Time-Keepers are because they often isolate or emphasize the Offbeats for Syncopation. They are played on different instruments: wooden (Cua, Gua-Gua, Claves, Woodblocks, African Yamsticks, or drum shells/Paila), plastic or metal pipes (acting as Claves), and sometimes Guiros or Shakers - though these are usually for Role 2 Steady Time-Keepers. These 1-Bar (especially for slower Tempos) and 2-Bar Phrases (especially for faster Tempos) act as “Landmarks” for others in the band - the 2nd half is usually enough different from the 1st that they help the musicians know what Measure/Bar they are in. These players often start or stop their Note-Groups on key Note “Anchors” to form their Phrasing, thus they act as Clave patterns (meaning “key” in Spanish) - see also GLP6-13.
	GLP6-5. Video 2-178 - Simple Off-beats for “Straight-Time” Syncopation:
	These are played in medium-fast Tempo Rock, Funk, 1-Drop Reggae, Disco, and on the Conga in Latin Tumbaos. Tap your foot or bob your head while counting the Beats/Counts (1 2 3 4) so you can feel where the Offbeats (+’s) are. Adding some drums on the Beats/Counts will help hear this Syncopation on the Cowbell.
	GLP6-6. Video 3-178 - \|1+ _ +3+4 _ \| is almost a Steady Buildup to Count “4”:
	This is a Traditional rhythm on a wooden sound (Cua, Woodblock, and occasionally on a Cowbell) in the Bomba or Plena (if on a High Panderata or Conga). Accent (e.g., as a lower-pitched, Open tone on the Cowbell’s Mouth) the Downbeat “1” and the “+ of 2” (for Syncopation), reaching out to the audience for a Visual. Mute the other Notes (e.g., with your fingers on the back of the Cowbell) or play them on a higher pitch (e.g., Center or Neck of the Cowbell). This pattern is mostly on the Beats/Counts (so it’s more like Role 2 Steady Time-Keepers), but the “+” Accent that starts the Buildup to Count “4” (a Resolution point) gives it that slightly jerky, Syncopated Role 5 Feel. Notice, we leave a “hole” after “4” so it acts more like a “period” at the end of the rhythmic “sentence.”
	GLP6-7. Video 4-178 - \|1 _ _ + _ _ 4 _ \| Tresillo Cubano, 1-Bar Clave:
	This is played in New Orlean’s Mardi Gras, Brazilian Carnival music, and some Afro-Cuban music. The “+ of 2” is the called the “Bombo Note,” Traditionally played by the Bomba (Bass) drum (see also Guidelines Package #3 GLP3-11 and Guidelines Package #4 GLP4-7). Stomping 1 foot on the 1/4-Note Beats/Counts and counting “1 2 3 4” will help you find that Bombo Note as you pick up your foot. That’s why they sometimes call it the “Upbeat” - it’s the energetic, almost hyper, feeling you get from playing this way! Make sure to keep your stick near the instrument if you’re going to get to that “+” in time. Once you get the stomping down, walk and sway “R L R L” while counting “1 2 3 4.” This will also help your Timing and free you up to interact with the audience without messing up the Clave. Start out slowly and gradually increase the Tempo. You can really help the band find the Downbeat “1” by playing this as an Open tone on the Cowbell’s Mouth and reaching out to the audience to add a Visual. If you want to help bring out that “jerky” Syncopated Feel, play that “+ of 2” in the same way. When I add the drums, I’m playing a loud Slap tone on “2” so that the “+” on the Cowbell will stand out more. I’m also often playing a Bass tone to bring out the Downbeat “1,” and Filling-in (especially after Count “4”) with complex rhythms (1/8- and 1/16-Note Triplets) and Rudiments (Flams, Swiss Army Triplets, Flam Accent No. 1., etc.). This is very much the way other soloists will use key parts (Anchors) of the Clave (meaning “key” in Spanish) to start or end their Note-Group Phrasing. The Double-Time (2 Cuban Triplets squeezed into 1 Bar) Clave or Sovu Bell pattern: \|1_ _a _ _+ _3_ _ a _ _+ _\| has all but the “a” Notes Traditionally Accented (played on the Mouth with Open tones). Sometimes, I Accent the “a” Notes by themselves to create a really Syncopated Feel. This Clave is played on the Snare Drum in Calypso, Sikyi (also with a Cross-Stick or Rim-Click effect or with Open vs. Muted tones on a Tamalin Drum), Highlife, and Soca music. Adding 1/16-Note Role 2 Steady Time-Keeping on the drums (“1e+a2e+a3e+a4e+a”) may help you count the Cowbell’s trickier Syncopation. Play Slaps tones on the “+” Offbeats with a 4-Pulse Feel (using Bass tones) to help create that Double-Time “Upbeat” Feel. Instead, you can add Slap tones on the “2 & 4” Backbeats to contrast the Bass tones on “1 & 3” to create a 2-Pulse Feel that brings out the Syncopation of the Cowbell.
