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October 1994
Volume I Issue I
FOCAS ON
TIMBALES
ISSAE
History Of The Timbales
by victor Rend6n
he timbales, a Cuban instrument, developed almost parallel to the develop-
ment of the Cuban danzon. The danz6n can be traced to the introduction
of the French contradanza in Haiti during the eighteenth century. The creole timpani was used to accompany the contradatwas played by an ORQUESTA TIPICA,
which included woodwind and brass instruments such as the clarinet, cornet, trombone, bassoon and tuba. A string section was also employed consisting of violins
and contrabass. The percussion consisted of the timpani and a g0iro. In Spanish the
word for timpani is "timbal". Because of the early French influence, the French
word for timpani (timbale) was adopted early in the development of the timbales.
Due to a slave rebellion in Haiti in 1791 many Haitians immigrated to the eastem
province of Cuba called ONENTE bringing with them the contradanza. In Cuba the
contradanza evolved into the danua, dar:-r;a habanera or habanera, and finally the
daru6n. A11 of these forms made use of the creole timpani. When the danz6n appeared in the early 1900's a new kind of orchestra appeared called CHARANGA
FRANCESA. This new combination of instruments consisted of a wooden flute,
piano, contrabass, violins, giiiro and the PAILITAS or TIMBALES CRIOLLOS (a
Conceptualized
for the serious
Latin
percussionist
interested in
Afro-Cuban and
other Latin
American
percussion.
smaller version of the European timpani).
It was during this era of the early danz6n that the European timpani went through
some changes in order to adapt to the popular music. The timbales came into being
when the danz6n became popular and the appeal of the dance and rhythm penetrated
into the white society. It was impossible to take the very heavy and cumbersome
European timpani to the dances of the white society, mulattos, and the so-called
"fine" negroes. A battery of African drums could not be taken either because these
instruments were unacceptable. A smaller timpani was thus made by taking metal
cylinders and mounting skins on them with tension keys. They were then supported
on a metal stand at knee level. The new instrument was played sitting down with
the large drum called hembra (which m
macho (which means male) to the
right. The playing of the timbales did Inside This Issue
not yet make use of a cowbell. The History Of Timbales
timbales were played (ust as the cre- G. Baretto Transcription
ole timpani) using a direct transfer- Cha Cha Cha On Timbales
ence of the hand drumming technique John Almendra Column
called VAQUETEO. lneffect, the
Classics Review Column
Toca Classic Timbales
Column by John Santos
Timbales Reference List
( cont. on page 2)
and more
Latin American Percussion Newsletter
Page 2
LATIN AMERICAII PERCUSSION NEWSLETTER
FROM THE EDITOR
Wc'lcome to the first bi-annual issue of the
LATIN
voLUME
1,
NUMBER 1, 1994
AMERICAN PERCUSSION NEWSLETTER. The purpose of
this newsletter is to provide the percussionisVdrummer and other
enthusiasts with information regarding various areas ofLatin
Percussion. Most of the information will deal with Afro{uban
percussion ( our main area of interest). An effort will be made to
cover other styles such as Brazilian and other South American
rhythms and percussion. The newsletter will provide the reader
with feature articles, an instructional column, book and CD
reviews, transcriptions, drumset applications, reading sources and
much more. Anyone wishing to contribute ideas, articles, etc., to
Published by Tortilla Flat Music: Victor Rend6n/Armando
the newsletter is encouraged to do so. Write to TORTILLA
FLAT MUSIC, 327 lzth Street, Brooklyn, NY I1215.
Pazcual Villaronga
Rodriguez
CONTRIBUTING WRITERS
John Almendra
Ken Ross
Victor Rend6n
Bobby Rever6n
John Santos
LAPN welcomes manuscript material, however, cannot
assume
responsibility for them. Items must be accompanied by a self-
B
addressed, stamped envelope.
SUBSCRIPTIONS are $6.00 per year ( U.S. and Puerto Rico). Outside
U.S. and P.R. , mte is $10.00. Individual copies are $3.00 each
Ta*lLflal't,.,w
( includes back issues)
Send all correspondence to:
This first issue of the LAPN is dedicated
to the memory of Frankie Malabe: master
drummer, teacher, mentor, and friend.
TORTILLA FLAT MUSIC
327 12th Street
Brooklyn, NY 1f215
Note: Please do not copy this nelYsletter snd give to your friends.
Publications like this will only survive through the support oflts
readers. No Cuesta Mucho!
( History Of The Timbales)
transculturation of the European timpani to the smaller timbales was due to economical and ethnic
factors. As stated by Fernando Ortiz:
Los timbales criolles parecian "hijos" de los timbales blancos y no
hubo con ellos reparos deraza.
