Conga Cookbook Poncho Sanchez

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Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
The Purpose of the Conga Cookbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
A History of the Congas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...... 7
Notation Key ...................................................... 14
Conga Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Recipe-Refried Beans and Spanish Rice ................................ 18
Chachacha................ ........................................ 19
Recipe-Chicken, Corn, and Calabasita (Zucchini) ......................... 24
Mambo ............... ........................................... 25
Recipe-Chile con Soul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... 32
6/8 Rhythms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Recipe-Linguine with Clam Sauce. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...... 37
Merengue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Recipe-Posole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Soloing .......... ................................................ 41
Recipe-Albondigas (Meatball Soup) ................................... 51
Recommended Recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Introduction
Dear Friends and Musicians,
Thanks for taking the time to check out the Conga Cookbook. I've been playing mus ic for a long time and many
friends have asl,ed me about my style of playi ng: where it comes from, how I deve loped it, and my inspirations for
playing music. I've neve r had form al training or lessons-I've just been given a gift and, thankfully, I can share that
gift with you!
When I was approached to write a book I had to sit down and think about what I could offer. Really, what I have to
give comes from my soul. It comes from the many evenings and morn ings that, as a young kid, I wou ld lie in bed
and listen to the mambo and ehachaeM records that my sisters were listening to. It comes from playing a lot when
I was young, soaking up the sounds from all arou nd me and express ing myse lf on drums. Most of all, it comes from
performing with some rea lly sou lfu l musicians.
I was born in Laredo, Texas, and my whole family-I'm the youngest of ll- moved to Norwalk, California, when I
was fou r. My fa mily li stened to great Lati n music from Tito Puente to Tito Rodriguez, Celia Cruz to Orquesta
Aragon, plus we listened to all of the Eastside sounds like boogaloo and soul and doo-wop. In my house, you could
hear it all, including Charl ie Parker and Dizzy, and Clifford Brown. We listened to so much Latin music that I
thought it was music from Texas!
At first, I played guitar in some bands around my neighborhood. I was in the sixth grade. The guy across the street
had a rhythm and blues band and I started to play with them. One band that I joined had four guitarists and they
needed a singer- the next thing I knew, I was the lead vocalist. It was "here are the songs, here's a stack of 45s,
we've got a gig Saturday, learn them all." That's how I got my vocal training! Since that day I've been the lead vo-
calist of all the bands I've been in.
In ninth or tenth ~rade, I got a drum set. I played a little
Latin jazz and some straight-ahead jazz as we ll with a band
call ed the Midnight Set. In the 11th grade, I got my first set
of congas-my dad bought one and I bought the other one.
All I did was put on my Cal Tjader, Mongo, and Tito Puente
records and play along. Soon after this, I saw Mongo
Santamaria, Willi e Bobo, and Cal Tjader play at the
Lighthouse in Hermosa Beach. ~1 0ngo really whacked the
drums and I knew I wanted to sound like him.
Poncho and Ramon Banda
I played a lot, jamming at Griffith Park here in L.A.-we

played rumba, conga, son, everything, for hours. What an
experi ence! Soon I was working arou nd town, playing with
some great musicians. Thanks to them, I really started to
deve lop my sound, as well as a respect for the music.
A great thing happened to me in 1974 when Cal Tjader
called me and I joined his band. Our first gig together was
New Year's Eve at th e Coconut Grove at the Ambassador Poncho and Francisco Aguabe//a
4
Hotel. Wow! I was with Cal for seven and a ha lf years and I
sti ll th ink of him a lot; it was a great fr iendsh ip and a won-
derful musical time. I learned so much with Cal. I was as
green as they come, from the Norwalk barrio. He was my
musical father-I idolized and respected him . Most of all , I
learned how Cal conducted himse lf in front of the people,
how he'd speak in public. He was ve ry polite and well man-
nered, with a lot of class. Musically, he wou ld pick certai n
jazz standards for his tunes. He really could pick 'em-Cal
had great taste .
Clare Pischer joined the Tjader group a coupl e of years later.
1·le's a harmon ic genius-very musically complex. I'd hear
IVilh Cal Tjader
all of the beauti fu l voicings and harmoni es that Clare wou ld
use; I soaked up what I cou ld and I sti ll use what I learned from him to this day. We co-founded the band Salsa
Picante. He wanted Salsa Picante to sound Ifpico with the sophisticated harmonic jazz infiuence. It was a rea lly
great band and a wonderfu l experience.
I've had my own band for 20 years now. We've recorded 19 al-
bums, four of whi ch have been nominated for Grammy awards.
Wow! All of this from a guy from Laredo, Texas! I see my band
growing and playing all different kinds of music, not only Lati n
jazz and salsa. I'd like to do a tri bute to James Brown, the
Godfather of Soul, and maybe another tribute to Tito Rodriguez,
the great singer from Puerto Rico. We have fun in the band. I
th ink that's what I can bring to this book: How to play congas
and have fun doing it. Sure, you have to have some technique
and then practi ce a lot, but having fu n and letting your sou l free
is what I want to bri ng to you . Thanks fo r letting me share my
sou l and my music with you.
Poncho Sanchez
poncho@ponchosanchez.com
http://w\\lw.po nch osa nchez. co m
5
The Purpose of the
Conga Cookbook
This conga drum meth od has been developed to give you an approachable and easy-to-understand tool to help you
to play. Th e different rhythms examined here all have their own distinctive patterns, fee ls, and technical chal-
lenges. By developing these rhythms, you wi ll enhance your vocabu lary and groove and develop the techniques
necessary to play al l of the styles presented here plus many more. The section on soloing also explores different
sounds and techniques. For those of you who enjoy the drumming sty le of Poncho Sanchez, you'll get even closer
to that style now!
No matter what, you 'll defin itely find your playing improving as you pick up on th e nuances that make for a great
conguero .
The Conga Cookbook featu res play-alongs for each of the styles under study. By listening to each tune with con-
gas, you can get a great idea of the proper feel-then it's your turn! By using the proper sounds and techniques
found within th is book, you'll be able to fit right into the groove. Just adjust the channels of you r sound system
so you can play along with the track, either by being the only drummer with th e band or with Poncho playing
along.
Here is a word about the charts for the play-alongs. The notation provided is very close to what Poncho plays for
most of each play-along, but there are variations to these basic grooves. It is most important for you to achieve
the proper sound and groove for each basic pattern and then use what you have learned in the preceding chapter
to fill out the grooves, adding sp ice and flavor where and when you want.
Of course, there are the great recipes found throughout the book-use them as rewards! After you've gotten your
groove really happening and you've been cookin ' with the play-alongs, then you can start really cooki n' with
Poncho's rec ipes!
Each chapter has many grooves fo r you to practice. They've been purposefully played at very slow tempos so you
can hear each stroke and nuance . After you've spent time practicing, the play-a longs are there for you to try the
grooves at performance tempos. Some of the patterns may sound similar to you, but examine them more closely
and you'll find that the ways in wh ich they are played are diffe rent.
Lastly, Poncho and I both decided that, in
order to demonstrate how you can grow
fro m using the Conga Cookbook, I would
record the exercises for the book. I learned
so much myse lf from transcribing and
practicing these grooves!
We hope you enjoy the Conga Cookbook.
Chuck Si lverman
chuck@chucksilverman.com
http;llwww.chucksi lve rman.com
Neil Zlo\\'zo\\'cr
6
A History of the Congas
By Dr. Olavo Alen Hodri guez
Center for the Study and Developme nt of Cuban Music, Havana, Cuba
Translated by William H. Phi lli ps
Photos: Center fo r the Development of Cuban Music, Havana, Cuba
The conga or tumbadora originated as a musical instrume nt

in Cuba as part and parcel of the ru mba, yet the instrument
is nowhere to be found in the early days of this important
Cuban musical genre.
The word rumba was used originally in Cuban music as a
synonym fo r fiesta . To "mal,e a rumba" was to throw a party;
however, th is usage was lim ited so lely to certai n segments of
the 19th century Cuban populace fo r, in Cuba, many expres-
sions were used as synonyms fo r party. Farmers in the is-
land's eastern region called the ir parti es ehangiii, whereas
farmers in the central and eastern areas call ed them guate-
ques. Many ethni c groups of th e compl ex that nurtured Afro-
Cuban music called their parti es tumbas. For thi s purpose,
other express ions were adopted as we ll , such as: bemblf,
macumbas, mambos and, of course, rumbas.
Rumba as a synonym fo r party was an expression used by a
segment of the populace concentrated in the inn er-c ity
zones of Havana and Matanzas. These were mainly neigh-
l'uka Drums, Matanzas Province borhoods that harbored unski lled laborers and other eco-
nomically underprivileged groups.