	GLP6-8. Video 5-178 - \|1 _ 2 + 3 _ 4 + \| Flat Jazz Swing or common Latin pattern:
	This has a Role 2 Steady Time-Keeping quality, but since it’s considered a Traditional Time-Keeping pattern we’ll include it here (see also GLP6-11 for a Double-Time Feel). It’s played on a Guajira or Charanga Cowbell (high-pitched, small 4” bell) in the Charanga, on a Chachacha Cowbell (high-pitched, small 5.5” bell) in the Chachacha and Bolero, on a Songo Cowbell (medium pitch & size bell, usually mounted) in Songo music, or on a Ride Cymbal or Hi-Hat in Songo music, Funk, or fast Latin Jazz (and thus called “Flat” Swing). On the Cowbell, it’s typically played as \|M_c c M_c c\| where M = Mouth (Accented Open tones), and c = center (Muted with fingers). Create further contrast by holding the stick down (Dead-sticking) and playing it quieter on the higher-pitched “center” of the bell. It can also be played on a larger, lower-pitched Cowbell (Cencerro, Campana, Bongo, Salsa, or Hand Bell) in Latin-Rock, Chachacha, Pilon, and Son-Montuno as \|M_n c M_n c\| where M = Mouth (Accented Open tones), and c = center or n = neck (Muted with fingers). It can be played in the Cumbia on 2 differently-pitched drum shells (Paila), Paila + rim, or on 2 bells as \|L_h h L_h h \| where L = lower pitch and h = higher pitch. It can serve as a standard Latin Guiro pattern: \|L_s s L_s s\| using Long vs. short scrapes in \|Down_up up Down_up up \| directions. Since you’ll be walking through the audience, keep the Beats/Counts with your feet: “1 2 3 4” as “R L R L” (I’m walking opposite so you can line up with me). Now, I’m adding a 1-Bar Clave (see also GLP6-7) on a Woodblock. Then, I’m adding a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-16, -17, -18, -27) on the drums with Fill-ins for some of the “holes.”
	GLP6-9. Video 6-178 - \|1 + 2 + 3 + 4 + \| Accented “+” of 2 & 4:
	This Calypso Highlife pattern is Steady (like Role 2) but the Accents on the “+ of 2” and “+ of 4” (if on a Cowbell, play these on the Mouth with an Open tone and the other Notes quieter with Dead-sticking on the Center or Neck) make it more of a Role 5 Advanced Time-Keeping pattern. Reach out on the Accents to add Visuals for the Show. Keep walking/swaying on the Beats/Counts “1 2 3 4” as “R L R L” to play in Time and feel those Accented “+” Notes. Careful, if you play those “+” Notes too loudly and for too long, you may throw the band off, making them think these are the Beats/Counts. Get back to solid Beat/Count emphasis if the band is shaky. A little Syncopation goes a long ways! Now, I’m adding repetitive, “chatter-like” (see Role 4 “Child” Drums) Claves and then the Guiro over it.
	GLP6-10. Video 7-178 - \| _ _+ _ _ _+ a _ _+ _ _ _+ a \| Simple & Double Off-beats:
	This is played in Double-Time Reggae, but I use it in so many Styles, sometimes reversing the order ( . . . +a . . . +). Get the walking/swaying going on the Beats/Counts (“1234” as “RLRL”) to really feel the Tempo. I can add a Latin Feel by doing this pattern on a Guiro. Notice that when I play on the Beats/Counts (or at least Accent these if I’m also playing Steady Subdivisions of it), it really makes the Cowbell’s Offbeats stand out and actually helps you play them more accurately. Bass tones on a drum would do this well and create even more contrast in pitch. Now, I’m adding all kinds of Syncopated patterns on the Guiro to interact (Dialogue) with the Cowbell’s repetitive pattern.
	GLP6-11. Video 8-178 - \|1_+a2_+a3_+a4_+a\| Galloping rhythm:
	This is 2 “Flat” Swing rhythms in 1 Bar (i.e., a Double-Time version, see GLP6-8), played on the Agyegyewa drum (Sikyi music), Cowbell (Latin), Snare Drum (Samba), and Hi-Hat or Ride Cymbals (Rock, Funk, 4-Drop Reggae, and Country). This rhythm has the Beats/Counts (1 2 3 4) that you can Accent (e.g., as Open tones on the Mouth of a Cowbell) and the Double-Offbeats (e.g., the “+a” on Center or Neck as a Muted tone) acting as Setups (or Pickups) to the next Beat/Count, Phrasing the little Note-Groups (+a1, +a2, etc.). Count, walk and sway (“1234” as “RLRL”), then say “Gaaaaaal-op-ing” while playing the Mouth on the “Gaaaaaal” and the Center or Neck on the “op-ing.” Make sure you play the “op-ing” as you lift your foot - not as you step down on the Beats/Counts. Even I have to walk/sway on the Beats/Counts when adding Role 6 Solo Drums on top of it.