The creole timbales seemed to be a descendant of the European
timpani and with them, racial differences did not exist-
In the 1930's, a mambo or montuno section was added to the danz6n employing a small cowbell.
The bell was mounted on a sponge ball by cutting a slit in the center of the ball. The mounting handle
of the bell was then placed inside the slit of the ball. The ball would then be resting on the small drum.
According to Israel Cachao Lopez,he and his brother, Orestes Lopez, were the first to use this new
montuno section in the danzonwhen they worked with the ORQUESTA MARAVILLA DE ARCANO irL
the 193.0,s. Consequently the CHA CHA CHA andthe term MAMBO were born from this section of the
datuon.
In the 1940's the timbales were used in Latin Orchestras such as the Machito Orchestra in New York
City. These bands made use of a rhythm section which included bass, piano, bongos, timbales/traps,
gtiiro and maracas. The horn section consisted of trumpets and saxophones. (continued p.3 )
Page 3
Latin American Percussion Newsletter
This was a direct influence of the big band era. The timbale player of this era actually played drumset with the
timbales set to the right of the player. The drumset was used to play waltzes, fox-trots, etc.
It was around 1940 that a Cuban leader named Arsenio Rodriguez started incorporating a tumbadora ( called
conga in the U.S.), bongos, campana (bell), two trumpets, a piano and a tres (a three double string instrument
derived from the Spanish guitar). Towards the late forties, Machito also added a tumbadora to his orchestra
which let to the percussion combination of bongos, tumbadora and timbales. By then, the timbale set-up
included a small and large bell mounted on a post befween the two drums. A ride cymbal was also added which
became the common set-up of today. It was during this era that Ernesto (Tito) Anthony Puente brought the
timbales into the spotlight as a solo instrument paving the way for others.
Today the timbales are used in a variety of contexts which include many styles and influences. In Latin
music the CHARANGAbands still exist carrying on the tradition of the charanga style. Another type of band is
the CONJUNTO. A conjunto consists of 3 or 4 trumpets, piano, bass, bongo, conga, giiiro, clave, maracas and
vocals. Timbales are not used in the conjunto bands. The bongo player carries the band by playing a hand bell
in the montuno section of a tune. Still, another type of band isthe ORQUESTA. Even though most orchestras
do not have the same set-up as they had in the big band era, they still make use of any combination of wind
instruments such as trumpets, saxes and trombones. In the ORQUESTA the timbalero is used in with a conga
and bongo player.
In conclusion, one can see that the timbales developed as a result of the acculturation of European and
African cultures which unfortunately was a result of the slave trade in the mid-century. This brief article only
touches upon the surface of the rich heritage of this instrument, its music and
culture. Tl
This article is an excerptfrom RHYTHMS AND TECHNIQUES FOR LATIN TIMBALES by Victor
Rend6n, available through Tortilla Flat Music, 327 lzth Street, Brooklyn, NY l2l5 and distributed by LP
Percussion Group, 160 Belmont Ave., Garfield, NJ 07026, Phone: l-800-526-0508.
RHYTHMS AND
TECHNIQUES
FORLATIN TIMBALES
" A mustfor every latin percussionist's Library" MODERN DRUMMER MAGAZINE
"....one of the most thorough books on the subject....." NEW YORK LATINO MAGAZINE
A comprehensive method book for learning to play Latin Timbales in a traditional format. A valuable source
of information and study guide for Latin percussionists of every level. Text and music include execution of
abanico rolls, bell sounds, set-up, playing in clave and applications.
Distributed
by:
To order directly from Tortilla Flat Music send
$15.00 ( includes S&H) to:
LP MUSIC GROUP
Ave.
Garfield, NJ 07026
1-800-526-0508
160 Belmont
TORTILLA FLAT MUSIC
327 t2thstreet
Brooklyn, Ny 11215
Latin American Percussion Newsletter
Page 4
@E8A- @EUA- @EU4\ @UU IUUUREBA,
by Victor Rend6n
The Cha Cha Cha is believed to have originated from the montuno or improvisational section of the
danzonplayed by OReUESTAS TLPICAS. The name is said to be derived from the sound that the dancers
made *ith thei, feet. ihe music and lyrics are lively in nature and can even be humorous. In 1951 Enrique
o'Creator"
of the cha cha cha, with the first cha cha cha,"La Engafiadora"Jorrin was credited as the
The most fundamental way of playing the cha cha rhythm on timbales is by playing straight quarter notes
on a small cha cha cowbell.
EXAMPLE
1:
TEMPO: Quarler Note =92-132 APPROX.
tone
The bell pattem can be played using one of the following techniques: 1) open tone or 2) muffle
(usually) and
OpEN TONES: This technique is employed by simply striking the bell on the mouth area
letting it ring as the pattern is played.