In 1886, Cuba utterly abolished slavery and the slave trade. Thus, about a quarter of a milli on individuals obtai ned
their freedom. However, this did littl e for their economi c situations. These people couldn't remain in the country
because they weren't th e owners of the land . Bu t it was also dif-
ficult for them, owing to the scarcity of economic resources, to
become city dwe ll ers. The fre quent outcome was that such peo-
ple drifted into the outsk irts of several western Cuban cities
where they buil t themselves very rudimentary dwelli ngs out of
whatever materials they could lay hands on, or else rented run-
down houses where a number of fami lies would all live to-
gether. Thi s gave rise to a type of housing known in Cuba by the
name of solar (slum) or euarteria. In these surround ings, the
Cuban rumba was born .
The musical instruments on which the rumba was fi rst played
we re the side board of a cabinet and the empti ed and over-
turned drawer from a dressing tab le. A pair of spoons served as
drumsticks and also to beat rhythms on the bottom of a fly ing
pan taken from the ki tchen. The aim was to create a complex
cross-rhythm to accompany those who sang and, above all , to
liven things up for the dancers.
Bembe Drums, Matanz(Js Province
7
From the outset, this rumba scenario brought together descendants of widely dissimilar African tribes and peoples
who had arrived in Cuba as slaves. Other participants were members of a poor wh ite population who Dad,. come to
Cuba seeking work and who had become laborers or small business people such as dyers, fruit or meat vendors, and
the like.
In these slum neighborhoods, some of the rhythms, styles, and ways of si nging and making music began to take on
unique characteristi cs, perhaps because those taking part were from such widely varied backgrounds. Although
these festivities certain ly had their origins in the slave compound, the new environment lent them a totally new
kind of expression, so that rumba ceased to be simply another word for party and took on the meaning both of a
defined Cuban musical genre and also of a very specifi c fo rm of dance, quite distinct from other strata of Cuba's
population.
Regularization through repetition of musical elements, rhythmic and melodic phrasing, and stab ili zation of highly
unique performance styles on improvised musical instruments brought about the birth of a high ly original way of
making music. However, this crystallized into distinct styles, each with determined mannerisms and particular so-
cial and musical behaviors. Thus were born the ru mba forms: guaguanc6, yambu, columbia, and such now-extinct
variants asjiribilla and reseda. What differentiated them was the different ethnic mix of each town, city, or rural 10-
cali ty.
Evolution led to necessary changes, and so the sideboard, drawer, and frying pan were superceded by cajones or
"boxes" of different sizes which were rumba's first true musical instruments. This must have occurred in the last
decades of the 19th century in the provinces of Havana and Matanzas.
The caj6n is played directly with the hands using both fin gers and palms. On occasion, spoons are also used as
drumsticks. The largest caj6n is placed on the ground and the musician sits on it to beat with his hands on the back
and one of the sides. The second, smaller-sized caj6n is placed across the legs of a player seated on a chair or bench.
Generally it is beaten on its sides, although the front can also be played. The third caj6n is the small est of the en-
semble. It is played by holding it between the legs and beating on the upper edge. In this case, nearly the enti re in-
strument is beaten, seeking the best possible range of tones and exploiting the different sounds obtained by striking
different points between the center and the edge of the lid. Sometimes the player attaches small tin plates or-inetal
maracas to his wrists, considerab ly enriching the polyrhythms obtained.
The large and medium cajones play repetitive rhythm patterns while the small est, having the brightest sounds, im-
provises rhythmi c fragments and variations of striking virtuosity. A fourth player is frequently found playing with
two spoons on one side of the large caj6n or some other object a repetitive rhythm in the high freq uency range
which serves occasionally to keep time for the group.
The largest caj6n is often called the salidor, the mid-sized one
the tres-dos, and th e small est the quinto. Evidently, these
names allude to the functions each one fulfills in producing
the characteristic cross-rhythms of rumba.
The cajones are therefore the historical precursors of the tum-
badoras (congas) in the rumba fiesta. However, the congas'
natural forebears are from a very different sort of place.
We have observed a marked morphological similarity between
the oldest forms of the conga drum and the ngoma drum.
Likewise, there are resemblances to vari ous ve rsions of the
makuta drums. Most important perhaps is the barrel shape of
the drum; moreover the fact that both the ngoma and makuta
drums have heads of tacked-on cowhide makes them li kely an-
cestors of the Cuban conga drum. The fi rst tumbadoras had
their skins or heads tacked di rectly to the upper opening of the
shell in a manner similar to drums brought by people of
Makuta Drums, Malanzas Province Congo or Bantu origin to Cuba.
8
The ngoma drums, also known as palo ("stick") drums, were the instru-
ments used in ceremonies and celebrations of the Palo Order. This reli-
gion IVas brought to Cuba by various ethni c groups of the Bantu peoples.
The ngoma ensemb le may have two, three, or four drums of different
sizes which together produce comp li cated cross-rhythms. In general,
these drums are barre l-shaped, although sometimes they may also be of
a tubular, cyli ndrical shape. They have a single head stretched over the
upper opening while the lower end is open. The head is tacked to the
wooden body of the instrument and its tone is brightened by placing it
near a fire .
It is noteworthy that the name each drum receives makes reference to the
function it fu lfills, in a manner quite like the later nam ing of the rumba
cajones. Th e biggest drum
bears the name caja, al-
though is it also ca lled lIa-
mador ("caller"). The mid-
sized drum is called mula
but also segundo and dos!l
dos. The smallest is called
the cachimbo or sometimes quinto. The similarity to the names of
the rumba cajones is se lf-ev ident.
To play, the musician remains seated with the drum between the legs
and resting on the ground . The drumhead is struck with both hands
usi ng both palms and fingers. Occasionally, the drummer might
strike the head with one or two sticks. The resulting cross-rhythms
underlay the improvisations of a singer alternating with responses
sung by a chorus. The mus ic may serve a religious purpose for a rit-
ual of the Palo Order, although it is also used for secular celebrations
staged by people of Congo heritage. Yuka Drums, Matanzas Province
The ngomo or palo drums are also used to

accompany the kinfuiti drum. Thi s prac-
tice, however, survives on ly in the vi ll age of
Quiebra Hacha in the province of Havana.
The makuta drums, also brought to Cuba
by Congo or Bantu people, are yet another
forebea r of the conga drums. These drums
may have tubular, cyli ndrical , or barrel-
shaped bodies. They each have a single
head with the lower end open. The head is
tension ed by the heat of a fire since the
membrane is tacked onto the shell of the
drum. Recently produced models are com-
mon ly tensioned with a more complex sys-
tem of lugs and turnscrews.
I(infuili Ensemble
9
Makuta festivals are ceremonia l ce lebrations wh ich originated
and sti ll exist in the societies of the Congo peop le and their de-
scendants. They we re very common during the 19th centu ry
and were still not infrequent during the early decades of the
20th century. In Cuba, the word makuta indicates a festive
gathering. The term also refers to a kind of ritual staff to
wh ich is attached a spherica l receptacl e contai ning magical el-
ements or objects. Thi s staff or makuta is used at certain mo-
ments in the ceremony to strike the ground in a rhythmic
accompan iment to a song or dance. According to believers, it
houses the supernatural power on wh ich are centered all of
the activities of the Palo Order. Howeve r, the individual names
of the drums-caja, ngoma, and nsumbi-make no allusion
to those of the rumba cajones.
The shape of the drums' bodi es and the system for tuning the
ngoma and makuta drums provided the Congo people and
their descendants with the construction elements needed fo r
the conception of a drum such as the conga. Polyrhythms
based on the combination of three different sized drums with
we ll defined individual functions are likewise linked to the
tumbadora by these African drums. Moreover the tacked head Makuta Drum Party, Tril1idad, Sane!i Spiritus
and the practice of brightening the tone with heat from a fire which characterized the early congas had their an-
tecedents in the ngoma and makuta drums. The head played on directly with the hands may be linked to almost
any drum of African origin, however, the nature of rumba's cross-rhythms and many details of the ways they are
played remind us again of what we have heard on drums of Congo origin.
The observed practice with ngoma drums of striking with two sticks on the wooden shell of the instrument is surely
the precursor of the two spoons striking the side of one of the rumba cajones, as earli er described. This practice was
passed on to the congas and in rumba received the name of cascara.