	GLP6-12. Video 9-178 - \|1_+a2 _+_3_+a4 _+ _\| with Accented +'s of Counts 2 & 4:
	This pattern is played in African Sikyi and Sikyi Highlife music on the high-pitched Agyegyewa Drum or Snare Drum (with snares off), or even the bell/cup of a Ride Cymbal. Here, I’m walking/swaying (“1234” as “RLRL”) and when I get to the Accents on the Cowbell, I jump up and play it on the Cowbell’s Mouth as an Open tone. Then, I’m adding Clave (“key”) rhythms that sometimes Support the Beats/Counts and also Fill-in the “holes.” Some of these rhythms can be “chatter-like” (like Role 4 “Child” Drum) Embellishment (either Pulse-Supporting as in: 1e_ _2e_ _, etc. or Countering as in: _ _+a_ _+a, etc.). Then, I’ll add Role 6 Solo Drums with similar types of rhythms along with Time-Keeping and Pulse-Supporting rhythms (Counts “1 & 3” as Bass tones) and Backbeat Supporting rhythms (Counts “2 & 4” as Slap tones).
	GLP6-13. Video 10-178 - \|1 _ 2 _ 3 + _ + \| _ + 2 _ 3 + _ + \| Latin Bell pattern:
	This pattern is a 2-Bar Phrase, common in so much Cut-Time, faster Tempo music. This pattern is played on the Cowbell or Ride Cymbal bell/cup in the Conga, Mozambique, Conga de Comparsa, and Jazz. Notice the 1st and 2nd Measures are different enough that the musicians can tell which Bar they are in by distinguishing the patterns, thus acting as a “Landmark.” Other musicians can start or end their 2-Bar Phrases and Note-Groups on key “Anchor” Notes within these patterns, especially if the patterns are simpler and more Open-Textured (like Claves are - see also GLP6-4). The Downbeat “1” (often played louder) in the 1st Bar marks the beginning of the cycle (notice it’s missing in the 2nd Bar so that this Bar isn’t mistaken for a new cycle) and the “+” at the end acts as a Pickup (a special type of Setup). Notice how the “1 2 3” in the 1st Bar helps give the band a “Landmark” to know they are in the 1st Bar, so bring it out on the Cowbell’s Mouth (it would be even more obvious if we did this with “1 2 3+”). Walking/swaying “1234” as “RLRL” will be tricky but helpful to build your sense of Timing and coordination. Count to learn these rhythms faster! We can add Bass tones on a Role 1 “Father” Drum or Role 3 “Mother” Drum on the Beats/Counts to help better hear the Cowbell’s Syncopation (“+” Notes). Adding Role 2 Steady Time-Keeping 1/8-Notes with contrasting tones will stabilize the Time/Tempo as well. Then, I add Role 6 Solo Drums using various Steady Time-Keeping rhythms (Role 2’s 1/8-Notes, Trotting Horse, and Galloping rhythms) with different tones (e.g., Bass on the Pulses) and add 1/16-Note Fill-ins (notice how starting the cycle with “1e+a” acts like a Landmark).
	GLP6-14. Video-3127 - Metal (Cowbells, Double-Bells, etc.) playing Cascara Rhythm:
	This rhythm: \|1 _ 2 + _ + _ + \| 1 _ 2 _ 3 + _ + \| is played on the Cowbell or sides (Paila) of the Timbales (as Palito patterns) throughout Latin music. Similar patterns are used in Afro-Cuban music. I’ve played it on just about every instrument in any Style of music when I want to spice it up with some Syncopation. Learn the rhythm: by saying the louder, lower-pitched, Open, “Long” Notes (having a _ after them) as “Dah” (played on the Mouth of the Cowbell) and the softer, higher-pitched, Muted, “Short” Notes as “dit (played on the Center or Neck of the Cowbell). Thus it can be sung: “Dah, dit-Dah, Dah, dit-Dah, Dah, dit-Dah, dit-.” A Timbale player will often Fill-in the “holes” created by the “Long Dah” tones with their other Palito (small stick) on the other Timbal shell (Paila). Notice that often when 2 Notes are close together, the 2nd is Accented (and often on a lower pitch) to show that it’s the Principle Note, and the 1st is Muted (with the fingers and/or by Dead-sticking, often on a higher pitch) to create the contrast (see also GLP6-15 and GLP6-26).