MUFFLE: This technique is employed by pressing the shoulder of the stick against the bell to
create a
muffling effect.
AND IS A
EITHER TECHNIQUE FOR PLAYING THE BELL ON THE CHA CHA CHA CAN BE USED
MATTER OF PREFERENCE OR TASTE.
LEFT HAND: The left hand is employed with no stick in hand by striking the large drum with the fingers
of the drum
of the hand. A muffled sound is p.oduced on the 2ndbeatby pressing the fingers against the head
..thud" sound (The L.H. stick is placed on the small drum while the L.H. plays on the
to produce a muffled
large drum).
-A,
op., tone is then produced on the 4th beat of the measure by striking the drum with the index or
the
middle firg", of the L.H. The whole hand can also be used to produce the open tone but be aware that
left hand
tendency *ltt t" to hit the rim with the palm of your hand as you do this (I went home with a bruised
many times after agig when I was using this method).
Latin American Percussion Newsletter
Page 5
On the musical examples, the muffled sound is represented with a sharp (#) symbol and the open tone is
represented with a natural sign to cancel the sharp sign. Tf
EXAMPLES:
LAYAY Y
AYAYAY YAY
Y YA
FROM MEMORY
byPazcual Villaronga
We seem to recall
the times when we
fell
who could tell then
that those would be the times
that would strengthen
our souls
That the goals
would be clarified
the vision clearly within our eyes
that the anger would finally die
and we would become
purely
who we were meant
to be
inspired by solos from Johnny Almendra and Louis Batz6 on "Overnight"
Armando Rodriguez/Yictor Rend6n Latin Jtzz Orchestra
at the Nuyorican Poets Cafe 10122192
V
VAVAY
Latin American Percussion Newsletter
Page 6
Transcription Corner
Tr. by Victor Rend6n
Guillermo Barretto on: Malanga Amarilla
This issue's transcription is a timbale solo by Cuban drummer/timbalero Guillermo Barretto. If you want
to study timbale solos, this is one timbale master that is a must. Guillermo Barretto had a very melodic
approach to playing solos. Bars I -4 and l7 -20 are typical of some of the melodic ideas which he used often.
This recording was originally issued on the PANART label as Cuban Jam Sessions in Miniature Descargas #
2092. The name of thegroup was CACHAO Y SU RITMO CALIENTE. It has been recently reissued on the
TH RODEN label as Cachao Y Su Combo " Descargas Cubanas" TH 12092. Strive for a light feel when
playing this solo. The solo is in 2-3 clave. Tf
Laid back leel
tgt
paila
Page 7
Latin American Percussion Newsletter
Concepts
Studying The Mosters
by John Almendra
Anyone unfamiliar with Afro-Caribbean music can easily be intimidated listening to the many rhythmic
intricacies commonly found in this style of music. What are they playing? Where's the one? How can I , a
set drummer, apply some of those rhythms on my instrument? Well, you have to go to the beginning. Here
are some suggestions.
There are many ways that a set drummer interested in Afro-Caribbean music, can learn about Latin
percussion instruments and their function. It is important to understand that these rhythms go deeper than just
leaming a new lick to play on the drums. Only through researching the tradition and culture through dance
music and poetry can one learn to authentically apply the vast variety of rhythms on the set. First of all, the
Latin rhythm section instruments interlock in "clave", conversing musically with each other similarly to the a
way a bass player and drummer converse in a rock or jazz group. A Latin rhythm section can consist of
claves, tumbadora (conga), bongos, timbales, guiro, maracas, etc. Each player needs to know what the other
is playing or at least understand the role of each instrument in order to converse properly in any wide variety
of styles played in this music. For instance, many latin percussionists understand and feel instinctively the
concept of clave in Latin music while percussionists who did not grow up listening to the music may have
some diffrculty understanding this concept and could ultimately remain a mystery. This does not mean that
you were not raised in the culture you cannot learn. You can! Anyone with the desire and hunger to learn can
do it. It just takes research through listening to recordings, watching videos,etc., thereby developing a love
for the instruments and the music.
A good way to begin is to study the history and investigate what players were responsible for bringing the
culture and music into the United States. The majority of these players came from Cuba, Puerto Rico, Santo
Domingo and the U.S.A. For example, in researching innovators of the tumbadora (conga), you must go the
work of Chano Pozo, who along withDizry Gillespie, began the "Cubop" cr.ue in the 1940's. Then there's
Mongo Santamaria who recorded the first Afro-Cuban records in the U.S. in the late 1950's along with Julito
Collazo, Francisco Aguabella and Carlos "Patato" Yaldez. Another major influence of conga practitioners is
Tata Guines who plays a completely different style on the conga drum.