It is worthy of note that in the voluminous work, Instruments of Afro-Cuban Music by Fernando Ortiz, published
in Havana in 1954, the term tumbadora does not appear. The expression tumbador appears as a term for "certain
drums in rumba and conga orchestras" (Ortiz, F. 1954: IV - 168) . In th is same work, Ortiz indicates that one of the
congas-conga drums-is given the name of tumbadora. Evidently, Ortiz is referring to congas since he himself
later indi cates that these instruments "have been introduced into orchestras and popular combos which today are
styled fo r boleros, guaracflas, mambos, etc." (Ortiz, F. 1954: IV - 168). There appears, however, an extens ive article
by Ortiz in the third volume of the aforementioned wo rk under the title "The Conga" where it is evident that here
the author is referring to Cuban tumbadoras.
Ortiz descri bes the word conga as "an African drum, but this word is also appli ed to a dance, a song, the music
played, danced, or sung with th is beat and to the street bands which use such instruments" (Ortiz, F. 1954: III -
392) . When Ortiz describes the instruments he indicates that they are "drums made nearly always of staves with
iron hoops, about a meter long, somewhat barrel-shaped, open with a single ox-hide head affixed with tacks. They
are essentially heat-tun ed drums which must be repeatedly re-tuned at the fire" (O rtiz, F. 1954: III - 392).
At first only two congas were played. The first was given the nam e caja or mambisa and the second was call ed sali-
dar or lumbador. Ortiz himse lf states that only later was a thi rd drum incorporated wh ich was designated by the
name quinto . He states also that the three drums are of approximately the same size, although he does not indi-
cate that the difference in pitch of each relative to the other two is determi ned by th e di fference in head diameter
of each drum.
10
It is remarkable that Ortiz should indicate in 1954 that "the term conga is of relatively modern introduction in
Cuba" (Ortiz, F. 1954: III - 398). For him, it is only near the end of the 19th century that in Cuba's eastern region
drums called congas were played in the carnival street bands. However, he also indicates later that "the conga was
born in Havana in times of Spanish rule" (Ortiz, F. 1954: III - 400). He furthermore states that the purpose of the
stave-built drum was to differentiate it from Mrican drums-generally made from hollowed tree trunks-because
of ,th,e. prohibition to which they were subject. If we take into account all of Fernando Ortiz's aforementioned de-
scriptions and assertions, we can conclude that the name tumbadora or conga to designate these drums is a phe-
nomenon of the second half of the 20th century. We can further conclude that there was a certain connection
between the instruments used for congas and carnival street bands and those used for the rumbas. It is fitting to
mention that both musical streams originated in the marginalized and peripheral barrios of Havana and Matanzas
and in the same segment of the populace.
It is significant that Ortiz asserts that "Nowadays special drums are not required for playing rumba. Rumba is a
dance and a rhythm but not a drum," and goes on to say that the drums used for rumba are not historically related
to the drums called congas, inasmuch as the fashionability of the latter has all but eliminated the former, and that
in present-day popular dance bands when rumbas are played congas are used, creating a certain confusion since
today many are unaware that there were special drums called rumba drums (Ortiz, F. 1954: IV - 104). From this we
can infer that the advent of the conga in Cuban music is not an event remote in time. The earliest mention of the
instrument dates from the first decades of the 20th century.
All of the available information suggests that the most primitive congas first appeared in carnival street bands.
However, the rhythms and style elements that characterized their debut as musical instruments came from the
rumba cajones. It is also in the rumba context that the conga reaches its definitive form and acquires the head ten-
sioning system that it presently possesses. For this reason we prefer to place the birth of the conga in the context
of rumba, and to see the drums of the carnival street bands as just one more predecessor of these instruments. The
evolution of the old-time conga drums brought about the birth of another type of drum called boku, which did de-
velop into a form suitable for playing in the street marches which the carnival demands.
Some authors state, I think rightly, that during the third decade of the 20th century the first congas began to be
introduced at rumba gatherings. This occasioned less frequent use of the cajones at such gatherings. Furthermore,
each conga took over the job of one of the cajones so that there were three congas, each quite different in size and
function. Each of the congas similarly took over the name of the cajon it had replaced.
The phonetic antecedent of the word lumbadora we find in the expression lumba, an Mro-American word denot-
ing drums in general. Both words-tumba and tumbadora----contain the phoneme mba which is evidently of Bantu
or semi-Bantu origin. This is one more clue leading us toward the large Bantu group of peoples in our search for
the historical predecessors of the Cuban instrument.
In the 1930s the congas' use at rumba festivals became systematized. The instruments had the barrel shape obtained
by stave construction-just as we see today-but the head was attached to the body of the drum. This was in urban
areas of the provinces of Havana and Matanzas. This period was characterized by a strong migratory movement to-
ward eastern Cuba, since the sugar industry was growing in that direction and, with it, the Cuban railway system.
This offered job opportunities to many living in western Cuba, who moved eastward principally during the time of
the sugar harvest. This internal migration shifted the conga into the eastern parts of the country. In fact, congas
are found during that era in the remote mountain regions of Baracoa.
Perhaps it is worth noting that the spread of the conga's use throughout the country is not linked to the develop-
ment of rumba. The rumba fiesta as such remained, with numerically insignificant exceptions, a western Cuban
happening. The spread of the conga itself beyond the fiestas in which it originated was because the instrument out-
grew its rumba setting to become part of very different Cuban musical groups and ensembles focused most often
on playing son, bolero, and guaracha.
II
The son, a traditional music gen re of rural eastern Cuba, had reached Havana during the 1920s and there taken on
new forms of in terpretation. Among the instrum ents that were quickly adopted for playing urban son music were
the piano and the conga. Thus the conga became known among communities of people who had no connection with
the rumba fi estas, and thereby it encountered more widely generalized forms of Cuban popu lar dance in that pe-
ri od .
From 1939 on, the famous dance orchestra Arcano y Sus Maravillas included the conga permanently in its li neup.
Thi s lead was to be followed by oth er orchestras and by bands and combos playing the popular dance music of that
time. Perhaps the first to mal<e the conga part of his group and hence part of the so-called Cuban conjllnlo was the
famous musician and composer Arseni o Rodriguez. From that time on the conga became a key voice for playing
gllaracha, and, later, bolero. The conga rapidly became fas hionable and was included in ensembl es and typi cal
SOil,
groups throughout nearly all of the country.

Studies carried out by th e Center for the Study and Development of Cuban Music reveal that the orchestra
"Renovaci6n de Jiguani" in what is now Granma Province was using a stave-built and tacked-head conga as early as
1942. Elsewhere these studies reveal that in 1940, a band in the vi llage of Ensenada de Cortes in Pinar del Rio was
already using its first conga.
The culminati on of the conga's rise in popular Cuban dance music of the 1940s was when it outgrew its national
bou ndaries. In 1947, Dizzy Gi ll espie's famous jazz band engaged the outstand ing percussion ist Chano Pozo as the
band's conga player. This was a crossroad fo r American jazz and brought about the rise of a new stream now known
as Afro-Cuban jazz.
In that era the conga still had its tacked-on head, but its international triumph in the field of jazz necess itated im-
provements over the unre liable skin tensioni ng system. Thence came the comp li cated tens ion ing system with its
metal head rim, hooked screws, and tensioning lugs, ensu ring that the instrument did not gradually sli p out of tune
during extended peri ods of performance. It also made it poss ibl e to tune the head far higher than ever before, greatly
brightening the drum's sound.
By the 1950s, the new tuning system was widespread and was even in use by many rumba ensemb les in Cuba. The
famous rumba group "Los Muiiequitos de Matanzas" was by 1954 playing congas with the new tuning system when
it burst onto Cuba's music scene, main ly via radio programs heard throughout the country. In the 1970s, the conga
with its new tuning system was showing up in the most diverse groups in international music, espec ially North
Ameri can music. By then, the conga possessed all the required qualities to take its place among mus ical instru-
ments of acknowledged in ter-
nationa l stature. Its tuning
system enabled it to play with
instru ments req uiring tem-
pered tuning. Its repe rtoire
thus included nearly all of
Cuba's musical genres and it
was easily auapteu to many
other popular music genres
throughout the Caribbean and
Latin Ameri ca. Important also
was the fact that it had been
taken into the mainstream of
American jazz, whi ch in turn
served as a bridge to the rock
Neil ZIO\\,zO\\'cr
Modem Tuning System and pop music of today.
12
Since the rise in the mid 1950s of the nationalist movement in Cuban concert music the conga has been heard as
an instrument of the symphony orchestra. But in the 1970s, the instrument also began to appear in the wri ting of
non-Cuban composers. Some important Cuban concert music works in wh ich the conga appears are: Rflmicas I II
and III for Cuban percuss ion instruments and La Rebambaramba, an African ball et, both by Amadeo Roldan; Three
Cuban Dances for symphony orchestra and the opera Manila en e/ Sue/o by Alejandro Garcia Caturla; Music Alive
no. 1 for percussion instruments by Jose Loyola; and l'agruma for symphony orchestra by Carl os Farinas. In the
1980s and 1990s the conga became more of a presence on the international music scene, not only because of the
strong growth of Cuban music on that scene but also because nowadays it appears ever more freq uently in a wide
range of international pop music settings.