	GLP6-15. Video 1-188 - \|1_2 +_+_+ \| _+ 2_3 +_+ \| Cascara Variation:
	The Accents on the Cowbell’s Mouth as Open tones are: \|1_ _ + _ _ _ + \| _ _ 2_ _ + _ _ \| . It’s really a combination of the 1st Measure/Bar of the Rumba Clave (see GLP6-19) with the 2nd Bar of the Bossa Clave (see GLP6-20). This Palito (“little sticks” often played on the shell or Paila) pattern is a typical variation of the Cascara in the Mambo and Montuno (higher Dynamic) sections of many Latin Styles and is played on a Cencerro/Campana/Bongo/Salsa/Hand Bell. Notice the Pickup “+” Notes (a special type of Setup) at the end of each Bar, but Bar 2 purposely is missing Count “1” so it won’t be confused with the Downbeat “1” that restarts the 2-Bar Phrase’s cycle. Raise your voice on this Pickup to the “1” like a baton being lifted up. The “Naked +” Notes are a classic case of Offbeat Syncopation. Notice the pattern of 4 soft-loud, “dit-Dah’s” (i.e., a Setup or Pickup leading to the Principle Note, giving it a short-Long sound, see also GLP6-14 and GLP6-26) where this Note-Group goes over the last Bar-line, thus the expression “Over-the-Bar Line Phrasing.” Then, the 1st Bar’s “+ of 3” (as a Muted “dit”) breaks this pattern. Here, I’m going to play Steady 1/4-Note drum Beats/Counts so you can hear the Cowbell’s Offbeat Syncopation. At first, just play it all on the Mouth and sway/step on the Beats/Counts (“1234” as “RLRL”) to feel the Offbeat Syncopation better. Then, I’m playing 1/8-Notes on the drum with the Beats/Counts as Bass tone Pulses and the Offbeat “+” Notes on the edge as Open tones, to help you feel the regimented “Straight-Time” Feel of this. Then, I’m playing the Galloping rhythm “1_+a2_+a,” etc. on the drum with the Beats/Counts as the Bass tones and the Double Offbeats “+a” as Open tones. Now, you keep the 1/4-Notes on the Role 1 “Father” Drum for a Pulse and I’ll play the pattern on the Cowbell.
	GLP6-16. Video 2-188 - \|1 2 + 3 4 + \| 1 2 3 4 + \| with "1 & 3" Accents:
	This pattern is a 2-Bar variation of a Songo or “Flat” Swing pattern: \|1_ 2 + 3 _ 4 + \| (see GLP6-8). The “1 & 3” Accents (creating the 2-Pulse Feel) are played on the Cowbell’s Mouth as Open tones - don’t forget to reach out to the audience for a Visual. The “2 +” and “4 +” Notes can be played as Muted Center tones (using fingers and/or Dead-sticking) in: Songo, Chachacha, and Pilon Styles. They are played on a larger Cencerro/Campana/Bongo/Salsa/Hand Bell on then Neck plus Center in: medium Latin-Rock, Chachacha, Mambo, Cumbia, Son-Montuno, and Pilon. In Changuito, it’s played on the Paila (shells) or smaller Cowbells. In Funk and fast Jazz, it’s played on the Hi-Hat or Ride Cymbal. Notice the 2nd Bar is changed (to “1 2 3”) to be an Landmark for the musicians (Accented Mouths for “1 2 3+” would be even more obvious). Also, see how the “4 +” Setups (or Pickups) lead to the “1,” thus acting as Pickup Notes. Then, I’ll add a standard Latin Guiro pattern that matches Bar 1 so you can hear the Cowbell’s break from this in Bar 2. Then, I’ll add some Role 2 Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -17, -18, -27) Time-Keeping on the drum, then match your Role 3 Groove, and then add some Role 6 Solo Drum Embellishment (Fills and Fill-ins using Setups/Pickups and Echoes).
	GLP6-17. Video 3-188 - \|1_ _+3_ _+ \|1_2_3_ _+ \| 1-Handed Palito pattern:
	This non-Accented pattern is played on a Gua-gua, Woodblock, or wooden shell (Paila) in Rumba Yambu, and on the Guiro using short scrapes in the Rumba Guaguanco or Rumba Yambu. The 1st Bar is like a Role 1 “Father” Drum pattern for: Bossa Nova, Folk Rock, Choro, Guajira, 2-Feel Akom, fast Samba-Rock. Notice the “1 2 3” in the 2nd Bar to help distinguish it from the 1st Bar, acting as a Landmark. The “+” at the end is the Pickup Note leading to the Downbeat “1.” Here, I’m playing this against a Steady 1/4-Note Pulse on the drum to help hear the Syncopation. I’m adding an Accent on the Downbeat “1” and reaching out and/or jumping to help others see the restart of the 2-Bar Phrase as well as add a Visual for the Show. At slower speeds you can count all the 1/8-Notes (“1 + 2 + 3 + 4 +”) and say the Notes you intend to play a little louder. This is more accurate but will be difficult and “cluttering” of your mind at faster speeds. So it may be better to count the 1/4-Note Beats/Counts (and step “RLRL” for “1234” or “air fake” where you don’t play) and when you get to an “+” Note, raise your voice as if you’re walking up stairs. These are like Setups (or Pickups) to the Beats/Counts that often come after them unless they are left “Naked” for Syncopation. Here, I’m playing Backbeats on the drums: 1/4-Notes (1 2 3 4), and then 1/8-Notes (1+2+3+4+) with the “2 & 4” as Slap tones, then a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -18, -27), and then a Fill-in on Count “4” in the 2nd Bar before your Pickup Note, so I’m doing a Setup Call and you’re Responding/Answering (Dialoguing) with the Pickup Note.