In researching timbales, the name Tito Puente should be very familiar to you. He is directly responsible
forpopularizing the timbales as a solo instrument. Of course there are many other great timbaleros to learn
from such as Guillermo Barretto, Manny Oquendo, Ubaldo Nieto (with the Machito Orchestra), Willie Bobo,
Orestes Vilat6 and Nicky Marrero. Bongo players have a long list to learn from such as Bilenque ( also with
Machito) in the 1940's, Manny Oquendo, Jose Mangual Sr., Ray Romero and Rogelio "Yeyo" Iglesias in the
1950's and Jobnny Rodriguez. I've named only a few of the most recorded artists. There are many more
great players out there to discover and learn from.
By listening to these great artists you will begin to understand and appreciate how these percussion
instruments function in a section. Set drummers should study congas, bongos, timbales and claves
individually for a while. By doing so, one will be surprised at the different ways to approach Latin music on
the drumset. The process of learning all this takes a lifetime. So, be patient and enjoy what you absorb and
incorporate this information with your drumset studies. Above all, be curious and don't be afraid to "go for
it" and make it happen for you.
The following page contains a small sampling of suggested listening material which you can use to get
started. However, just like in any other style of music, there are thousands of recordings out there . So keep
if
on researching.
Tf
Latin American Percussion Newsletter
Page 8
A BRIEF LISTENING LIST
Afro Cuba, A/i,o Cuba. Areito LD 3953
Antonio Arcaflo y Sus Maravillas, Danzbn Mumho. Tumbao TCD'029 reissue
Israel ..Cachao" Lopez, Cachao y su Ritmo Caliente, Cuban Jam Sessians In Miniature Descargas (with Tata Guines,congas; Rogelio
"Yeyito" I glesias,bongos and Guil lermo Barretto, timbales). P anatt 2092
Los Mufrequitos de Matanzas, GuaguancL, Columbia, Yambu. Vitral VCD277 (and any others)
Los Papines, Guaguanco. Bravo BR- I 05 (and any others)
Tito Puente, Top Percussion (with Francisco Aguabella, Mongo Santamaria, Patato, Willie Bobo and Julito Collazo). RCA LSP-1617
(recently reissued on Tropical Series, Look at CD review in this issue)
Puente In Percussion with Mongo Sqntamaria, Willie Bobo and Patato, Tico JMTS 1422
Walfredo De Los Reyes Sr. , Cuban Jazz. Gema LPG-I 150
Mongo Santamaria, Up From The Roots. Atlantic SDl62l
Yambi. Fantasy 8012
Mongo. Fantasy 3291
Afro Roots. Prestige PCD-24018-2 ( a reissue of the Yambu
and
Mongo titles in one album)
Also any records by Machito, Irakere, Los Van Yan, Ritmo Oriental, Sexteto Habanero, Arsenio Rodriguez and Tito Rodriguez,
#*
*
BOBBY REVERON
Bateria--Percusi6n
Compositor de Film
Tel. l-212-388-7305
Omar A. Castaffos
Trompeta, Solfeo Y CoPista
Phone: l-516-579-2526
Beeper: 1-800-946-4646 Pin #
ll2 2l2l
Latin American Percussion Newsletter
Page 9
Classics Review Column
by
B(O(OI<S
Latin Soands From The Drumset
by Frank "Chico" Guerrero
Try Publishing Company
854 Vine Street
Hollywood, CA
Price: $30.00
First published in 1974, this book contains a wealth of
information regarding the application of Latin rhythms to the
drumset. Although some things sound dated today-Jike the
preponderance ofdownbeats on the bass drum and backbeats
on the hi-hat-the body of the work is correct and very
detailed.
Guerrero has divided his book into two main sections:
Cuban -Rooted Rlrythms and Brazilian Rhythms, with the
largest portion dedicated to the Cuban beats. Unfortunately,
this may cause some confusion among the uninitiated since the
Cuban section includes; Cumbia ( from Colombia), Merengue
(from Santo Domingo) [sic], Calypso (from West Indies) [sic],
Tango ( from Argentina) and Paso doble (from Spain), none of
which can be considered "Cuban Rooted". This does not
matter much since some of these rhythms, as presented here,
are not of much use today. The reasons being that l) His
Tango is of the "marching" variety, which everyone already
knows and is still played today only at non-authentic Tango
performances 2) The Calypso, though good, is mostly of the
Ballad-type and the medium tempo ones do not include some
more syncopated versions that were already available in 19'74
3) It is possible to play a more authentic-sounding Merengue
on the drumset than what's given here.
The Paso Doble is accurate but it would have been more
pleasing to see some more variation like the Polka-type timekeeping used at times. The Cumbia, however, is a winner.
