Conga Drums in Space and Time: Musical Theory of Time Positions and Polymetry, with Percussion Notation for Hand Drums

By Jorge Pardo AIA

Afro-Cuban percussion contributes essential characteristics to the richness of Latin American musical folklore, and its rhythmic systems hold a complexity and sophistication that deserve greater study among both learned and popular musical spheres.

In Conga Drums in Space and Time, author Jorge Pardo presents an exploration of the surprising ways rhythms can create three-dimensional space when properly structured, considering Afro-Cuban percussion in particular. He charts the emotional excitement felt by listeners when exposed to syncopated rhythms using a thought-provoking theory of time positions. These ideas then carry over into Pardos own system of hand drum notation (HDN), a simple and straightforward iconography that allows percussionists of any level to sight-read two hand patterns and play authentic Conga rhythms in a short time. Through a combination of theory and practical exercises, Pardo takes musicians on an unusual rhythmic journey of discovery.

Intriguing and challenging, this bilingual study explores the unexpected relationship between music and three-dimensional space and provides a simple and accessible system for percussion notation.

• Language: English
• Publisher: Archway Publishing
• Release date: Jul 27, 2016
• ISBN: 9781480832763

Jorge Pardo AIA

Jorge Pardo is an architect and amateur musician. A member of the American Institute of Architects (AIA) and the New York Academy of Sciences (NYAS), he is a designer, inventor, and author of research and technical articles, and he maintains the study of polyrhythmic music as a performer and teacher.

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Copyright © 2016 Jorge Pardo, AIA.

All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the author except in the case of brief quotations embodied in critical articles and reviews.

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Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

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ISBN: 978-1-4808-3275-6 (sc)

ISBN: 978-1-4808-3276-3 (e)

Library of Congress Control Number: 2016910681

Archway Publishing rev. date: 7/26/2016

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CONGA DRUMS in SPACE and TIME