	GLP6-18. Video 4-188 - \|1_ _+_ _ 4_ \| _ _ 2 _ 3 _ _ _ \| 3-2 Son Clave:
	Other musicians tie their Phrasing into key Notes (Anchors) of this Clave (Spanish for “key”) rhythm. It’s most often played on Claves, Woodblock, or sometimes a Cowbell (during a high-Dynamic sections) in: Mambo, Guaracha, Danzon, Chachacha, Son styles, Son-Montuno, Bolero, Guajira, Cha-Cha Lokua Fun, Pachanga A Caballo, Kpanlogo, Songo, and Pilon Styles. The “3 side” (1st Bar) is the Cuban Triplet (Tresillo Cubano) or 1-Bar Clave (see GLP6-7). The “2 side” (2nd Bar) is a really obvious Landmark (and also has Anchors for Phrasing) with 2 1/4-Notes together. The 3-2 Clave is more for West Coast Latin, whereas the 2-3 Clave is more for East Coast Latin, having more influence from the Rumba Style - though the Rumba Traditionally this has its own Clave (see GLP6-19). Counting “1+2+3+4+” is hard to do at faster speeds, so count 1/4-Notes and raise your voice on the Notes you play, especially on the “+ of 2” (the Syncopated Bombo Note). Raise your voice like a Buildup to the “2” Resolution in the 2nd Bar and then lower your voice as a Release from the “3” Resolution. There’s different types of Clave instruments, all of which are piercing: high Brazilian, medium Latin, lower African (which have a cut-out to enlarge the resonance chamber), stick-on-plastic pipe, plastic pipe-on-pipe for a drier sound, or metal pipe claves for a very “cutting” sound. If you have multiple Clave instruments playing, just make sure they contrast each other Tonally. Make sure to form a resonant chamber in your hand and limit the muffling of either stick. Now play 1/8-Notes on the drum to help hear the Clave more accurately. Then add a Steady Role 2 or Role 3 Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -17, -27) and then Role 6 Solo Drum over the Clave and sometimes playing Flams and Slap tones that start or end with an Anchor Note in the Clave. Now play 1/8-Notes as Open or Tap Fill-in tones and Bass tones to Support the Clave, or do the opposite (not shown): by playing Tap or light Bass tones and then reach back for Open tones on the Clave. Now play the “cutting” Clave with a L stick-on-rim or shell (Paila) and 1/8-Note Fill-ins on the drum lightly with the R-hand. Now switch the role of each hand. Now, I’m playing up to speed with the R-hand Clave on shell (Paila) and L hand-on-drum “Tap” Fill-ins. Then, I’m playing a R-hand Bass tones Clave and L-stick Fill-in on the rim or shell (Paila) to create a very Syncopated Palito-like pattern. Then, I use 2 different sticks with 1 on the shell (Paila) and 1 on the rim to create a 2-handed Palito pattern. While the R-stick keeps the Clave, you can even vary the L-hand Fill-in drum tones so that it sounds undulating or melodic.
	GLP6-19. Video 5-188 - \|1_ _+_ _ _ + \| _ _ 2_3_ _ _ \| 3-2 Rumba Clave:
	This “3-2” version is used more in modern Arrangements, since the Traditional/Folkloric version is “2-3” (the order of the Measures/Bars is reversed) and played on Woodblock or Claves in: Rumba Styles (Guaguanco, Yambu), Conga de Comparsa, Mozambique, Pilon, and Songo. This rhythm is really the 3-2 Son Clave (see GLP6-18) with the “4” in the 1st Bar shifted to the “+” for a more Syncopated Feel. The 1st Bar’s “3 + 4” Rests act as a Buildup in your counting toward playing the “+ of 4.” Reach out on that “+” to display the Syncopation and help you learn it faster. Make sure to properly hold the Claves to minimize contact with them. Maximize the size of the resonance chamber under the Clave above your palm - you want them to really “sing.” To play faster, just count the 1/4-Notes until you get to the “+” Notes. This will help the latter to stand out more. Reach up only on the “+” Notes. The Beats/Counts “1234” are down where you are stepping “RLRL” to the Tempo, so keep your hands down on these (see also Guidelines Package #3 GLP3-10 and GLP3-11).