Not only is it authentic, it swings. Guerrero gives us the
variations and nuances that can only come from someone who
has played Cumbia for long hours and kept the people
dancing.
Although I don't agree with the way Guerrero labels some
of his Cuban rhythms, they are indeed quite useful to the
working drummer. It is possible to find books that will list
more Mambo cowbell variations and will label the Bemb6 as a
separate rhythm and not a variation of lil6tigo, but I haven't
seen one yet that discusses the real drum set possibilities of
playing a cowbell with one hand and a cymbal with the other.
Editor's Note: Mr. Guerrero incorrectly labeled this section.
frantgo is not a rhythm. It is a term sometitnes used to name
the members of Abafud (a secretJiaternal society in Cuba). It
would have been more correct to have called it Bembb or
simply 6/8. In all.fairness, this is a common mistake which has
been observed in several Dooks. This book also empasizes the
all in one approach ofplaying the conga parts with one hand and
the paila/cowbell parts, again, with the other.
His Brazilian rhythms are also presented with quite a few
nuances---although frankly, I never cared for the Samba Cruzado.
I always thought it was a better idea to just develop the left hand
to the point where it wasn't necessary to cross the arms. The
remaining beats in this section, however, give us a glimpse of all
the information that Guerrero was obtaining from his Brazilian
friends
Additionally, Guerrero has taken the time to include
photographs of seventeen different instruments and the correct
techniques to play them, as well as this can be done with still
photography, and not being one to stop shod ofdelivering the
full picture- mini
scores.
Yes, mini scores. These are mostly piano, bass and
percussion, but at times he even supplies a melody. With this
kind of layout, it is impossible not to understand how it all fits
together.
In summary, the positives in this book outweigh the negatives
by far. It is also nice to have your Brazilian and Cuban rhythms
together along with the other rhythms and their respective piano
and bass parts as reference all in one tome.
Rating: 3 Il2 claves
TOP PERCUSSION: TITO PUENTE
Tropical Series RCA reissue
"Eleguara"; "Bragada"; "Obatal6 Yeza"; "Alaumba
Chemach6"; "Oguere Madeo"; "Obaricoso"; "Four By Two"
(Partl); "Conga Alegre"; "Ti Mon Bo"; "Mon Ti"; "Hot
Timbales"; "Night Ritual"
Personnel:
Tracks #l-l l: Leader & Timbales: Tito Puente; Cuban
Percussion: Mongo Santamaria, Willie Bobo, Francisco
Aguabella, Enrique Marti & Julito Collazo, El Viejo Machuco
and Mercedita.
Recorded in New York City 7129157
Track#12 (AFRO CUBAN JAZZ MINI SUITE): Leader,
Arranger & Timbales: Tito Puente; Trumpets: Doc Severinson
(soloist), Francis Williams, John Frosk, Gene Rapetti, Jimmy
Frisaura; Trombones: Eddie Bert, Bob Ascher & Sonny Russo;
Alto Sax & Soloist: Gene Quill; Alto Sax: Allen Fields; Tenor
Sax: Mary Holmes; Baritone Sax: Joe Grimm; Piano: Alvin
Gellers; Bass: Bobby Rodriguez; Drums: Jimmy Cobb;
Guitar: Barry Galbraith; Cuban Percussion: Mongo Santamaria,
Willie Bobo, Julito Collazo.
Recorded in New York City 4/12157
Page
l0
Latin American Percussion Newsletter
"Top Percussion" originally released under RCA Victor LSP-
I 61
7 is a classic example of Afro-Cuban music in its purest
form. As Tito Puente indicated back in I 957 when this masterpiece was recorded: "This recording contains the €fforts of some
of the greatest Cuban and Puerto Rican master percussionists and singers availabe in the United States". The preceding direct
quote from the liner notes of this TROPICAL SERIES CD re-issue says it all. Despite the fact that close-miking was not yet in
vogue, which greatly diminished the quality of sound we are used to in the '90s, and also that the drums themselves often didn't
quite sound like what we expect today, nevertheless, this album was a breakthrough at the time and remains a valuable item in
anyone's discotheque.
Eleguara and Bragada are in 6/8 played in a "drum and gtiiro approach which utilizes a large gtiiro with beads (shekere), a
hoe blade (guataca) and one tambor (drum such as a conga) along with singing in antiphonal form. Oguere Msdeo and
Obaicoso are also in 6/8. These tunes are chants giving praise to the Yoruba gods which is a part of Santeria (a Yoruba derived
Afro-Cuban religion). Obatald Yeza and Alaumba Chemachi are played in the style of Iyesri (an Afro-Cuban Yoruba-derived
religious sect, closely related to Santeria). One cannot help but fully appreciate the alEwon (solo lead singing) expertise of Julito
Collazo on Eleguara, Bragada, Oguere Madeo and Obaicoso as well as Francisco Aguabella on Obanla Yeza and Alaumba
Chemachi.
