SYMPOSIUM

LATIN

Timba-Go
Afro-Latin Hybrid
Grooves For Drumset
by James Dreier

MUSIC KEY he drumset is a relatively new arrival in the Cuban rhythm sec-
T tion. Because of that, there’s often confusion as to what the
drumset player can do that will add to, but not get in the way of, the
other instruments and patterns.

The presence of the drumset is even more relevant in contemporary Latin styles like timba, rocka-
son, Cuban hip-hop, and other Afro-Latin hybrids. This article will provide some solutions to help you
incorporate the drumset into such musical situations.
Timba-go is a timba/songo-based pattern that I came up with after studying in Cuba. This rhythm
is a great substitute or variation for the common songo pattern, which has become a bit overused.
This pattern differs from tradition by using the snare drum instead of the bass drum to play the ever-
important “bombo” note. There is also a heavy influence of David Garibaldi funkiness in the groove.
David has had a big influence on contemporary Cuban drummers.
Cuban drummers are also great at finding “rhythmic holes.” They’re always putting together parts
that provide a sense of counterpoint and that fit into open rhythmic spaces within the ensemble.
Timba-go works nicely when orchestrated around the drumset because it will stay out of the way of
the typical conga and timbale patterns.
Playing “in clave” is critical with this groove, as it is in songo, conga, Mozambique, or any clave-
based pattern. All musicians must be aware of the direction of the clave (2:3 or 3:2) and play the pat-
terns accordingly. For example, if the clave in a tune is 3:2 rumba, all the patterns in this article
would be reversed (start in the second measure). Playing in clave is what makes all the diverse pat-
terns fit together and function as one.
Below is the basic sticking pattern for timba-go, using the right hand on the cowbell and the left
hand on the snare drum. Note that the 2:3 rumba clave pattern is written above all of the figures for
reference.
As you’re learning the groove, pay close attention to the accents. They will help the overall feel of
the pattern. All unaccented snare strokes should be played very softly, or “ghosted.” Also note that on
beat 4 of measure 2, the right hand can play a ghost note on the snare (as notated), on the bell, or
not at all.

The example on the following page contains a suggested bass drum and hi-hat pattern. In this
style, the bass drum should not be in exact unison with the bass guitar line. It should be played in
counterpoint to the clave. Various bass drum patterns can be used with this groove.

142 MODERN DRUMMER • JULY 2008

 Now let’s add a bass drum note. This gives the pattern an even funkier feel.

Next we’ll add yet another note on the bass drum.

The following example combines the previous two examples, omitting the bass drum on beat
1 in the first measure. This gives us a nice four-bar pattern.

Now let’s start moving the basic timba-go pattern around the set. Moving the sticking pattern
around the kit in different ways creates new and interesting sounds that will usually fit in with
the rest of the percussion parts. Here’s one example. You can also try any bass drum pattern that
works in counterpoint to clave.

Here’s another orchestration of the pattern around the set.

TIMBA-GO
Example 8 orchestrates a nice four-bar melody on the toms by moving the right hand to
the floor tom in measure 3.

Our final example incorporates the previous elements to create a four-bar pattern where
the bass drum is varied and the hands are orchestrated around the set.

Now take these ideas and run with them! Come up with your own bass drum variations
and drumset orchestrations. The possibilities are endless. Just remember that creating parts
and improvising should always come from a position of knowledge, whether it’s in Latin,
jazz, or any other style of music. Spend time listening to the music you’re trying to play, and
study 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 is a lecturer at the University of Iowa and an adjunct instructor at

Augustana College in Rock Island, Illinois, where he teaches courses in drumset,
jazz cultures, and hand drumming. Dreier is also an educational artist for Sabian
and LP. For more information, visit www.jamesdreier.com.