	GLP6-20. Video 6-188 - \|1_ _+_ _ 4_ \| _ _ 2 _ _ + _ _ \| Bossa Clave:
	The Bossa Clave is played on a Woodblock or Cowbell (during high-Dynamic sections) in the Bossa Nova. It helps to sing “Girl from Ipanema” (“Barota de Ipanema”) from Antonio Carlos Jobim. It’s like a 1-Bar Clave (see GLP6-7) in the 1st Bar and continuing this spread-out Triplet Feel for 2 more Notes into the 2nd Bar. It can also be written: \|1_ _ a _ _ +_ _ _ + _ _ e _ _ \| as a 1-Bar Phrase using 1/16-Note counting. Here, I’m using African Claves. Then, I’m adding a Guiro for Role 2 Steady 1/8-Note Time-Keeping. You could play this Clave rhythm on the Guiro with harder, lower-pitched, stick-shank scrapes and add 1/8-Note Fill-ins near the tip for a lighter, higher pitch. See also FREE GLP6-20b ONLINE Video-4337: Bossa Clave Rhythm.
	GLP6-21. Video 7-188 - \|1_ _ 2 _ ka 3 _ _ 4 _ ka \| 1/8-note Partial Triplets Swing:
	This rhythm is played in most Jazz, especially Big Band or early Jazz (if Counts “2 & 4” emphasized), and Country Swing (if Counts “1 & 3” emphasized, mostly by Bass drum). It has all the Beats/Counts like Role 2 Steady Time-Keeping, but in the “2 & 4” slots it has a Partial Triplet (missing the middle “te”) and so these parts are called “Shuffles” (see GLP6-22), giving it a jumpy Feel. Some call the “ka” a “Skip Note,” though it’s just a Setup (or Pickup if before a Downbeat “1”) to the next Beat/Count. My counting of these “Partial” Triplets “2 te ka” or “4 te ka” is based on my analysis of the world’s common rhythmic languages, and it’s easy to say fast! The 1/4-Notes (Counts “1 & 3”) are sung longer. On a High-Hat, these are often sizzled. Playing on a Ride Cymbal has a bit of sustain (“wash”) to it, yet you can hear the rhythm clearly. Use a brush for a lighter, fatter sound - great for Jazz trios. Use a bamboo stick for a light, whacky sound. Light sticks with wooden tips (in many shapes & sizes) are a favorite of Jazz players. They can be bounced off the Ride Cymbal in a circular motion. Plastic-tipped sticks bounce and “cut” through the band better but can be too “bright” for some music. Variously-weighted, Bundled sticks or “Rods” have some of a stick’s bounce (better for Double-Strokes or even Buzz Rolls, especially if rubber-banded near the tip) but are lighter and make a “thwack” sound. A great way to feel this Swing rhythm is to strike down on the “2 & 4” Backbeats and “skip” from the “ka” to the next Beat/Count (“1 & 3” Pulses) sideways and back up after the “1 or 3.” This creates a circular motion which has its own built-in momentum (centripetal and centrifugal forces coming into effect). You can use your fingers to propel it faster or even bounce the stick off the Cymbal.
	GLP6-22. Video 8-188 - \|1 _ ka 2 _ ka 3 _ ka 4 _ ka \| 1/8-note Triplet Shuffle:
	This is played in 1, 2, and 4-Drop Reggae, Rock, Heavy Metal, Blues, and Gospel music. The Shuffle (“shuuuuu fle”) sounds like your leg dragging behind you during the “shuuuuu,” and when your leg catches up to the other leg, then that’s the “fle.” The Skip “ka” Notes are added to the Long Notes (Counts “1 & 3”) of the Swing rhythm (see GLP6-21), so now every Note is Short. The rhythm is Steadier (see Role 2), but now it has even more of a “jumpy” Feel (so Role 5). The motion has every Beat/Count played with a down-stroke and each “ka” with a “skipped” up-stroke. For slow Tempos, say the “te” Rests to be more accurate. At faster Tempos, leave these out, and instead pretend to sneeze, saying “ka” plus the Counts (1, 2, 3, or 4), which you hold out longer. Once you get past the Downbeat “1,” think of the “ka” as a Setup or Pickup (as a “skipped” Tap up-stroke) that gets your stick up quickly so that it can come down harder on the Beats/Counts. All together it sounds like your sneezing “ka chew.” I can play the “te” Rests as a Fill-in with the other hand on the drum, even using another stick, playing on the rim or head (carefully - use a light stick, brush, or “Rod”). Careful, if the “te” is too loud, it can mislead the band in thinking it’s the Beat/Count as if: “te ka 2, te ka 3 ,…” as “LRR, LRR, . . ..”
	GLP6-23. Video 9-188 - \|1 _ ka + _ ka , etc. \| 1/16-note Partial Sextuplet Shuffle:
	This is played in slower to medium Rock & Funk and as a New Orleans Cajun Shuffle. It consists of 2 1/16-Note Triplet Shuffles per Count with each “te” Rested, giving it a Double-Time Feel. Again, you can count the “te” for more accuracy but it will tongue-tie you at faster speeds. You can put the Beat/Count on the bell/cup of the Cymbal as an Open tone helps you differentiate this from the “+” Offbeat and the “ka” Setup (or Pickup) Notes, which I’ve Muted with my other hand. Playing with “Rods” or bamboo sticks will lighten it up.