The remaining cuts cover the gamut from Rumba (Four By Two, Hot Timbales), to Comparsa (Conga Alegre), to Descarga
(Ti Mon Bo, Mon Ii). These tunes mostly spotlight the timbales in which Sr. Puente takes some of his most incredible solos on
record. These tracks are a total must for any latin percussionist who is serious about his craft. One favorite is Ti Mon 8o (short
for Tito, Mongo and Bobo). All three take turns taking a solo while the others lay down a solid groove accompanied with Bobby
Rodriguez on bass.
Finally, the CD closes with Nigfu Rirual an added bonus to the CD originally released under another RCA Victor recording
titled NIGHT BEAT from that same era. This is a big band arrangement which goes through a few changes. It starts with the
rhythm known as Afro and then moves to 6/8 an (Abakuri variation ) ro 314 (this sounds like a Criolla, rhythmically, though the
rnelody and harmony sound more like a James Bond soundtrack; to 6/8 where it settles at last. The only thing that bothered me a
bit was that it sounds a bit episodic with so many changes, but in fairness, the last section is long enough to allow the groove to
settle.
All things considered, it is a most pleasurable recording
(a must for any Latin percussionist) and
if you enjoy collecting Afro-
Cuban recordings, I strongly recommend this classic.
4 l/2 claves
Bobby Rever(tn is a.fieeJance drummer/percussionist/arranger and instructor in the New York City area. He also leads and
composes.for the Bobby Rever(tn Suartet, The Bobby Reverdn Group and Bobby Reveron & Jazz Criollo.
RATING SCALE
5 claves: Perfect
4 claves: Excellent
3 claves: Good
claves: Fair
I clave : Poor
I
I
Hardcore Gtraranga
JOVENES det BAIBIO
(at it's best'
Alucn&a Fred Bodri5ucz
7'.t-9r7-4996 2ot€67-ot5o
John
Performing Their Original Blend
of Afro-Cuban, Brazilian and
Traditional American .Iazz Music
Mrtsica Calientisima y Sabrosa,
;No Se I-a Pierda!
For Booking Info Call (718) 343-31f3
Page 1l
Latin American Percussion Newsletter
Ioco Clossic fimbolcs
by Ken Ross
During the 1940's and 50's the Leedy-Ludwig timbales set the standard for the classic timbale sound.
With the help of Humberto Morales, famed timbalero of the time, this instrument reigned supreme after
World War II and enjoyed immense popularity.
These timbales were originally designed in collaboration with Mr. Morales and noted drummer/author
Henry Adler. They were manufactured in Elkart, Indiana from about 1948-1955. These classic drums were
noted for their dark crisp paila (metal shells) and quality craftsmanship. The shells were made of solid spun
brass and a high lacquer finish in sizes I 3" X 7" and 14"X7" . The hoops were originally made of cast iron
(later of solid steel) and each drum had calfskin heads which were interestingly tucked over the hoops.
Leedy-Ludwig timbales used a tuning system borrowed from the snare drum. The lug casings were the
"beaver tail" design and clawhooks were provided for tensioning with a standard drum key.
Unfortunately, by 1955 the Conn Band Instrument Company which owned Leedy & Ludwig decided to
get out of the drum business. Ludwig & Ludwig was bought by Wm. F. Ludwig Jr. at WFL Drum Company
and the Leedy name was bought by the Slingerland Drum Company. Slingerland continued to produce
Leedy timbales without the badge into the 60's. Howeverproduction of Leedy & Ludwig timbales as we
knew it was by then non-existent leaving this legendary instrument a mre collectors item. Two decades later
a man by the ruIme of Jerry Steinholtz of the Kaman Music Corporation recognized the need to bring back
this classic sound. In January of 1994, the Kaman Music Corporation introduced the Toca BR 417 Classic
Timbales.
Jerry Steinholtz,the designer, is a renowned Latin percussionist with an impressive list of performances
and recording credits. He worked with such artists as Diana Ross, Lee Ritenour, Michael Franks and the
Four Tops. Mr. Steinholtz is also the president of the Percussive Arts Society, California chapter, and very
active in various music education programs.
Because of his extensive knowledge and experience in the Latin percussion field, Mr. Steinholtz had been
asked by the Kaman Music Company to oversee their quality control and manage the product development
for the Toca/Gibralter percussion line. This allowed him the opportunity to research and develop the Toca
classic timbales.