Modem Cuban Tumbadoras
13
Notation Key
In this book, music is notated on a two-line staff. Here are the notehead symbols and articulations that indicate the
different kinds of tones.
H T S B 0 M MB MT 0
II
j j j .J .J .J j j ; j
J
Heel Tip Slap Bass Open Muffled Muffled Muffled Stick on Stick on Heel of
bounce tap drum, rim right hand
open tone on tumba rim
The drum to be played is indicated by the placement of the notehead.
II J J
Conga Tumba Supertumba
The hand to use when playing a drum is indicated below the staff: "L" for the left hand, "R" for the right hand.
14
Conga Basics
The Names of the Drums
Each drum in the "conga family" has many names. Here's what Poncho calls each drum.
Conga, Tumba, Supertumba
Poncho plays this way, with th e lumba to the right and th esuperlumba further down. Once in a whi le Poncho plays
quinlo (smallest "conga" drum) on the left, but he can get most of the quinlo sounds right from the conga.
The Sounds of the Drums

There are four main tones you' ll want from the congas. They are the bass tone, the open tone, the muffled tone, and
the slap. You should be ab le to get these sou nds with either your right or left hand.
The Bass Tone

Il Use the palm of your hand to get the bass tone. You
j shou ld be able to play the bass tone with either hand.
lLL
I _ __
The hand shou ld remain relatively flat on the drum-
head; strike down on the middle of the head with the
flat of your hand.
The Bass Tone
Tuning Your Drums

Patato-Carlos Valdes-showed me how to tune the drums. He was
one of the first guys to use two congas. Most Cuban cats used one
drum; you know, the old style. Patato plays so melodically. When he
came to New York, he began using up to five drums. When j heard him
play using just three drums, I had to ask him how he tuned-he
sounded so different than Mongo. [ found out that Patato played Ires,
the Cuban guitar that is comprised of six strings divided into three pairs,
so he tuned his conga like a C chord. It fits in with the harmony of a
lot of the songs in my band-it doesn't go agai nst the harmony at all.
So, I tune the conga to C, the tumba to C, and the supertumba to E.
-Poncho Sanchez
15
The Open Tone
o
j
II
You should be able to get a good open tone with either hand.
The Open Tone-Left Hand The Open Tone-Right /-land
Poncho raises his left hand off the conga, leaving the wrist on the
rim of the drum, while the right hand plays the open sound. The
striking hand should be held loosely with the fin gers spread. The
part of the hand where the fingers join it should strike near the rim
of the drum; the fingers should make contact with the drum head
(but should still be near the edge of the drum ).
The Muffled Tone

M
Right Hand Open Tone with Left Hand Resting
It's just as it sounds-it isn't an open or a slap tone. You can muffl e
the drum in the center of the drum or on the drum's edge as shown.
The fingers should be held together, and the hand fiat. Achieve the
muffled sound by pressing down on the head and not releasing im-
mediately. You can strike near the edge of the drum or the middle,
but whatever you do, make sure you muffle the tone with the other
hand.
jl'/uffling on the t,'dge of the Drum
The Slap, Tapao, or Pop

s
j
II
The slap is a ve ry important part of playing congas. You need to de-

velop the open as well as closed and mini slap sounds. Note that all
of the slaps are notated in the same way-it is up to you to decide
which to use, based on the musical context. Poncho uses the open
7'lle Slap
16
slap primarily in soloi ng, the closed slap is used fo r both soloing and the actual grooves, and the mini slap is used
only in chachachd or in slower tunes such as the "G uajiras."
Poncho deadens the head with his other hand wh il e playi ng a slap, depending on the type of sound that is being
played. In the picture on the previous page, you can see Poncho's ri ght hand playing a slap, with the left hand dead-
ening the sound of the drum.
The open slap tone can be generated with either hand, but make sure your other hand is entirely off the drumhead .
Cup your fingers, bend your thumb out of the way (you don't want it to make contact with the drum) and strike the
edge of the drum sharply-the last three fingers should feel a "sting." You can also play th is tone closer to the mid-
dl e of the drumhead.
When Poncho plays the closed slap sound, one hand is in the center of the drum, muting it. He then cups his other
hand and strikes the drum, just as in the open tone.
With the mini slap, both hands are on the drum. The mini slap
is played as part of the overall groove, and is typically played
with the non-dom inant hand. This hand should be in "playing
position," with the heel of the palm near the drum edge, and
the sound is generated by a quick snap down of the last three
fingers of this hand. Poncho creates the mini slap sound with
the left hand.
A muffled bounce-which is notated the same as a mufn ed
tone, but with an "M B" instead of just an "M"-is a sound that
comes directly out of a slap. After the slap, this is the resultant
The Mini Slap bounce, much like a "ghost note" after an accented snare hit.
Your hands should be in the same position as for a slap, but the fingers should be held more loosely, even though
the mufned bounce is played with th e same hand.
The muffled tap- notated the same as a muffl ed tone, but with an "MT" instead of just an "M"-is simply a soft tap
that usually occurs after a closed or open slap.
The Tilting of the Conga

Poncho naturally tilts the conga when he plays. I find it's the com-
fortable way for me to play, too. Also, ti lting the drum opens up its
sound. Poncho tilts the conga towards the lumba-this makes it
easier to get to the lumba when he plays a two-drum pattern. Some
others ti lt the drum in different ways, but most players at least li ke
to have the bottom of the conga off the fl oor.
17
Important First Motions on the Conga
These fou r motions are ones that yo u will want to master. The heel -tip and slap motions are essential to playing the
congas.
Heel Tip
Slap 'lip
For the heel movement, rest yo ur hand, palm down, on the drum and strike with the heel of the palm on the edge
of the drum. For the tip movement, agai n rest you r hand on the drum, palm down, and strike the drumhead with
the tips of the fingers .
~W'~W'~W'~W'~W'~W'~W'~W'~W'~~
~ !GJ1FI2IJ11) m·J1.4Ns. .. NI) S" .. NIs.N !GleE' ~
~B~ ~ ~
~ 112 cup lard 1/4 cup vegetable or canola oil (nol olive oil) ~
~ Salt and pepper Salt and pepper ~
~ 2 IS-oz. cans pinto beans I cup uncooked, long grain, white rice ~
~ 114 cup Monterey Jack cheese, shredded I small tomato, diced ~
~
~ Place Ihe lard in a frying pan. Heallhe lard 10 a liq-
112 medium-sized onion, diced ~
~
~ uid slale over a medium 10 high heal, and conlinue ~-:u~:::t;;r1iC ~
~ 10 keep il very hal. Add a bil each of sail and pepper ~
~ 10 lasle. Drain and sel aside Ihe waler from Ihe cans ~ ~~~~z~:~nt~~:t:e:a~:~th ~
~ of beans. Place Ihe beans in the frying pan with Ihe ~
~ lard-be careful, as the lard may splaller! Cook the Oregano to taste ~
~ beans fo r approximalely ten minutes Add some of Heal the oil over a high heat in a deep frying pan. Add ~
~ Ihe reserved bean liquid if Ihe be~ns
look dry. sail and pepper to laste, plus Ihe rice, lomato, onion, ~
~ ::::;~I~;; :::h:~~n7;~~~n:I:~1~~~ ::::o:;:'~e.~ ;:~:a~'::~~0;:ef:~.;:~~~/e7i:~:e:o;:~n ~:~ r;~: ~
~~ ~ ~~~~~~~~~
~ additional salt and pepper 10 lasle and slir. As soon as ~
~ Ihe mixlure comes 10 a boil, lower Ihe heat 10 ~
~ medium and covel: Cook for 20 minutes. Let stand for ~
~ len minutes. Serve wilh refried beans. ~
~~~~~~~~~~~~~~~~~~~~
18
Chachacha
Preliminary Exercises for Chachacha
Throughout the Conga Cookbook you will find preliminary exercises. The goals of these exe rcises are:
1. To help you to acquire specific techni ques to help you groove.
2. To help you to learn the distinct parts within these techniques.
3. To help you to find the "real groove."
The preliminary exercises are short phrases which should be practi ced slowly and with a focus on good sound com-
ing from proper techn ique . Th is will help you to develop the sound and feel of the grooves found in each section of
the book.