	GLP6-24. Video 10-188 - \| 1_+teka2 + 3 + 4 + \| or \| 1_+a2 + 3 + 4 + \| Bolero:
	This rhythm is played at a slower Tempo in Latin music, so more Subdivisions can be added (especially if on a clean, Articulated instrument like a Ribbon Crasher), thus the 1/16-Note Partial Sextuplet “+ te ka” vs. the “Straight” 1/16-Notes “+ a.” You can use tight-sounding Beaded Maracas and buy them pitched differently so you can hear the rhythmic interplay between them. Be careful when you buy Maracas made in Mexico - they are often imprecise, so keep the inside beads near the tip by playing them slightly dipped forward and use quick flicks of the wrist, with your finger pointed for more support. Otherwise, you’ll hear a delay in the movement of the beads, creating a lag in your Time-Keeping, creating “mushy” rhythms. The LP brand is made of hard plastic (won’t break if you drop them), is more precise, and much louder.
	GLP6-25. Video 11-188 - \|1 _ _ 2 te ka 3_ _ \| or "Flat" \|1 _ 2 + 3 _ \| 3/4 Waltz Swing:
	The 1st version is played on a Hi-Hat or Ride Cymbal in slow to medium Tempo 3/4 Meter Jazz, whereas the 2nd “Straight” or “Flat” Swing is played in faster 3/4 Meter Jazz and on the Dawuro Bell in Akom music. As you go faster, the 1st version starts to sound more and more like the 2nd version anyway. The “te” is Rested but can be counted at slower Tempos to help feel the 1/8-Note Triplet Feel. I’m making the Downbeat “1” resonate (where the Pulse is normally played) and am Choking off the other Notes for a Muted contrast. Here, I’m playing it while singing “These are a Few of my Favorite Things” from Sound of Music given a Swung Feel. Dave Brubeck, “Take Five” has some of this 3/4 Meter Feel along with 5/4 Meter Feels.
	GLP6-26. Video 12-188 - 6/8 Meter 2-Bars: \|1 _ 3 _5 6 \| _ 2 _ 4 _ 6 \| and Variation:
	This is Traditionally played on the Ganugbagba bucket or Gonkogui Bell in 12/8 Meter Gadzo music by Ghana’s Ewe people. It’s also in many 6/8 Meter Styles: Guiro, Bembe, Cha-Cha Lokua Fun, Afro 6/8 Styles, Palo, Imbaloke, Rumba Columbia, and Abakua. The \| _ _ 3 _ _ 6 \| _ 2 _ 4 _ _ \| Accents are played on the Cowbell’s Mouth or on a lower-pitched bell and the other Notes as higher pitches and/or Muted tones. Notice the “5 6” softer, higher-pitched, Muted “dit” Note leading to Accented, lower-pitched, Open “Dah” Note (see also GLP6-14 and GLP6-15). Also, reach out on the Accents to help learn the Syncopation and add a Visual for the Show. To really learn this, involve as much of your body as possible and exaggerate your motions. You can start on the Pickup Note at the end if this helps. You really have to count to get this pattern! Here, I’m playing this on the Cowbell against a drum part from the Bembe: \|1 2 _ 4 5 6 \| as: \|H S _ B O O \| (Heel, Slap, Bass, Open tones) with the hands in this order: \|L R _ L R R \|. Here is a common 6/8 Afro-Cuban Bell pattern variation using African or Cuban Claves as: \|1 _ 3 _ 5 6 \| _ 2 _ 4 _ _ \|, but Traditionally played on a Guataca Hoe Blade but also on the Cencerro, Campana, Bongo, Salsa, or Hand Bell in Bembe, Rumba Columbia, Guiro. This leaves a big “hole” at the end for others to Fill-in.
	GLP6-27. Video 13-188 - \|1 _ 2 _ 3 + _ + \| _ +_+_+ 4_ \| Afro-Cuban Mambo Bell:
	Here the Accents: \|1_2_ _ _ _ + \| _ + _+ _ _ _ _ \| are as Open tones on the Cowbell’s Mouth. All the +’s in a row create a Buildup of tension to the Resolution on “4” (dip your body to show this), leaving a “hole” after it for someone else to Fill-in. Here, I’m adding a Latin Tumbao (see also Guidelines Package #3 GLP3-5, -13, Guidelines Package #4 GLP4-15, and Guidelines Package #6 GLP6-8, -16, -17, -18) on the drums: \|1_ 2 _ 3 _ 4 + \|. Notice how the “4 +” Fills-in at the end of the Bell pattern.
