Sabian - Because Sound Matters

Timba-go with James Dreier

Aug 20, 2008

A common question that arises with my students when dealing with contemporary Cuban-based music is:  "What does the drum set player do?"  Because the drum set is a relatively new arrival in the Cuban rhythm section (which includes congas, bongos, timbales, cowbell, guiro, claves etc.), there is always some confusion as to what the drum set player can do that will add, but not get in the way of the other instruments and patterns.

One Solution I have come up with from my travels to Cuba and study with Cuban drummers is a timba/songo-based pattern that I call "Timba-go."  The fact that the snare drum, not the bass drum, hits the ever-important "bombo" note (see Figure 1 below) makes the pattern different and a bit funkier.  There is also a good dose of "Garibaldi" here, a drummer who has been a big influence on contemporary Cuban drummers.  Timba-go provides a nice substitute or variation for the more traditional songo pattern that can be overused and/or sound a bit cliché.

Playing in Clave is critical with this pattern, as in songo, conga, mozambique or any clave-based pattern.   Drummers, as well as all other musicians, must be aware of the direction of the clave (2:3 or 3:2) and play the patterns accordingly.  For example, if the clave in any given tune is 3:2 rumba, all the patterns given below would be reversed (2nd measure 1st).  Playing "in" clave is what makes all the diverse patterns fit together and function as one.

Now Try it.  Figure 1 below shows the basic sticking pattern for Timba-go using the right hand on the cowbell and the left hand on the snare drum.  Please note that the 2:3 rumba clave pattern is written above all figures for reference sake. 

Please pay attention to the accents as this will help the over-all feel of the pattern.  All un-accented snare strokes should be played very soft (ala. Garibaldi?s “two-level” playing).  Also note that the right hand can play a ghost note on beat 4 of m2 on the snare (as notated) or on the bell if desired (or not at all).

Figure 2 below now adds a suggested bass drum and hi hat pattern.  Because the bass drum should not be in exact unison with the bass guitar line, but more in counter-point role to the clave, any number of bass drum patterns can be used. 

Another bass drum note is added in Figure 3 below, still in counter-point to the clave.  This gives the pattern an even funkier feel.

Figure 4 adds yet another bass drum note.

By combining figures 3 and 4, and omitting bass drum on beat one in m 1, we come up with a nice 4-bar pattern as shown in figure 5 below.

Take it from here.  Now take these ideas and run with them.  Come up with your own bass drum and drum set orchestrations.  Or even your own sticking patterns.  The possibilities are literally endless. 

One last note.  Remember that creating and improvising should always come from a position of knowledge, whether is Latin, jazz or any other style of music.  Spend time listening to the music you are trying to play, and studying those who have paved the road for the rest of us.  Having the sound in your ears is critical to making it all happen. 

James Dreier

Drum Key (PDF)