José Luis, el padre del género, en el timbal, su alumno más aventajado, Hidalgo, en las congas, trombonista y bajista de lujo, y Rebeca descargando acordes.. todo ello, en clase magistral del origen de uno de los géneros más sabrosos.. qué más se puede pedir..!!! Gracias..!!
gracias por subir , difunir, y dejar que estas eseñanzas esten al alcance de todos!!!!! desde argentina todo mi cariño al delgado de Changuio y la musica Cubana
Dichoso yo que tuve el privilegio de poder coger classes con este maestrazo de percusion una leyenda en todos los sentidos fue el el creador de hacer LA contracampana end LA Mano izquierda y el cencerro end LA derecha el verdadero REY DEL TIMBAL SIN DISCUSION
Excellent reference documentary - awesome line-up of musicians! Changuito, one of the most important Afro-Cuban/Afro Carribean percussionists of the 20 & 21st centuries, presents a genuine, sincere, and thorough drumming experience in the genre that he, along with several other Cubans, was instrumental in establishing. It is an understatement to point out that this movement has influenced drummers/percussionists, composers and arrangers around the world, when it has in fact become the "standard" for all Latin drumming, while its roots are planted firmly in Africa. The bilingual "Q&A" and "demonstration" format is most effective in communicating not only "technique," but also the attitudes, ideas, influences and inspiration around developing, refining and sharing these legendary rhythms. With the exception, perhaps, of the written notations of some of the more complex rhythms, there is nothing about this priceless presentation that could be improved.
Wow! All this time I thought the bass drum HAD to play the montuno pattern with the bass guitar during a songo. Now i see the bass drum can play around that pattern freely! This is huge for me
Love Changito and all his contributions to music and percussion! The drum groove at 15:04 sounds incredible at normal speed but I think even cooler at 1.25 speed!
time stamps for drums. 6:32 basic/first songo groove 10:45 moddified basic songo groove 14:08 "halftime" songo w/cymbals and snare. 20:27 what i call "semi-linear halftime songo" 26:55 bota (kick-in, jump in instead of "boot") 32:00 conga style on drums 34:17 conga variation 36:14 conga tom variation 39:55 "primordial" pattern.
¡Excelente material. MUCHAS FELICIDADES A NUESTRO MAESTRO CHANGUITO EN ESTE SU DÍA DE CUMPLEAÑOS! Rebeca ha estado genial brindando tan interesantes explicaciones en dos idiomas, haciendo acompañamientos con las claves y el piano. Enhorabuena por este trabajo magistral. Saludos desde Madrid, Diana Hernández, de www.asociacionbennymore.com/catalogo-artistas/percusión/changuito-quintana/
@6:32 songo movement 1 with Timbales (count 3, 4 with tom drum, and count 1 bass drum) @7:40 songo movement 1 with Timbales and clave @8:37 explanation of clave (Rumba Guaguanco a.k.a "2/3" clave) @9:10 songo movement 1 with Congas and Clave (conga open tones & - - 4 - - - - & - - 4 and slap between counts 1 and 2) @9:52 songo movement 1 with Timbales, Conga, & Clave @10:47 songo movement 2 @12:53 songo movement with Congas (conga open tones & 3 - 4 & - - - &3 - 4& and slap between counts 1 and 2) @14:09 songo movement 3 with Son Clave (a.k.a."3/2" clave) @19:15 songo circa 1975 @20:29 songo movement 4 @22:03 with rumba clave @22:38 with tumbadoras @24:05 songo circa 1985 - 1990 @26:35 songo de "bota" @31:19 alternative fusion rhythm that is not songo, but an evolution of many rhythms. @47:22 songo timbale pattern with 2 bells and kick drum, @51:29 songo timbale with kick and symbols variation. symbols on up-beat. kick drum on 3 or on 3 and 4. @54:28 Meren-Songo variation @58:34 songo circc 1980 - 1985 @1:07:09 Pilon, @1:11:14 Chango's Pilon variation @1:15:07 Pello el Afrokán, Mozambique rhythm @1:15:53 mozambique bell pattern @1:16:35 mozambique conga pattern @1:21:22 songomania @1:26:52 influence of American musicians
el ejercicio de una tecnica no implica la perdida del sentimiento, es una forma de llegar y si entends el video es changuito aclara que hay qu dedicar tiempo, paciencia practica y conciencia de lo que uno persigue, es un maestro que quiere dar herramientas para que otros descarguen sus sentimientos,
