Related: Afro-Cuban Rhythms for Drum Set – 7 Styles With Variations 3. It’s a two-bar phrase lends well to borrowing folkloric drum conversations to add melody to the song. I think of songo as having a strong half-note pulse on the cymbal, cowbell, or shell of the drum and a bomba backbeat on the and of beat two in each bar. This groove is highly adaptable for a variety of jazz, pop, or fusion tunes that call for a Latin feel that leans more toward Cuba than Brazil. You can hear the tumbao from son and the bell from mambo, but it is not something you are likely to hear from a salsa band. Songo can be played on drum set or a hybrid between drum set, timbales, and even electronic triggers. Changuito developed the songo while playing with Los Van Van, and it is closely related to the jazz, funk, and a folkloric mix known as timba in Cuban music. The Steve Houghton songo was the first variation of the groove I learned after studying the Essential Styles books in high school. It’s probably so popular in the jazz and the rest of the pop music world because of its adaptability to drum set.įor a deeper dive into the concept of “clave,” check out this article. The rhythmic elements of bossa nova include clave, a steady shaker, and lower sounding drum like from the pandeiro or, in this case, the kick drum. One or more percussionists could accompany the guitar, but the vocals and guitar became the focus, especially with songs like “Girl From Ipanema.” It was a beach sound versus the samba school street music. It’s just a rhythmic theme from Brazilian music that drum set players have adapted to the kick drum and bass lines.īossa nova comes from musicians in the late 1950s playing a soft samba with guitar playing the underlying rhythms through jazz chords. This doesn’t mean that the traditional rhythms are that exact kick drum pattern. You’ll notice that the kick drum parts for bossa nova and samba are the same. The music of Brazil has some specific characteristics. But at some point the parts have to be decided so you can do your job establishing the style, kicking the band, and improvising. Certain things, like clave, are a given and must be included or implied by the way you play other rhythms.
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When I read “Latin” on the chart in high school, I knew to listen for the bass line to determine if it was Cuba, Brazil, or something pseudo-Latin.ĭepending on which country the style references, you have to make decisions on drum set about how to voice the parts on your instrument. He had a jazz degree from UNT, taught us Afro-Cuban rhythms and samba with traditional instruments, and we learned West African dance drum songs. In high school, I had the best percussion teacher. It would say “Latin” or “calypso.” I had no idea what that meant, no books to reference Latin grooves, no teacher knowledgeable enough to help me, and certainly no YouTube in 1992. The dreaded words on my junior high jazz chart used to haunt me.
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