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.T;jo Timbal e Solos As Played By f~anny OQuendo

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The most importa~tthing to ~o
is play the rhythm exactl y as writ te n. When it;s ly eighth~ pla~ t~em s~ric~,
and evenly, wh en \it's ql!J a r tet~ note triplets, play them metr·onom ically but swing antJ fe~ l go od ~ ''Vh n
writing music, it is best that t;he first and third beat be shown for optimum reading . Beiol ' are ~ f w
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different exampl es thi s·. \ • \ J ' \ \ 1

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In the fi rst examp le,, fir st ·~.· nd th l" rd beats are shown :. · ! ¡ \ ;:. \ \
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In the second example, just second and fourth beats are shown:

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A qu:¡rter note triplet's value extends over bcr !!ne int;) n~>:t bar :~nd alsn cxtends over third beat.

Beat 2
~ Bcat 3 Beat 4
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Timbales

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H-High tuned drum L-Low tuned drurn

Use timba le sticks or regular drumsticks • ·,

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Bamboleate

In the first mea1sure notice how there is justa bar of nothing, but in the second measl'lre th! .
a hi gh drum on the off beat of beat one. In the sama measure the next beat is played on tt; 01 r bed of t. ·~
four. In measure three the next beat is plaved on beat three and the fourth meas~re is the sama ,<s th
second measure. A good way ro practice is to keep on repeating four-bar phrases over and over as t. tr ~· ·
wure an exercise. lt would be great if you had a friend or \WO playing otl1er Latín p~rcu !>sion instrurn cnt~
v.hrle vou played the four·bar phrases and also while you played the whole solo. After you've playeq tr:·
whole rolo ...trv making up your own.
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 · Bamboleate

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© C•">QYt!Cht 1<)(>5 f•ou Muso.; Cor:l.·•nd Ue 1Im Muw: Co.
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 The 1vfozambiquE: Bcat
This is tht! b•1at Lf<;(·d a lot hy ~11Jr.ny :!'> '.'Vell ;:¡s othr:r tirnbale plé:'f: ::; ., ·hile th¿y're playing r:n<~rntJ•.l.
The symbol (j)
d enolt'S t!tth¿r a <.:owbr:il, the uell of a cymbai, a \'1ood sound or the side of-ihe timbale, and
is played wíth the ri~¡ht hand while the drum(s) are boina piJycd vvith thc left h;:¡r;rl .
In this exerc1se Manny's lefr hand is ltke a hóm rn er. lt a!so dupli c¡:¡tes the bass pl ayers rhythm:

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Abe Lemrn¿, once showed me this bcat:

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In this type of music, cspecially Eddie Palmieri 's, the clave is almost always heard, played, and mos.t
importantly, felt:

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Also, \hf' h.ass pla ,er i$ usually playing similar or the sJma rhy.thmical pattern s as the trmbalr.: playa(~ !ef\
hand. .! · ·
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 rlfi rvion tuno
McJsure eleven éJ;ld twen ty -one staít off with a rol l. This c,;n be a five st ro~e roll, stnrtir tg with y o ur right
han íl. In a more authen tic ti rnbé•le fJsh ion, thi s ro!! is just p!._¡v,:d with th e ieft ha nd. You jiJ;,t hit the drurn,
le ttmg the ·stick bounce ínto the next beat, but the next bc::t is played wi~h voü r ri ght h'Jrid . In rn easures
eleven, twenty -one, and twenty-four through twenty-nine , ti · ~ qua rter or.ed tr ípl et starts on thP. second
beat of the rneasure. In rneasure twenty-four the left hand rnuffil'S drum while the r.igh t hJrJd plays.

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Al! tl~tl rcwwd. ~ ov l)tof · n~
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are. three groovy' rock beats. The cymbal pattern is a ma mbo: \ .
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