In my last article, "Beyond the Tumbao," we worked through the process of developing two-drum conga patterns in odd meters based on the Afro-Cuban conga pattern known as the tumbao or macha. We built a five-beat conga pattern as a starting point for longer patterns. In this article, that five-beat conga pattern will be included. Practice with a friend. Remember, these instruments are part of a Latin Percussion section.

This article focuses on building variations on ride patterns for timbales based on the traditional Afro-Cuban cascara/palito patterns. As I stated in my previous article, learning the basic vocabulary of Afro-Cuban percussion is a "must" for the well-rounded contemporary percussionist. Whenever possible, invest in some lessons and/or study some of the excellent instructional videos that are now available. I can recommend Richie "Gajate" Garcia's "Adventures in Rhythm" series, Volume 2, "Close Up on Bongos and Timbales." Also, invest in some timbale sticks. The uniform diameter of the timbale stick from butt to tip allows you to play the cascara pattern on the sides of the timbales with the traditionally correct technique. In addition, the fact that the stick has no shoulder, neck, or bead gives the player a totally different tactile feel and sound in playing traditional Afro-Cuban patterns on either timbale, cowbell(s), or cymbal.

Exercise A: Start the process by practicing and internalizing the basic cascara pattern. The larger timbale (the hembra; the smaller of the two is called the macho) should be mounted to your left if you are a rightie and vice versa if you are a leftie. When playing the cascara pattern, strike the drum at the tip or on the shaft up to 4 inches from the tip, depending on the volume level played. You should press into the shell with each stroke. Accented strokes should come off of the drum 2 to 4 inches. Unaccented stokes should come off of the drum 1 to 2 inches.

Exercise B: Now add an extra beat (two eighth notes) at the end of each measure of the cascara. At this point you can play the resulting five-beat pattern(s) as a two-measure phrase, start the two-bar pattern with the second measure, or play each measure as an independent rhythm. To build 6, 7, 8, and 9 beat patterns and beyond, keep adding two eighth notes and varying both the accents and single or double strokes. The resulting rhythms are great sticking exercises.

Exercise C: Practice and internalize the palito pattern using your ride hand to play on the shell, or mambo bell, which should be mounted on your right with the mouth of the bell facing to the right if you are a rightie, and vice versa if you are a leftie. For the accented strokes, use the same side of the stick to strike the middle of the top of the cowbell [something missing?] inch from and parallel to the cowbell mouth. For the unaccented strokes, use the same area of the stick, but play 3 inches away from and parallel to the mouth of the bell. If you are playing this pattern correctly, your hand will be moving from side to side. The opposite hand will play on the hembra. You can either play with a stick, (cross stick = "+"; open stroke = "o") or the open hand, striking the middle of the timbale with the palm for a dead/muffled stroke (+) or with the fingertips for an open stroke (o). The rhythmic phrase will start with an alternation between a quarter rest followed by a quarter note or two eighths, and continue to repeat this pattern regardless of the length of the new patterns.

Exercise D: To build a five-beat pattern, add an extra beat at the end of each measure in the form of a quarter note, two eighth notes, or a combination of an eighth note rest followed by an eighth note or an eighth note followed by an eighth note rest. Play each new pattern as a two-measure phrase, starting with the second measure, or play each measure as a separate pattern. The results are excellent independence workouts. In writing these articles, my intention is to introduce the reader to some of the basic traditional techniques and rhythms, to help him or her use them to develop technique and as springboards for creativity. Use your imagination, have fun, and remember, "Make It Swing"!