MUSICAL THEORY OF TIME POSITIONS & POLYMETRY

with Percussion Notation for Hand Drums

TABLE OF CONTENTS

FOREWORD

ACKNOWLEGEMENTS

1.0 BACKGROUND

1.1 MELODY vs RHYTHM

1.2 MONOMETRY, POLYRHYTHMS AND POLYMETRY

1.3 VISUAL vs ACOUSTICAL DEPTH of PERSPECTIVE

2.0 MUSICAL TIME SIGNATURES

2.1 WORLD MUSIC

2.2 AFRO-CUBAN POLYRHYTHMS and POLYMETRY

3.0 THEORY OF TIME POSITIONS

3.1 AFRICAN SOURCES

3.2 ELEMENTAL CHRONOMETRIC POSITIONS (ECP) SYSTEM

3.3 ECP NOMENCLATURE

3.4 POSITION DEFINITIONS

3.5 EC POSITION CATEGORIES

3.6 ECP Time Scales

3.7 UNIVERSAL RHYTHMS

3.8 PARALLEL FIELDS

4.0 THE CODE OF AFRO-CUBAN MUSIC

4.1 CLAVE

4.2 CLAVE SIX

4.3 CLAVE FOUR

5.0 THE KEY OF AFRO-CUBAN POLYMETRY

5.1 THREE on TWO POLYRHYTHMS

5.2 METER SUPERPOSITION

5.3 FUNDAMENTAL INTERVAL

5.4 LLAVE, THE POLYMETRIC BRIDGE

5.5 LLAVE RELATIVE POSITIONS, Two-stroke Period

5.6 LLAVE RELATIVE POSITIONS, Three-stroke Period

5.7 NET LLAVE EFFECTS

6.0 NOTATION SYSTEM FOR HAND DRUMS (HDN)

6.1 EUROPEAN NOTATION

6.2 COMMON DRUMMING NOTATIONS

6.3 DESIGN OBJECTIVES

6.4 APPLICABILITY

6.5 MATRIX PLANE CONCEPT

6.6 HAND ATTACK SYMBOL DERIVATION

6.7 HDN ICONOGRAPHY

6.8 COMPLEMENTARY SYMBOLS

6.9 TUMBAO FLOW in HDN

6.10 MANUSCRIPTING HDN

7.0 BIBLIOGRAPHIC REFERENCES

8.0 THE HANDBOOK OF TUMBAOS

LIST OF CHARTS

8.1 INTRODUCTION TO THE HDN ANTHOLOGY

8.2 BASE THREE AND BASE FOUR EXERCISES

8.3 FOLKLORIC RHYTHM TOQUES

8.4 RUMBA RHYTHMS TUMBAOS

8.5 CONGA DRUM PATTERNS FOR POPULAR RHYTHMS

LIST OF TABLES

CHAPTER 3.0

3.6.1 Six-Time Scale EC Positions

3.6.2 Eight-Time Scale EC Positions

LIST OF FIGURES

CHAPTER 3.0

Figure 3.1 ECP Time Position Categories

Figure 3.2 Six Time Measure

Figure 3.3 Eight Time Measure

CHAPTER 4.0

Figure 4.1 Clave Six

Fihure 4.2 Abakuá Clave

Figure 4.3 Son Clave

Figure 4.4 Clave Six Positions

Figure 4.5 Son Clave Positions

Figure 4.6 Rumba Clave

CHAPTER 5.0

Figure 5.1 Llave Bridge

CHAPTER 6.0

Figure 6.1 Hand / Drum / Time

Figure 6.2 Hand / Drum / Contact

Figure 6.3 HDN Basic Strokes

Figure 6.4 HDN Iconography

Figure 6.5 HDN Composite Sounds

Figure 6.6 HDN Flow Symbols

Figure 6.7 HDN Tumbao Flow

Figure 6.8 Hand-written HDN Palo

Figure 6.9 Hand-written HDN Mozambique

LAS CONGAS en ESPACIO y TIEMPO

TEORIA MUSICAL de POSICIONES CRONOMETRICAS y POLIMETRIA

con Notación de Percusión para Tambor sin Baquetas

CONTENIDOS

PREFACIO

RECONOCIMIENTOS

1.0 ANTECEDENTES

1.1 MELODIA vs COMPAS

1.2 MONOMETRIA, POLIRITMOS y POLIMETRIA

1.3 PERSPECTIVA TRIDIMENSIONAL OPTICA y ACUSTICA

2.0 METROS MUSICALES

2.1 MUSICA MUNDIAL

2.2 POLIRITMOS y POLIMETRIA AFRO-CUBANOS

3.0 TEORIA DE POSICIONES CRONOMETRICAS

3.1 RAICES AFRICANAS

3.2 SISTEMA de POSICIONES CRONOMETRICAS ELEMENTALES (PCE)

3.3 NOMENCLATURA PCE

3.4 DEFINICIONES

3.5 CATEGORIAS de POSICIONES PCE

3.6 ESCALAS CRONOMETRICAS PCE

3.7 RITMOS UNIVERSALES

3.8 AMBITOS PARALELOS

4.0 EL CÓDIGO DE LA MUSICA AFRO-CUBANA

4.1 La CLAVE

4.2 CLAVE SEIS

4.3 CLAVE CUATRO

5.0 LA LLAVE DE LA POLIMETRÍA AFRO-CUBANA

5.1 POLIRITMOS de TRES sobre DOS

5.2 SUPERPOSICION de METROS

5.3 INTERVALO FUNDAMENTAL

5.4 LA LLAVE, EL PUENTE POLIMETRICO

5.5 POSICIONES RELATIVAS DE LA LLAVE, Período de Dos Golpes

5.6 POSICIONES RELATIVAS DE LA LLAVE, Período de Tres Golpes

5.7 EFECTOS NETOS de LA LLAVE

6.0 NOTACIÓN PARA TAMBORES DE MANO (NTM)

6.1 NOTACION EUROPEA

6.2 NOTACIONES USUALES para TAMBORES

6.3 OBJETIVOS del DISEÑO

6.4 APLICACIONES

6.5 PLANO MATRIZ

6.6 DERIVACION de SIMBOLOS MANUALES de ATAQUE

6.7 ICONOGRAFIA NTM

6.8 SIMBOLOS COMPLEMENTARIOS

6.9 FLUJO del TUMBAO en NTM

6.10 NOTACION MANUSCRITA

7.0 REFERENCIAS BIBLIOGRAFICAS

8.0 EL MANUAL DE TUMBAOS

LISTA DE TUMBAOS

8.1 INTRODUCCION A LA ANTOLOGIA NTM