In these preliminary exercises, and throughout the Conga Cookbook and Afro-Cuban music in general, you will fi nd
flarns. A flam is a way of "thickening" a beat by adding a slightly softer stroke right before a main stroke. This softer
stroke is called a grace note. Poncho creates flams with either hand and in two different ways: very open (with the
two notes spread apart) and more closed (with the grace note and main note struck almost simultaneously). Mostly,
Poncho plays flams with the right hand playing the grace note and his left hand playing the main, stronger note.
s 0 s 0 5 0 s 0
:rr::l Jr--~J Jr-""";;;J Jr--"";;;J Jr-""";;;J
I
R R R R R R R R
0i-_~O __,''._--:,T S 0r-_~O __',.'_--:,T s

JdJ J J J J ~ IJ J
4----------------------------~------L---------------------------~----~
J J J ~ I
R l L L L R L L L L
R R R R R R R R
T S T H S T S T H S
..-4 J J J J J
JL4-I---I--~---~--~-----7~-----,I~--~~--~--~----~ ~----~11
Jr"--'i--Ji--"""i
J J J
L R L L L L R L L L
H T S T H S H T S T H S
..-tI J'r----TJ~.,...
i --iJ LJ ~ Jr---i-J~J:r--iJ .r=J ~
JL4--------------------------~------LI--------------------------~----~1I
L L R L L R L L R L L R
19
H T S T 1-1 S 0 0 1·1 T S T H S 0 0
J " I
~ ~ J ~ ~ j J ~ ~ j J ~ J j II
:%
L L R L L R L R L L R L L R L R
H S MB a H s 1\<18 a
~ ~ .~ ~ ~
=Q J L R R L
I
J J JrJ II
L R R L
S a a s a a
J ~ ~ 0/ J ~ j "J
JC% II
R R L R R L
Mongo Santamaria- Our First Meeting

Mongo Santamaria is one of my fri ends. The first time I met Mongo was at the Lighthouse in
Hermosa Beach, California. I was in high school; I used to ask cats in my neighborhood in
Norwalk for rides to the beach. It was a long way, so I gave them 50 cents for gas-hey, it was a
couple of gallons back then! I was a big fan of Mongo when
he played with Cal Tjader. The Lighthouse would let me and
my friends in for half price with student IDs. We'd sit in the
kid's section. We were in a big nightclub sitting on the side,
each drinking our soda with a cherry in it, and here's Mongo.
I mean, he was why I was there-Cal's band had Mongo and
Armando Peraza in it. We'd show up an hour early and I'd sit
and stare at all of those drums on stage. The first time I went
I brought a record and Mongo signed it. When he walked on
stage and started playing, I was in heaven!
-Poncho Sanchez
Mongo Santamaria and Poncho, July 1988
~ s a a
~
s a
~
a
~
iJ J
I
II " 0/ 0/ II
R L R R L R
H S S T H S 0 a H s S T H S a a
J ~ ~ ~ J ~ ~ ~ J j ~ ~ J ~ ~ ~
Ii L R R L L R R R
I
L R R L L R L L
II
H S a 0 H H S a a H
JQ J "
I
J ~ J ~ ~ ~ J ~ J ~ II
L R R L L L R R L L
~ H T
j
S a a s
~
a
~
a
~
H T S a a s 0 a
JQ J ~ J J ~ ~
j J-j J j j
II
L L R R R L R R L L R R R L R R
20
s 0 0 H T S
:Q Jr---.;;Jr--.....;;
:lr),..........;.;
J o II
L R L L L R L R L L L R
Basic Chachacha - "Two- point shuttle"

Poncho uses this bas ic conga groove when playing chachachd-he call s it the "two-po int shufOe."
.. •. , B T S 0 B T 0 0 B T S 0 B T 0 0
J ~ ~ j J ~ j i
J 1
" J ~ J J ~ ~
Jq 11: 1 :11
L L R R L L R R L L R R L L R R
There are many variations that Poncho uses for the chachachd. Some use two drums: the conga and the lumba.
Chachachd was first played only on the conga, but over the years the lumba has been added, especially in the Latin
jazz context.
By the way, here's your chance to practice the mini slap. Poncho got this "little slap" before the one open tone from
Mongo Santamaria-he would do it in the slower tunes like the "Cuajiras." This slap is played by the left hand,
within the groove itself.
Patterns tor Chachacha

B T s 0 13 T 0 Il T S 0 B T 0
J ~ ~ ~ J ~ J J ~ j ~ .J 1 J
J %11: 1 :11
L L R R L L R L L R R L L R
H T S T H T 0 H T S T H T 0 0
J ~ ~ j .J j J J j ~ j J J j ~
Jel l l: 1 :11
L L R L L L R L L R L L L R L
.. H
J J J
T S T
~
H
J
T
~
S 0
~ ~>,~ '- .J~

T S
J
T
j
H
J
0
~
0
I
0
~
Jq--.I: I" "R :1 1
L L R L L L R R L R L L R R
H T S T H T S 0 ,., T S T H 0 0 0
J ~ ~ ~ J ~ J J J ~ ~ ~ J ~ j ,J
- :11
Jel l l: 1
L L R L L L R R L L R L L R R R
H T S T H T S 0 T S T H S 0 0
~ ~ ~ J j ~ .>,~ '- v J ~ j ~ J " J J- 1
:11
Jcpd
L L R L L L R R L R L L L R R
.. •. . H T S T H T S 0 T S T 13 0 T 0
J ~ ~ ~ J ~_j-*liJ ,J=:J_~_~ J P ~
Jel l l: '- v :1]
L L R L L L R R L R L L R L R
21
H T S T H T SO T 5 TOO °
J'r--J':"-"'J--iJ J'r-- J;'-+J---':J; J J J J 1 B
JLlJI~I:____________________________s-dP~~______________
9J
- L____~______~:~
11
L L R L L L R R L R L R L R
~li
l l :~__________________~s-dP
~~__________ L1___~1_____~:11
L L R L L L R R L R L R L R R
...
L R L L R R L L R L R L R
JCiJI~I:--------------------------~--JI------------------------------~:~11
Ii T S T Ii S MB 0 H T S T H S 0 0
, ,-4
~JI~I:
Jr--J~~J --iJ Jr--JT-:;;;:J-.>r,. .; J J'r--J':'-';;"J--iJ J'r--J;;"'-";;;"J----;;;J
______________________________JI______________________________ ~:~I
I
L L R L L R R L L L R L L R R L
or L R
H'~.....;,.T_..;;5:,.........;,
T 5 _ _o
H'_-.;; ~-.;;;
o H_....;,.
T _...;5:,.........;,T H~-;;.
5 _...;T..--.;;
O
J- J J J J- J J J J- J J J J- J J J
JCiJlllil:------------------------------JI------------------------------~:~11
L L R L L R R L L L R L L R L R
JCiJlllil:----------------------~------JI------------------------------~:~11
L L R L L R R R L L R L L R L R
liT S T H S 00 H SST Ii S 00
_ ~J~--~J~~.,.J~-
-~~J~~J~~Jt~+~---.:;-~J::J~=~J=jJ~J~-J.:,-..;;;,.
J ----;;;J
JCiJ~I~I:----------------------~~
------JI----------------------~------~:~11
L L R L L R R R L R R L L R R R
L L R L L R R L L R R L L R R R
JCiJlllil:------------------------------JI------------------------------~:~11
L R L L R R R L R R L L R R R
J'~-J.;-.....;;;3-...;,J J'~-3T-.....;;;JO-..;;;J :'~I-':"J-...:3:""""":;JO JO·. .-.:;.3-...::;,,. -':;J