I’m that English comment you’re looking for. Let’s sum it up.. Changuito did whatever he wanted hence that so called mambo pattern can also be used for songo. But it always depends on the feel of the song. Do anything you want as Long as it grooves it’s fine
Ahora mismo este señor está muy enfermo y sus familiares están pidiendo ayuda a gritos,es muy triste ver en la situación que se encuentra este prodigio de la percusión,es penosa en verdad 😭😭😭
great subject, but having to listen twice everything is too much, how about subtitles and cut time in half??/un gran tema, pero tener que escuchar todo dos veces es demasiado, qué tal poner subtítulos y reducir el tiempo a la mitad?? :S
Probably they can’t deal with VHS and actual tape, an analog medium, as opposed to various digital media which is taken for granted by most people. A lot of people weren’t even born during the age of analog video and recording of music on 2 inch tape. When a digital recording is slowed down, the pitch of an instrument is not affected. However when instruments were recorded on analog media, the pitch of a specific instrument is lowered by a interval, determined by how slowly the tape has been set. People nowadays are so spoiled by immediate access to digital media. So they go into a state of cognitive dissonance when something rocks their little digital world. They need to grow up. Maestro Quintana, and The musicians on this video are all icons of the music. Giovanni Hidalgo continued to develop Songo in Puerto Rico with the band Batacumbele and is considered one of the great virtuosos in the history of the music. The late Eddie “Guagua” Rivera was in his day, the “go to Bassist” for studio work and a legendary road warrior, playing with a who’s who of the genre. Papo Vasquez became a very sought after Trombonist in his hometown of Philadelphia and in New York City and became a legend after playing with Willie Colón and Ruben Blades Son del Solar. Rebecca Mauleón Santana, who besides being one of the most frightening virtuosa on the piano, is a prolific author and researcher. Among her publications are “Salsa Guidebook for Piano and Ensemble” and “101 Montunos”. These books are true treasures, explaining the rhythmic and stylistic intricacies in the various styles and approaches in Afro-Cuban music, both from a pianistic and rhythm section point of view. The woman is simply amazing. And then she collaborates with great masters like Changuito so that world gets to study the multi-faceted layers of this joyful and expanding music. So I think the haters should be grateful for an opportunity to learn from these geniuses instead of basing their opinions upon such narrow perspectives.
minutos 26:48 cuando Changuito dice "BOTA" el se rrefiere a "bota" de botar,de tirar o lanzar,deshacerse de algo"soltar" ;No BOTA,de calzar...Mala traduction por parte de Rebeca...
Movement 4 reminds me of a variation that I play on a Tony Allen groove with Puerto Rican clave and swing, que sabrosura de Los musicos del caribe con ritmo Africano a la Afrobeat, wepa mi gente!!!
@@isodrorondon9401 si pero sin los boricuas seria in phenomeno limitado. You created it but we perfected it.... Without Puerto Ricans your music would be liminal at best. Get over it, it's just truth. Your pride outweighs reality... Hahahahahah.
@@hypocriteorchestra cuando puedas escribe cual es el límite. Los boricuas viven de la cultura de cuba . Limitada la bomba y la plena. Esa si pero lo nuestro dificil Esa mierda la están hablando hace tiempo pero estamos aqui nuevamente. Pero con un sonido diferente. En la cultura de cuba. Ya no pueden abrir mas la boca. De no ser por la música de cuba nadie supiera quienes son ustedes. La música los llevó a ustedes no ustedes a la musica.C.U.B La MÚSICA de cuba suena en 120 paises y los unicos que salen aqui hablando mierdas son ustedes. Los FELICITO. SE LES TERMINO LA MENTIRA . ESTO ES CULTURA NO PROPAGANDA. Y LOS SUEÑO TAMBIEN.
@@hypocriteorchestra El sabor de ustedes está el el mismo ataúd que la bomba y la plena. NO PUEDEN HACER NADA CON SU CULTURA MUSICAL Y CREES QUE HAN ECHO ALGO CON. LA DE CUBA. HIPÓCRITAS!! COMICIOS!