8.2 EJERCICIOS EN BASE 3 Y BASE 4

8.3 TOQUES DE RITMOS FOLCLORICOS

8.4 TUMBAOS DE RITMOS DE RUMBA

8.5 TUMBAOS DE CONGA EN RITMOS POPULARES

LISTA DE TABLAS

CAPITULO 3.0

3.6.1 Posiciones CE en la escala de Seis Tiempos

3.6.2 Posiciones CE en la escala de Ocho Tiempos

LISTA DE FIGURAS

CAPITULO 3.0

Figura 3.1 Categorías de Posiciones PCE

Figura 3.2 Compás en Seis

Figura 3.3 Compás en Ocho

CAPITULO 4.0

Figura 4.2 Clave Abakuá

Figura 4.3 Clave de Son

Figura 4.1 Clave Seis

Figura 4.4 Posiciones en Clave Seis

Figura 4.5 Posiciones de la Clave de Son

Figura 4.6 Clave de Rumba

CAPITULO 5.0

Figura 5.1 Puente de Llave

CAPITULO 6.0

Figura 6.1 Mano / Conga / Tiempo

Figura 6.2 Mano / Conga / Contacto

Figura 6.3 Golpes Básicos NTM

Figura 6.5 Sonidos Compuestos NTM

Figura 6.4 Iconografía NTM

Figura 6.6 Símbolos de Flujo NTM

Figura 6.7 Flujo de Tumbao NTM

Figura 6.8 Palo Manuscrito en NTM

Figura 6.9 Mozambique Manuscrito en NTM

CONGA DRUMS in SPACE and TIME

MUSICAL THEORY OF TIME POSITIONS & POLYMETRY

with Percussion Notation for Hand Drums

FOREWORD

This work was prepared with the intention of formalizing certain aspects of Afro-Cuban percussion which, in the author’s opinion, contribute essential characteristics to the richness of its musical folklore, and with their unconventional exposure here, to enhance the means of communication of the art among both cognoscenti and broader audiences.

A secondary, though not less valued, aim of the author was to present a view of the complexity and sophistication of the Afro-Cuban rhythmic systems at a level which might more broadly reflect its intellectual import within both learned and popular musical spheres.

As a professional architect and amateur musician, the author by no means may be considered a musicologist or scholar on the subject, but his background and long term attention to the medium has allowed him particular insights made possible by his training in the visual arts, philosophy and science, which are shared here as novel perspectives for the translation of ancestral African communication through drums, into the modern language of visual space and Western analysis.

The linguistic and graphic nomenclatures proposed in this work may be found iconoclastic and encountered with opposition or dismissal by some scholars and professional musicians who, whether for valid or for petty and superficial reasons, may question the author’s blatant defiance of musical convention.

After decades of successful, practical application of the artifices described here however, the decision to publish has been made in the hope that the usefulness of the system of time positions and the simplicity of its graphical notation system counterpart, as presented in this work, will be allowed to contribute meaningfully to an increased use and recognition among music lovers and performers of all persuasions, of Afro-Cuban percussion as the significant intellectual achievement in human endeavor which it represents.

Jorge Pardo, 2016

LAS CONGAS en ESPACIO y TIEMPO

TEORIA MUSICAL de POSICIONES CRONOMETRICAS y POLIMETRIA

con Notación de Percusión para Tambor sin Baquetas

PREFACIO

Esta obra fué preparada con la intención de formalizar ciertos aspectos de la percusión Afro-Cubana, los cuales en la opinión del autor, contribuyen características esenciales a la riqueza de su folclor musical, y mediante esta inusitada exposición agilizar sus medios de comunicación entre sus conocedores y abrirlos a una audiencia más amplia.

Como segundo, pero de igual importancia derrotero, el de presentar una perspectiva resaltando la complejidad y sofisticación de los sistemas rítmicos Afro-Cubanos a un nivel que más extensivamente refleje su valor intelectual dentro