Jrj~~~I:~--------------------------~I----------------------------~:11
L L R L L R R L L L R R R L R R
22
°
. =rei-.c.,"- J__J-----'J'"---'"-J_ .•__I __J_------.J/-JLJ----'1JLJ_ LLJ •° ° °
0.1 T S T I<.I""""....,.
S _...;0i-....,O H T S
S1 ~J-----:;J
-.;;'-
'I r -
:11
L L R L L R R L L L R R R L R R
H T S T H S 0 0 H T S THO
~-"J____J--,"J,---,JL--L-J_L~ JYJ Jr--Jr-oTJ--iJ D JI°-~
Jci~I~I:--------------------------~
L L R L R
L L
I ------------------------~
L
L L R L L R R
:11
°
J J J J . r J J°
0.1 T S T H'I""""-...;
T _..;0'i-""'O Hr-...:,.T_...;S;...-......:,T H
JJJJJJJJ
=rei~I~I:------------------------------~I
L L R L L L R R
L-----------------------------~
L R L L R R
: 11 L
H T S 0 a s 0 0 H T S T 0
_~~J___J--,"J~~
I_ rJ J~~ ° °__~
J ~~J~J,~J~~J~J~__~II~
=rei-II: • .,;--- .- I .. :11
L L R R R L R L L L R L R R R
H T S 0 0 TOO H T sao S 0 0
~u
oJ J J J J J__L il'-----r-,_J'r-::J=~J~~-.J-J_ ...'I_
ll:~________________________~._________________________~~
r-.-"J=~Ji-D
. ;:. ....,~,
L L R R R L R L L L R R R L R R
L L R R R L R L L L R R R L R L
I< T S ° ° S ° ° 0.1 T S ° ° s °
Jci~,~,:~J=~J~=~J=~J~=_J~_L:
__J_~~J~~~I_L:
__~___J__J~~_.rCJ
~~~~_J--_-_-_-~~:11
L L R R R L R R L L R R R L R
H T S T H TOO H T S 0 0 T
,-...--~J~J",-----___J__.,"i-----"J,-----LJ
J J'r-- J':"--TJ-----:;J .rJ °
J
=rei~I~i:_____- -- -_____~i _____-- ~----~~----~-~
-----~
~_-_-_-_-_~~
:i l
L L R L L L R R L L R R R L R
Kids
I try to help kids when I can, When my band goes to a city, we visit a uni-
versity or school there. I do a workshop with the bands, giving them ad-
vice- "do this," "don't do that." We play tunes together-we all have fun
and learn from each other.
-Poncho Sanchez
23
H T S T H T 0 0 H T S T 0 0 0
Jq II:
J J j j II
I j j j J II
I j j J J j
:11
I
L L R L L L R R L L R L R R R
H T S T H T 0 0 1-1 T S T H 0 0 0
Jq-.I:
J j j j J J j j
I
J j j j II
I j J j
:11
L L R L L L R R L L R L L R R R
0 H T 0 1-1 T 0 T 0 1-1 T 0 H T 0 T
JQ-.r fl
I j J J J J J j
I•
I j j 1I
I J j J j
:11
R L L R L L R L R L L R L L R L
H T S T 1-1 T 0 0 ,-, T S T 0 1-1 T 0 0
J j j j J ~ j j J j j j
y I ::iJ ~ :11
JC1 II: I II
'" L L R L L L R R L L R L R L L R R
Chachacha Play-along
Play 36 rim e.\' (ad lib )
U-w
Piano and guiro H T S T 1-1 S 0 0 H T S T H S 0 0
8 J J j j J II
I j j J j j j
JQ I II: :11
L L R L L L R R L L R L L L R R
0 0 0 0 0 0 0
JI
II
I 1Ir--J .LJ- r--b I 'I •b ~ II
R R L R L R R
~"W~"W~"W~"W~"W~"W~"W~"W~"W~~
~
~
CthCKJrIll, Ce,~III, .. 11(1) C"L.ti3.tSIT.. (ZlJCC'thllll)
, ,
~
~
~ 1/4 cup vegetable oil 4 zucchin is, sliced 1/2" thick ~
~ ~a~;2a:~:se:~::d chicken :/;a::;r;rse:::~~::he cob, shredded fro m the cobs ~
~ 1 medium tomato, diced 1 cup water ~
~ 1/2 small onion, diced 1 8-oz, can tomato sauce ~
~ 4-8 cloves garlic 1 IS-oz. can chicken broth ~
~ Crushed red chile and/or diced jalapeno to taste (optional) ~
~ Heat a large skillet and add the oil. Add salt and pepper to taste and throw in with the meat. Cook until the meat ~
~ is browned, about ten to 20 minutes. Add the tomato, onion, and garlic and cook for eight minutes. Add the zuc- ~
~ chini, corn, and cilantro and cook for an additional five to eight minutes. Add the water, tomato sauce, and chicken ~
~ broth, plus the red chile or jalapello to taste. Bring the mixture to a boil and cook for 20 minutes. Let stand for ~
~ ten minutes before serving. ~
~~~~~~~~~~~~~~~~~~~~
24
Mambo
When Poncho plays mambo and moderate- to up-tempo Latin jazz, he uses the three-point shuffl e. Poncho also uses
the common two-drum mareha most of the time, different from the one-drum pattern that he plays, in ehaehaehd.
Mareha is a common term used by conga players, and refers to the "march" groove we most often associate with
the sound of the congas.
There are many variations in this mambo section. Here are some exercises to get you used to the hand movements.
Refer to the Notation I\ey if you have a problem with the sounds of the drums.
Preliminary Exercises for Mambo
H T s T H T S T
101~ II:
J J J I
J J J :11
l l R l l l R l
S T H T S T H
T <I: II:
J J J J I
J J J :11
R l l l R l l l
0 H T 0 H T
T¢ II: J J J '! I J J J '! :11

R l l R l l
S T H T 0 0 S T H T 0 0
JI II: II:
J J J J J J ~ J J J J J J~ :11
R l l l R R R l l l R R
0 S 0 0 T 0 0
JC¢ I I:
•I J J J J J J :11
R l R R l R R
S 0 0 s 0 0 s 0 0 s 0 0
JOI: II:
J •I . I J D ~ I
J •
I
•I J J J :11
R R R l R R R R R l R R
T H 0 T H S T H 0 T H S
Jn l: I I:
J J J J J I
~ I
J J J J J J
~ :11
l l R l l R l l R l l R
H T S 0 H T H T S 0 H T
T~: I I:
J J J J J J ~ I
J J J J J J ~ :11
l l R R l l l l R R l L
25
0 s 0 0 s 0
]nl~ I I:
J J J 'J - I
J J .I 'J - :11
R l R R l R
... ;
0 H T S 0 H T S
j j j
]C¢::II:
JrJ j j j
R
- I
.-Y J
l l l R
- :11
l l l
0 H T 0 0 H T 0
JC¢- IC J J J J
I J J J J - :1 1
R l l R R l l l
H T S T H S 0 0 H T S T H S 0 0
Jc¢=Il:
J J J J J ~ ~ J I
J J J J J J J J :11
l l R l l R l R l l R l l R l R
0 S 0 H T 0 S 0 H T
J_~ J J J J--1o
JC¢I~ J J J I
J :11
R l R l l R l R l l
H T 0 0 T S 0 H T 0 0 T S 0
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Mongo and My Son

As I got older and Mongo saw me at all of Cal's
Los Angeles gigs, Mongo and I became good
fri ends. After I got married, my wife Stella and I
would go and hear Mongo together. Once, when
Stella was pregnant, we went to The Pasta
House in East L.A. to hear Mongo play. We asked
him to touch Stella's stomach for good luck,
and I told Mongo that if the baby was a boy we
would name it after him. Well, Xavier Mongo Sanchez is my son. Every time Mongo and
I see each other, he sti ll asks, "How's the boy? I-low's Monguito?"
- Poncho Sanchez
26
Basic Mambo-"Three-point Shuffle"
1-I.,.-....;,1"_...;;,.s_...;,T I-I.,.-....;,T__O
;;,..........;;O 1-1 T S ° ° s ° °
r-m-I-....I I:----...J__J'----"J'"--..J. __JL-~J._. J. .--J'----r.l L
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I ~.....JT-_--"-J~
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l l R l l l R R l l R R R l R R
Flams are used in these grooves also, as well as in the chachachd and soloing. Sometimes Poncho foll ows a flam
with a stroke in either hand, and sometimes he just lets one note go by. In either case, the groove has to be re-
spected- it's what the dancers feel. Flams are llsed to thicken the groove and add taste and flavor. You can think of
the notes here as not being very close together, but more spread apart in order to produce a thicker tone.
Patterns for Mambo

I-I T S T I-I TOO H T S T H T 00
----,.-___J=-=J==:J==J-,J::-=C-r--:J=-:J--,-.I .J=--=.J=-=:J
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l l R l l l R R l l R l l l R R
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J J J J o °I
Jol: I I: • :11
l l R l l l R R l l R l l l R
l l R l l l R R l l R R l l R R
l l R l l l R R l l R R l l R R
H T OO
Ji-- J;,.--TI----;;J
• :11
l l R l l l R R l l R l R l R R
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0
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27
H T S T 1·1 T 0 0 H T S 0 0 s 0 0
J J j j J_' j j j LLJ I P - J j
-Inl~ II: I :11
L L R L L L R R L L R --
R R L R R
H T S T H T S 0 H T S 0 0 s 0 0
Jl ll: II:
J j JJ J j 0 - I J j j J •I J J J- :11
L L R L L L R R L L R R R L R R
Latin Drums All Over

Nowadays, you find Latin drums in
all types of music. Congas, tim-
bales, bongos, guiro, and maracas
have found their way into all styles.