Mr. Steinholtz explained, "A lot of these people have forgotten, but these Leedys were the real thing. All
the guys that came here from Cuba after World War II were playing this type of instrument". Although Mr.
Steinholtz designed these timbales in the style of the 40's, he adapted this instrument to meet today's
demands. "Much of today's music is amplified and a lot of guys are looking for a bigger sound so I decided
to make our solid brass shell a little thinner to project more. We also reinforced the weld by double brazing
it. I did that because on many timbales when you hit a rim shot, you can hear a low humming sound
vibrating up the stand. This is called telegraphing which can be caused by weak spots in the weld. To give
the shell even more sound I eliminated the metal plates that you see on the inside of many timbale shells. I
feel those inhibit the sound so I use a small screw with a neoprene gasket. Another unique aspect of the shell
is that it has one bearing edge, unlike most timbales where the top and bottom are identical. We also decided
to leave the bottom lip open which adds resonance to the drum".
"Our hoops are made of solid steel. That's where much of the sound comes from. By using the snare
drum style claw hook we feel it acts like a floating system and lets the hoop ring more". (cont. p. 12)
Latin American Percussion Newsletter
Page 12
Careful consideration was also given to the space between the two drums. "A lot of companies use a
rubber spacer, but I prefer the felt because I believe it allows the shell to resonate more".
The BR417 classic timbales have been very well received by the professional community in its debut
appearance. Mr. Steinholtz and Toca Percussion are thrilled with the positive response they have received
and have already expanded the timbale line with a new chrome over steel model.
If you bump into a fellow musician who asks why they don't make timbales the way they used to, have
them call Jerry Steinholtz at Toca Percussion. Tf
Ken Ross is the house drummer/percussionist at the Westchester Broadway Theatre in New York,
currently performing in his 1Lth year. He has toured extensivelyfor over twelve years with various show
bands and national broadway touring companies performing in most of the maior theatres and clubs across
the country. Ken is also a freelance writer with publications in major drum magazines.
ffi
TIMBALE SOLO TRANSCRIPTIONS
TI}IBAI'I
SOLO
TEdNSCnIPTION$
.: ,: .
' i,,"
, ,, '1
,,,.
:,::::':",,',,:::,:'
,Guiltermo B**gtto
Endel Dueno
Nieky Marrero
Manny Oquendo
Tito Puente
Ray Romero
Orestes Vilato
This valuab'lc reference book contains transcribed solos of some of the best Latin
timbale masters including:
DESCARGA CUBANA by Guillermo Barretto
HERENCIA RUMBEM by Endel Dueno
UN PUESTO VACANTEbyNicky Manero
LLORA TIMBEROby Manny Oquendo
CORTA EL BONCHEby Tito Puente
POR ENCIMA DEL NIVEL by Changuito
INDESTRaCTIBL by "Little " Ray Romcro
COCINANDOby Orestes Vilat6... and much more!
lncludes a short history ofthe timbales and a discography ofthese classic solos.
Distributed by:
To order from Tortilla Flat Music send
$15.00 ( includes S&H) to:
LP MUSICGROUP
160 Belmont Ave.
TORTILLA FLAT MUSIC
Garfield. NJ 07026
327 l2th Slreet
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l
-800-526-0508
Page 13
Latin American Percussion Newsletter
THE AWANDO RODNa|VE}
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New York Latino Megazine
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Page 14
Latin American Percussion Newsletter
John Santos Column
TH
E
1,1
/,il/ ELOUS 1,1 OUI4qIQU E
The Mozambique is a dance and rhythm created by the great Cuban folklorist, Pedro Izquierdo (Pello El
Afrokan) around 1962. lt is strongly influenced by the Cuban carnaval choreography and rhythm known as
Conga de Comparsa and made its debut at Havana's annual carnaval celebration. It was quickly adopted by
most Cuban dance bands and despite being initially blacklisted and labeled a Communist rhythm by anti-Castro
forces outside Cuba, the infectuous Mozambique soon won the affection of loyal musicians, dancers and fans
all ovEr the world. With over three decades of development the Mozambique rhythm and its endless variations
have come to form an important element of fundamental Afro-Latin music.
The three examples included here are among my favorite Mozambique exercises. Practice and experiment
with them at all tempos. Example #1 is for timbales. The bell is played with the stick held in the right hand
while the left stick plays both open and muffled tones on the the lower pitched of the the two timbales. The
muffled tone is obtained by pressing into the head. With a little imagination, this exercise can easily be applied
to the drumset in several creative ways.
