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"Conga" is a song by American band Miami Sound Machine, led by Gloria Estefan, released as the first single from their second English-language album, Primitive Love. The song was written by the band's drummer Enrique Garcia.
The bocuses play simple interlocking parts with few variations (however, the sum of the parts results in quite a complex drum melody). A smaller bocú, called a quinto or bocusito, plays complex off-beat figures and improvisations. According to Ortiz, the bocú was adopted by the conga when African drums were banned in the early years of the ...
The standard Colombian cumbia rhythm is simple and played slowly; it goes 1-2-2-1, also heard as 1-2-1-2. In the Dominican Republic, the fast merengue rhythm, which goes 1 2-1-2, can be played on the conga. It can also be heard as 1-2-1-2 1-2-1-2-1-2. Essentially, it is the rhythm of the tambora applied to conga.
The basic son montuno tumbao pattern is played on the conga drum. The conga was first used in bands during the late 1930s, and became a staple of mambo bands of the 1940s. The primary strokes are sounded with open tones, on the last offbeats (2&, 2a) of a two-beat cycle. The fundamental accent—2& is referred to by some musicians as ponche. [13]
Merengue con mambo is often played with a maco rhythm on the tambora, since it is can be played at a faster pace. The Pambiche rhythm is rarely used in merengue con mambo. Also can be used to shout out in songs, popularized by the likes of Geovanny Polanco, Aguakate, and El Prodigio. Golpe - a rhythm for güira, tambora, or conga.
Conga music is played with a staccato beat as its base, which gives rhythm to the movements of the dancers. Conga dancers lift their legs in time with the rhythm of the music, marking each beat with the strong motion of their body. The basic dance steps start from left leg 1-2-3 kick then repeat, opposite. Originally, a band member wearing a ...
The quinto vocabulary is used to accompany, inspire and in some ways, compete with the dancers' spontaneous choreography. Yvonne Daniel states: "The columbia dancer kinesthetically relates to the drums, especially the quinto . . . and tries to initiate rhythms or answer the riffs as if he were dancing with the drum as a partner." [2]
The basic conga tumbao, or marcha sounds slaps (triangle noteheads) and open tones (regular noteheads) on the "and" offbeats. [16] The single tone coinciding with the third stroke of clave is known as ponche, an important syncopated accent. [17] The specific alignment between clave and the conga is critical. Top: clave.