It's good for us as musicians, and
good for everybody!
-Poncho Sanchez
Poncho with the University of Southern Californ ia Marching Band
~ H
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28
H T S T H S T 0 H
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L L R L L L R L L L R L L R L R
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R L R R L R L LRLLlR L R
29
~ 0 SOOTOO HTSTI-ITOO o
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L L R L R L L R L L R L L L R R
L L R L R L L R L L R L L L R R
:11
L R L R L L R L L R R R L R R
L L R L R L L R L L R R R L R
30
Clare Fisher-A Real Class Act
When I first joined the Cal Tjade r band, Lonnie Hewitt lVas play ing keyboards. 1Wo yea rs late r,
Clare Pischer joined the band. I had heard of Clare because of songs he had written such as
"Pensativa" and "Morning." I was impressed . He's ve ry health conscious and he's brilliant-a har-
monic genius. He speaks perfec t Span ish- he used to correct me because I'm "from the neigh-
borhood." I-Ie was in Cal's band in the 1960s, and then left for 16 yea rs. At first, we we re bumping
heads a little- I'm from the barrio and he's not. He'd be adding these augmented jazz chords and
I'd be asking him to play more tfpico-it's a "fin e line" because we we re both playing Latin jazz .
Pinally, we hit upon a happy med ium, and then Clare and I
started our own band, Salsa Picante. Just from being aro und
him every other day, I learned a great deal- I rea lly studi ed
with Clare. I heard some beauti ful melodies and harmonies
that ended up inspiring me when it was my tim e to do my own
albums. We recorded four albums togeth er with Sa lsa
Picante-we even wo n a Grammy together. Through five
yea rs together, I really grew musically, but Clare and I had dif-
ferences of opinion . One day, Clare said, "You know Poncho, I
think it's time you get your own band." After he to ld me that,
I drove home, not fee ling so good . I told my wife Stella how
upset I was, and she told me, "Poncho, maybe Clare's right!" I
sat down fo r a while and realized that they were both right-
and look what happened!
- Poncho Sanchez
Mambo Play-along
~
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:11
R L R R L L R L L R L L L R
Play 20 limes
H T S T H T 0 0 H T S T H T 0 0 (lit/lib )
J j~ j J j- j j J j j j J J J J_ :[I
II II:
0 S 0 0 H T 0 H T S T H T 0
J~ q J j J j
I
J j j j Play 16l im /!s
(ad fihJ
R L R R L L R L L R L L L R
PI1l\' 5 Iillle.~
H T S T H T 0 0 H T S T H T 0 a (ad lih ) 0 0 0 0 0
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:11
L L R L L L R R L L R L L L R R R R L R L
31
~~~~~~~~~~~~~~~~~~~~
~~ ClhLf; C0J1(S01:1L
.
~~
~ 114 cup vegetable oil ~
~ Salt and pepper ~

~ 4 medium-sized pork chops (include bones for flavor) ~
~ 1 medium yellow onion, sliced ~
~ 2 4-oz. cans Ortega Green Chiles, diced (or 8 whole New Mexico green chiles) ~
~ 4 cloves garlic ~
~ ~/~~~;;'c~pnr::~d~~~:,P:;~:~:~:~~I:e~;:~:::e~ed by hand ~
~ 1 cup water ~
~ 1 8-oz. can tomato sauce ~
~ Heat a large skillet and add the oil. Add the pork chops and then salt and pepper to taste; brown for ten minutes. ~
~ Add the onion, green chiles, and garlic. Cook for four minutes. Add peeled tomatoes, chile, watel; and tomato ~
~ sauce. Cover and simmer for 20 minutes. Let stand for ten minutes and serve. ~
~~~~~~~~~~~~~~~~~~~~
32
6/8 Rhythms
The rhythms of 6/8 that Poncho plays come from Africa and Cuba. These rhythms are deep and moving, and they
affect people in ways that Poncho sees every night when he performs. He learned how to play 6/8 rhythms from
watch ing and listening to great congueros li ke Mongo, Patato, and many others.
Once again, you'll find some standard patterns here and then variations on themes. The important thing to strive
for in this and the other sections of the Conga Cookbook is a deep groove with a warm, inviting sound coming from
your drums.
Preliminary Exercises for 6/8
~~ R
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0 MB 0 MB 0 MB 0 MB
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L L L L L L L L
0 1" 18 0 M M S
:q II: J J J J j J :11
L L R L R L
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33
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L R L R L R L R
A Big Surprise!
When I first joined Ca l
Tjader's Band in 1975, we
were playing in San francis co
opposite Tito Puente's band.
Mongo Santamaria was the
guest with both bands-so
now he wasn't signing my
records anymore! I was play-
ing with Cal on a very high
stage and all of a sudden I felt
someone grab my leg-it was
Mongo! After the set, we met
backstage. He told me that I
had his old job and that "hey
man, you're sounding good!"
-Poncho Sanchez
Basic 6/8
~ 0
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MB
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0 S 0 a a s 0 s 0 0 0 s
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34
Patterns for 6/8
5
0r-_"r-_--.;:;0 0r-_';:"O_---;:,5 0'r-_5:r_.:.;0 ° ° °
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05 ° 005 05 ° 00 S
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°
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L L R L R L R L L R L R L
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35
~
(;;) 0 MB s 0 0 o MB M s 0 0
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JC~~
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l R l R L R L L R l R L
Our Second Trip to New York City

We were taking a cab ride to The Vi llage Gate-Monday night, Salsa Meets Jazz. Man, we saw
this big, long line all the way down Bleecker Street. I asked the cabby what the line was for-
I thought it was for a movie or someth ing. We got to the front of the club and there was the
marquee, saying "Tonight Only- Poncho Sanchez Band." We almost died! And who was there
that night? Ti to, Manny, Patato, I{ako .. . all of our favorite guys.
-Poncho Sanchez
6/8 Play-along
Play 58 rimes
Jr--.;;;.)Br-"""°l J.r--..;;];...-.....,j J''''--JT_ _,:;.;).B _"':J:.;.1--..;;;j

S
m::J!·fF.a 0''''
1
JC~P~~I:~~~~·==~==~==~~I ~==~~==~·==~==~~:II
L L R L R L R L L R L R
000 0 o 17\ ((ld lib)
Jd- s-'- k'"¥-J>-S-~ -'--

1: ~: ~: I
J II
L L L L L L
R R R R R
36
~~~'W'~'W'~'W'~'W'~'W'~'W'~'W'~'W'~~
~ L))iGlf.MJI1 _:.Y'·II, Ct,.AJf· SAIlC'JI1 ~
~ Clam Sauce Linguine ~
~ E~7;:i:;~ive oil (enough to cover 114" in ~~ _~~pP:~:;:\ingUine ~
~ Salt and pepper 1 pat butter ~
~ 10 cloves garlic, diced Pinch of salt ~
~ 1/2 cup fresh parsley, chopped Cook the linguine according to the directions sup- §
~ 6 6-oz. cans chopped clams plied with the pasta, but before adding the linguine ~
~ 1 cup white wine to the pot of boiling water, add to the water the ~
~
1 28-oz. can whole peeled tomatoes olive oil, butter, and salt. When the pasta is al~ ~
~ dente, drain but do not rinse with cold water. Serve ~
~ 1 8-oz. bottle clam juice ~
~ with clam sauce. ~
~ Open all cans before you begin. Squish the tomatoes §
~ by hand, drain, and reserve juice. Drain the juice ~
~ from the canned clams and reserve. Heat a frying ~
~ pan over high heat, and then add enough oil to §
~ cover 1/4" of pan. Add salt and pepper to taste, plus ~
~ the garlic and parsley. When the garlic turns golden ~
~ brown, add the clams and mix well. Add the white §
~ wine and cook for two minutes, allowing the alcohol ~
~ to bum off. Add the tomatoes and clam juice. ~
~ Simmer for 15-20 minutes. ~
~~~~~~~~~~~~~~~~~~~~
37
Merengue
Merengue is a rhythm from the Dominican Republic. There are many ways to play merengue-shown here are the
ways Poncho plays this dance rhythm. Poncho really has one basic pattern that he uses. It may vary a little, de-
pending on the dancers.
In order to play these patterns, you'll need a stick to play the rims and heads of your drums. Hold the stick loosely
in your dominant hand-there is really no further technique to holding the stick, but you want to hold it tight enough
so that you can strike the rim or head, but not so tight so that the sound is choked. For the open tone, strike the
open drumhead as you would any other drum; for the rim sound, strike the rim as you would any other drum rim.