EXAMPLE #1 -Timbales
L.H- open & muff: Bottom line is open: 2nd line is a mufl
KEY TO CONGA SYMBOLS
B = basstone H = heel (palm) T = toe, touch ortap
(fingertips) O = open tone
S
=slap
Example # 2 is for one conga drum. The notes enclosed in parentheses are optional. Practice the rhythm with
and without them.
oo
(o)
o
o
o
(o)
(L)
R
cont. p.15
Page 15
Latin American Percussion Newsleruer
Example # 3 is a four measure phrase for two conga drums.
o
o
o
LRLRRLRLRLRLLRL
OOSSSBHTOHTOS
John Santos is a percussionist and producerfrom San Francisco. He can be heard on record with the Machete
Ensemble and Batachanga (Earthbeat 1-800-346-4445 , California). His nqu recordings with Machete and
Kindembo will be available soonfrom Xenophile (203) 730-0j33 (Connecticut). For booking concerts,
lectures or clinics- (510) 535-2674. John Santos endorses LP Percussion instruments.
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Page 16
Latin American Percussion Newsletter
Reference Material
For Timbales
The following is a list of book/article publications which deal entirely on the subject of timbales or at
least have a section dedicated to the instrument. Not all publications are created equal in terms of quality of
instnrction. An asterisk (*) has been assigned to those publications which are recorrmended. However, it's
suggested that you check out as many of these sources as possible. Only you can determine what is
worthwhile for your situation.
Charles, David. Conga. Bongo. and Timbale Techniques. Marimba Productions, 1982. pp. l2-18
Cook, Rob. The Complete Histor? of the Leedlt Drum Company. Centerstream Publishing, 1993. p. 156 *
Deutsch, Dr. M. D. How To Plalt Timbales. New York: Charles Colin, (early 60's ?) 16 pp.
Down To Basics: Understanding Latin Rhltthms - Volume IL Latin Percussion Ventures, Inc. (70's).16 pp. *
Gerard, Charley with Marty Sheller. Salsa! The Rhythm of Latin Music. White Cliffs Media Co., 1989.
pp.49-52 *
Gordon, Diane. "Tito Puente: Polyrhythm Pioneer". Modern Drummer (April 1990) p.24*
Marrero, Isabelo Ernesto. Drumming The Latin American Way. New York: Edward B. Marks Music
Corporation,1949. 48 pp.(out of print) *
Maule6n, Rebeca. Salsa Guidebook.for Piano & Ensemble. Sher Music Co., 1993. pp. 76-89 *
Morales, Humberto & Adler, Henry. How To Play Latin American Rhythm Instruments. Belwin Mills
Publishing Corp. 1954. l32pp. *
Ortiz, Fernando. Los Instrumentos De La Musica Afrocubana. Habana, Cuba, 1954. Vol. IV. pp. 413416.(out of print) *
Reed, Ted. Latin Rhythmsfor Drums and Timbales. Clearwater, FL: Ted Reed, 1960. 27 pp.
Rend6n, Victor. Timbale Solo Transcriptions. New York: VR Publication, 1989. 39 pp. *
Rhltthms and Techniques For Latin Timbales. New York: VR Publication, 1991. 80 pp. *
"Latin Timbale Grooves". Percussive Notes. Vol. 31, No. 6, Aug 93, pp. 79-81 *
Afro-Cuban Percussion: A Plalt-Along Guide To Reading Latin Percussion and Drum Set Parts.
Tortilla Flat Music. 1993. 30 pp. *
Sanabria, Bobby. " A Brief History of the Timbale". Highlights in Percussion Vol. 3, no. I (Winter 1988)
p. 5-6 *
*
Santos, John. "South of the Border: Timbal Excursions #1". Modern Drummer (February 1989) p. 106
*
"The Mozambique". Modern Drummer (March 1988) p. 86
"More Fundamentals On Timbales". Modern Drummer (September 1987) p.42 *
"A Caballo". Modern Drummer ( March 1990) p.72*
"Bomba". Modern Drummer (March 1986) pp.28-29*
"The Elegant Danz6n". Modern Drummer (June 1986) pp. 30-31. t
Sulsbriick, Birger. Latin-American Percussion: Rhythms and rhythm instrumentsfrom Cuba and Brazil.
Trans. Ethan Weisgard. Copenhagen, Denmark: Den Rytmiske Aftenskoles Forlag/Edition Wilhelm
Hansen, 1986. pp. 52-59 *
"Timbales". The Nalu Grove Dictionary of Jazz. Barry Kernfeld (ed). London: Macmillan Press, 1988.
Vol. 2, p.537
Understanding Latin Rhythms. Latin Percussion Ventures, lnc.,1974. pp. 6-8 *
Wickstrom, Fred. Latin Percussion Techniques...for Rock. Pop. & Jazz. Payson Percussion Products. 1974.
pp.8-9
NEXT ISSUE: APRIL 1995