In this section, I've put listed some more tumbao variations that you might come across. All of them are varied on the 3-side. Since there aren't any sample tracks for these variations, I encourage you to use the vocal method to play and understand them.
 

I. Variation emphasising bombó
 

Figure 6.3 Tumbao moderno - open tone on bombó

This is the standard tumbao moderno with the inclusion of an open tone on the 3-side coinciding with the bombó.

fru - ku - pak - ku - fru - ku - ging - ging
fru - ku - pak - ging - fru - ku - ging - ging

Sometimes the bombó is voiced on the low drum (guhng).
 

II. Variation emphasising bombó and ponché
 

Figure 6.4 Tumbao moderno - open tone on bombó
and single open tone on ponché

This variation is a literal voicing of the clave. Take a special note of this variation, because the timing of the bass instrument is akin to the bombó and ponché pattern of the 3-side. This will help you tune in to the bass layer later.

fru - ku - pak - ku - fru - ku - ging - ging
fru - ku - pak - ging - fru - ku - ging - ku

The bombó can be voiced on the low drum (guhng).
 

III. Variation on two drums with upbeat slap
 

Figure 6.5 Tumbao moderno on two drums - upbeat slap
between double open tones

Separating the two sets of double open tones with a slap stroke makes them more distinct. The dry accent is very much in keeping with the theme of the 3-side where as a rule, accents are played more on the upbeats to give the 3-side a smooth yet driving feel.

fru - ku - pak - ku - fru - ku - ging - ging,
fru - ku - pak - guhng - guhng - pak - ging - ging
 

IV. Variation on two drums with ponché
 

Figure 6.6 Tumbao moderno on two drums emphasising ponché

This is a tumbao with a very heavy 3-side; the already weighty low drum accent on the bombó with stabilisation hands over to a strong ponché. I call it gilding the lily.

fru - ku - pak - ku - fru - ku - ging - ging,
fru - ku - pak - guhng - guhng - ku - ging - ku
 

One step beyond
Now that you have some variations under your belt, listen for them in the music. If you've been diligent about learning the vocal skill, you should be able to pick out the conga lines; in little snippets at first, then in longer stretches. You'll surprise yourself too, when you discover yourself accidentally learning new variations and motifs, making your salsa that much richer.