	GLP6-28. Video 1-198 - Bo-Diddley Beat (1/8-notes with 3-2 Son Clave Accents):
	This is really a 3-2 Son Clave rhythm (see GLP6-18): \|1_ _ + _ _ 4 _ \| _ _ 2 _ 3_ _ _ \| treated as Accents with 1/8-Note Fill-ins for the Rests: \|1 + 2 + 3 + 4 + \| 1 + 2 + 3 + 4 + \|. Here, we’re playing the 1/8-Notes continuously as “R L R L” and reaching into the middle of the head for the Accents to create Bass tones. The L-hand only reaches in for the Bombo Note (“+ of 2”). Take it slowly so you can concentrate on evenness and the tones. Now play everything with Taps/Toes near the middle or edge and reach back and play the Accents as Open tones. When you play it up to speed, you have to simply touch the drum and rock the hand straight down for the Open tones. Often it’s not played “Straight” but given a “Swung” (or Shuffled) Feel or played between the two, which is more obvious when we play it slowly with a Bluesy Feel: \|1 te ka 2 te ka 3 te ka 4 te ka \| (1/8-Note triplets with “te” Rests), where I’ve chosen “te” and “ka” because of the prominence of these sounds in world drum languages. The Shuffle…sounds like “shuuuuu fle” as if a person’s dragging leg catches up to their other leg. Now, the R-hand plays the 3-2 Son Clave on the shell (Paila) or rim and the L-hand plays the 1/8-Notes lightly on the drum (possibly using a brush, “Rods” or bamboo sticks) or on the rim. You can count with a Buildup to the Resolution points “2 & 3” on the “2-side” of the Son Clave and then Release. Or reverse the role of the hands: play the 3-2 Son Clave (Accents) on the drum with the R-hand (even varying the tones to help distinguish Bar 1 from Bar 2) and Fill-in on the rim lightly (you don’t want it to interfere with the Son Clave rhythm). For lower Dynamic sections, you could instead play with 1 heavy and 1 light stick-on-rim or shell (Paila).
	GLP6-29. Video 2-198 - \|1 +3 4+ \|1 2 3+4+\| - \|R RL RR\|L R LRRL\| Merengue:
	Notice the “3 + 4 +” Buildup to the Downbeat “1” (an “Inward Paradiddle” or what I call a “Diddle in the Middle” or “La.2Ra.La”). Notice also the “+” Setup to the “3,” the “4 +” Setup/Pickups to the “1” (of the 2nd Bar), and the Resolution “2” that helps the 2nd Bar stand out (acting as an Anchor and Landmark). Try putting the L stick-on-rim or shell (Paila) and R-hand or stick lightly on the drum, going slow. Now put the R-hand Bass tone on the Downbeat “1” plus the L-hand on “\| _ _ 3 _ \| 1 _ 3 _ \|” to give it a 2-Pulse Feel. Adding the Setup “+” at the end acts like a Pickup to the Downbeat “1.” So Now, the R hand-on-rim is either Supporting the higher-pitched Backbeats “2 & 4” or is playing Offbeat Syncopation (like Role 5 does). Now play the \|1 _ 3 _ \|1 _ 3 _ \| as \|R _ L _ \|L _ L _ \| on the rim as a Role 2 Steady Time-Keeper. The L-hand still plays the Pickup, but the R-hand on the drum now plays Backbeats and Offbeats. Now play the R-hand on the Downbeat “1” on the rim plus L-hand on “\| _ _ 3 _ \| 1 _ 3 _ \|” on the rim as a Role 2 Steady Time-Keeping Pulse. Play the L-hand Pickup “+” on a drum at the end, and the R-hand on a drum (using Open tones) to Support the Backbeats and Syncopation. Now play the R-hand Downbeat “1” on the drum as a Bass tone, keep the L hand-on-rim for the Pulse, but play the L-hand Pickup at the end back on the drum (as an Open tone) so it’s part of the Buildup “+ 4 +” on the drum to the Downbeat “1.” Gradually speed it up, since the Merengue is fast. Now, I’m adding Role 6 Solo Drums, which I should have done on a very high-pitched drum. You can hear too much blending of tones here, but the high Slaps stand out and help bring out the Syncopation.
	GLP6-30. Video 3-198 - \|1e+a2 + 3e+a 4 +\| as 6-Stroke Roll Variation:
	Play as \|RRLLR L RRLLR L\| ending L hand (or both hands together) Accents, using Maracas (beaded or more precise but quieter) or Hi-Hat or shell (Paila) in Chachacha, Son style (especially Son-Montuno), Mambo. Use your walking/swaying “R L R L” for “1 2 3 4” and add some body motion for visuals, circle the Maracas, and reach out for Accents. I’m adding Role 6 Solo Drums. Notice that much of it is Steady (like Role 2) and quieter to better hear the Articulation of the Maracas, Slapping on the “+ of 1” so that the Maracas on the “+ of 2” Answer it. I’m also doing a Fill-in between the Maracas Accent and the next Beat/Count to add to the Dialogue.



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Role 5: Advanced Time-Keeping

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