Learning Strategy
We maintain the skills-based approach used throughout the Ear Training series, and apply it in the context of three separate case studies of conga tumbaos to the newly-learned rumba clave. This lesson draws upon all the abilities you've gained in the previous lessons; you would broadly follow the same system when learning any new clave-based rhythm.

The steps are:

• Acclimatise by listening and relaxing to the whole rhythm; get a feeling of its ebb and flow.
• Tune in to any reference rhythms that are available; in the case of the examples below, this would be the rumba clave.
• Identify the beginning of the cycle.
• Accent the beginning of the cycle by tapping with your fingers or foot.
• Establish the pulse relative to the new rhythm.
• Transform the pulse rhythm to the salsa dance rhythm.
   

Rhythm Principles
A major feature of rumba-based rhythms is the accent on the up-beat immediately following the first clave stroke on the 3-side, which would be beat 5+ in 2-3 clave, and beat 1+ in 3-2 clave. This beat has the opposite effect of the bombó in that it is played after the listener expects it, generating rhythmic relaxation. You might take the time to acquire a feel for this phenomenon by listening for this beat whilst tapping the pulse.

We have now covered the three cases of rhythmic tension, rhythmic stability, and rhythmic relaxation; and thus an important aspect of rumba clave, conga tumbao and pulse interaction becomes clear. On the 3-side we have a sequence of rhythmic relaxation followed by tension and tension; the transition from relaxation to tension, without involving the intermediate state of rhythmic stability, provides maximal rhythmic contrast.

On the 2-side we have a resolution to rhythmic stability in the case of songo (Example 2), and a dissipation of 2-side feeling in the cases of mozambique and Cándido's tumbao with strokes being played in between and after the 2-side clave beats. I describe rhythmic dissipation as 'smearing'.

I have provided the rhythms at slow, medium and fast tempo as different features of rhythm become prominent at different speeds. The recommended starting tempo is the slowest to give you time to pick out the salient tones, but you should move on to spend an equivalent amount of effort acclimatising to the rhythm at the higher speeds. I have also provided examples of the conga rhythm to a piano track, courtesy of the very talented pianist Jeremy Wise.

Case 1 - Mozambique, New York Variant

Pedro Izquierdo, more popularly known as 'Pello el Afrokán' is credited with having created the mozambique rhythm in early 1960s Cuba. Its full character as a carnival rhythm is best appreciated when the conga pattern is played the complementary bell patterns. The mozambique was reinterpreted into the form below in New York City and taken up by salsa luminaries such as Eddie Palmieri.

Mozambique tumbao and rumba clave 136bpm (7.3 Mb)

Below is a visual representation of the mozambique conga tumbao relative to the rumba clave and pulse (prominent strokes only):
 

Figure 12.1. Mozambique New York variant in 2-3 rumba clave with pulse
 

Notice that the structure of the tumbao remains identical on both sides of the clave except for the open tone on the low drum on the first downbeat of the 2-side, and the slap stroke rumba accent on the first upbeat of the 3-side. This tumbao demonstrates how a small change has a considerable impact on rhythmic phrasing. This is also true of a dancer where even slight variations in rhythmic interpretation can have a large effect on dance phrasing and how it is perceived by your partner.

Mid- and up-tempo versions with rumba clave:
Mozambique tumbao and rumba clave 157bpm (6.9 Mb)
Mozambique tumbao and rumba clave 191bpm (6.8 Mb)

Mozambique tumbaos without clave:
Mozambique tumbao without clave 136bpm (7.2 Mb)
Mozambique tumbao without clave 157bpm (6.9 Mb)
Mozambique tumbao without clave 191bpm (6.8 Mb)

A Comparison Study - piano montuno over mozambique and tumbao moderno:
"Candela" piano montuno over mozambique 165bpm (6.6 Mb)
"Candela" piano montuno over tumbao moderno 165bpm (6.2 Mb)
 

Case 2 - A Songo Example

The Cuban supergroup Los Van Van was the birthplace of this rhythm, developed largely by percussionist José Luis Quintana (aka. Changuito) and bandleader-bassist Juan Formell. The songo structure allows for the flexible incorporation of the trapset and jazz, pop, rock and funk influences into Cuban music. It has become the defining rhythm underpinning the Timba movement; adopted by modern groups like NG La Banda, Klimax, and Manolito y Su Trabuco.

Songo tumbao and rumba clave 136bpm (13.2 Mb)

Below is a visual representation of the songo conga tumbao relative to the rumba clave and pulse (prominent strokes only):
 

Figure 12.2. Songo example in 2-3 rumba clave with pulse
 

The songo can be somewhat counterintuitive to the learner (whom by definition gains information from a structured environment), as the conguero is encouraged to play fluidly and freely between the two open tone cues preceding the beginning of each bar (4,4+ and 8,8+) which form the only structural components. Knowing this, the dancer can understand the importance of the double-open tone cue and one's ability to maintain a step rhythm to clave.

Songo brings us back full circle to the first tutorial Cueing the start of the dance cycle, but with a greater level of understanding; that the rhythmic position of the dance steps need not be regarded as a rigid constraint, but that the beats of the dance rhythm can be located with freedom contributing to fluid expression. I know that this may seem at odds with the second tutorial extras section, but I maintain that 'you've got to know the rules first before you break them'. (Note that this should not be taken as licence to dance off-time or in disregard for the needs of your partner. Do that, and I'll come over and break your legs...)

Mid- and up-tempo versions with rumba clave:
Songo tumbao and rumba clave 157bpm (11.9 Mb)
Songo tumbao and rumba clave 191bpm (10.3 Mb)

Example piano montuno over songo tumbao:
"El Hechizo del Montuno" piano montuno over songo tumbao (6.2 Mb)
 

Case 3 - Cándido's Tumbao

Legendary Cuban conguero Cándido Camero was one of the first to popularise the playing of three or more congas in a masterful display of co-ordinated rhythmic independence. This conga king was also a bassist, and is well known for his very musical tumbaos; of which this is one fine example.

Cándido's tumbao and rumba clave 136bpm (13.6 Mb)

Below is a visual representation of the Cándido's conga tumbao relative to the rumba clave and pulse (prominent strokes only):
 

Figure 12.3. Cándido Camero's tumbao in 2-3 rumba clave with pulse
 

The final three strokes of the 3-side (7+,8,8+) are tapao [closed] tones normally inaudible in a salsa ensemble setting, but one of a large palette of sounds available to a drummer which come to the fore in a capella and rumba environments. I draw your attention to tapaos because of their importance in the phrasing of this tumbao: for you to be aware that there are certain tones you will not be able to hear, that you need to fill in for yourself at your discretion when interpreting a song, which will make your dance phrasing more beautiful.

For me, what can be learned from this single example captures the essence of all that could be expressive and wonderful about moving to AfroCuban music - that Dancing happens in the mind.

Mid- and up-tempo versions with rumba clave:
Cándido's tumbao and rumba clave 157bpm (11.8 Mb)
Cándido's tumbao and rumba clave 191bpm (9.7 Mb)

Example piano montuno over songo tumbao:
"Llamada" piano montuno over Cándido's tumbao 173bpm (10.7 Mb)