Poncho plays merengue on tumba, and when he plays the apanbichao (doub le-time feel for merengue), Poncho
adds the supertumba. Of course, you can use one or two drums if you wish.
The sound of the left hand on the tumba is more like a half open and half slap. Poncho uses the left hand to keep
time and fill in.
Apanbkhao
When the music really starts to get hot, Poncho's rhythm section goes into this groove-it's like a doubling up of
the tempo. Depending on how crazy and funky he wants to get, Poncho adds certain other sounds.
There's a line between 4/4 and 6/8-you can see it and feel it with the dancers-so the triplets in these patterns are
not really "pure" triplets. They fall somewhere in between the two time feels. It's hard to transcribe this notation,
so listen to the recording to get a good feel for it.
~ o T
J
0 0 T 0 0 0 0 0
=Q J II: •
I
•I
) j j LJ J J ) j :11 ~ ~ II
R L R L R R L R L R L R L R
0 T 0 0 0 0 0 T 0 0 0 0
3 3 3 3
=Q II: J
R
•
L
I
1
R
J
L
J
R
J
L
IJ
R
I
•
L
1
R
J
L
J
R
J
L
:11
0 T 0 S 0 S 0 T 0 S 0 S
3 3 3 3
=Q II: J
R
J
L
1
R
J
L
J R
J
L
J R
J
L
1 R
J
L
1
R
J
L
:11
38
Manny Oquendo is Boss!!
Timbalero Ramon Banda plays hard-and Manny plays hard, too. Ramon found these bolts for holding the bells on the
timbales-heavy-duty stuff. He gave Manny a batch of them when we went to New York. He saw them and the first thing
he said was, "Aww, these are 'boss'!" J mean, that's the way he talks. What I dig about Manny so much is that he plays
solid and real hard. He's right there every time-reallfpico. He doesn't play real fast but he plays with authority and a
lot of strength-real funky sounding, loose timbales. That's where I've gotten a lot of my timbale stuff. In the earl y days
he was with Eddie Palmieri's band La Perfecta-he played bongos, bell, and timbales.
-Poncho Sanchez
0 T 0 S 0 S 0 T 0 S 0 S
.I 3 .I .I
T~JL i
R
J
L
J
R
•
1
L
;
R
J
L
i R
•I
L
~
R
J
L
1 R
J
L
:11
0 H T 0 S 0 S 0 H T 0 S 0 S
3 .I
JIjI II·. J J J
R L
l
R
J
L
1 R
J
L
J
R
J J
L L
l r;
R L R
•I
L
:11
0 ,., T 0 S 0 S 0 H T 0 S 0 S
;
3 :I
JQ-d J J
R L L
4
R
•
1
L
;
R
J
L R
J H
L L R
J
L
1
R
•I
L
:11
Merellgue Play-along
Play 3 f;III(,S
0 T 0 0 T 0 0 0 0 0 T 0
JQ=u: J J ~ •I o=r'j Lj ~ JJ h lJ J- Lj.,~-~

R L R L R R L R L R L R L R L R L R
Play 15 fillll!.~
0 0 0 T 0 0 T 0 0 0 0
JI J J f II: J n j
".....-
n j Lj ~ J J ~]
L L R L R L R R L R L R L R L
0 0 0 0 0 T 0
Jr
,I 'f R IJ I I: J .P--.J .n
R R L R R L R L R R
Play -17 lilllCS

0 T 0 0 0 0 0 0 0 0
J~ L
J j
R L
JJ J
R L R
J:rI- ,I
L R
7 -R --r~
R L R
II
39
~~~~~~~~~~~~~~~~~~
~ P0SeL '1E ~
~ Salt and pepper ~
~ : ~:s~/;::t,P:~~r~:::~ cut into 1" dice (20 chunks) ~
~ 1 whole yellow onion, skinned ~
~~ =~
2-3 28-oz. cans hominy
~~
~ 1 28-oz. can Las Palmas Red Chile Sauce ~
~
:.II Fill a deep soup pol half full with water and bring 10 a boil. Add salt and pepper 10 lasle, plus the ~~~
:"II pork butt, beef foot, whole onion, several bay leaves (10 taste), and oregano (to taste). Cook for one I":
~ to two hours at a medium flame, or until the meat is thoroughly cooked. Add the hominy and chile. ~
~ Cook for an additional 15 minules and serve. ~
~~~~~~~~~~~~~~~~~~
40
Soloing
Soloing on congas is an art form which, in order for a player to develop, invo lves listening to the greats and their
solo styles, taking the time to develop your technique, and then develop ing your own styl es us ing both feel and tech-
nique.
Presented here are two solos played by Poncho. The first solo is in a chachachci groove, the second solo is in a
mambo groove. Before the second pi ece, you 'll find exercises to play to ready yourself for the full version.
You wi ll find within the solos a method of phrasing that Poncho and other congueros use. The heel-tip motion is
used extensively as a timekeeping movement, but also to keep the groove alive. These warm-up exercises below will
help you to loosen up and to develop the heel-tip motion.
Warm - up Exercises
I developed these exe rcises to help you to get the heel-tip motion together. Some of the exerc ises are straightfor-
ward and some require you to use your cou nting skills, as they involve odd note group ings such as fives and sev-
ens. I suggest the use of a metronome to help you to develop a good sense of time.
This first exercise invo lves 16th notes and 32nd notes. Take it at a slow tempo and strive for a feeling of a relaxed
fl ow in your wrists.
~~~
H
,;:::=:::::;H==T;:=:;;[
__
T~.L- ~JL- J~ ~_L- ~_L-~JL- ~JL-
t- I~
__ __ __ 11,;:::=::::;11=='
~_L- ~.~' ~JL- ~_L- ~_~~JL- ~.
I : _______________________________________________ ~~
;1'=::::::;T H.;:::=::::;II==';I'==T
__ __.J__ __ __ __ __
II.;:::=::::;H==';' ==T
__ _____
R L R L R L R L R L R L R L R L
H H T T H H T '" H ~I T T H H T T 11 H T T H H T T H H 'r or H ~[ " '" H
~ ___JJJJJ1LcLijj J j ~ J J J J LJ,--"-j~_IL-,,JL-".J-,J"-,"J,-J"-JJ,--,,-j~-,J,,--~
II :11 II
RLRLRLRLRLRlRLRLRLRLRLRLRLRLRLRL R
This exercise involves an interesting use of the slap-heel-tip motion. You can use the open stroke instead of the slap,
or alternate th e motions to get different sounds. fvloving the open or slap movement to different drums will also
open up your ears to diffe rent poss ibilities. Note that here you'll be playing sextuplets. Watch the motion of your
hands and strive for relaxed moti on and good sound.
~ s;:::==':;'==:;T==S
JJJ J
"';: :=='i:;:r=:::::;Sr=::::;H
J JJJJJJ
T;:::==S
:i;::=:;Hr==T
J
s',;:::==':;'==Tr==5
.. J J ..
~'JI~I:_______________________________________________
R L L R L L R L L R L L R L L R
H T S H T S H T S 6 H T S H T S 6H T S H T S 6 H T S
6
~JIL_J,"--LJ--"-J--"J~J~JIL-LJ--,,-J--,,J~J~J"--LJ--"-J--,,J:J__r:J~'-JJ,--J,,--r:J:J-,
II ---.J
L L R L L R L L R L L R L L R L L R L L R L L R
L L R L L R L L R L L R L L R L
S H T S H T S 1-1 T S H T S H T S H T S 1·1 T S H T
6 6 6 6
J J J J J J J J J J J J J J J J J J J J J J J J
II :11
RLLRLLRlLRLLRLLRLLRLLRlL
41
These next two exercises use odd note groupings to help you to develop the hee l-tip motion. You can develop the
motions effecti vely by beginning them on different parts of the beat-the odd groupings of fi ve and seven notes help
you to do just that. The use of a metronome here is advised, as you 'll want to make sure that you're playing the cor-
rect number of notes per beat.
This exercise invo lves the playing of 16th notes fo r one measure, foll owed by a measure of quin tupl ets. Maintain the
heel-tip motion th roughout the Quintuplets; do this by spli tting the heel-tip motion in two (between th e first and
second quintuplets and between the third and fourth Quintuplets).
~]CfI'~:I~J--,~~--~J--~J--~J~JL-~JL-~J~~J~~J__~J__~J__~J__J___~
H'F=f:!;::=:::i;T=::::::;T "'F=f:;::!=:::i;T=:::::;T H'F = H
:F=:i;T=::::::;T HF =!':;: !=:::::;T=::::::;T
HHT T HH T THH T THI'ITTH~I T T H

.; 5 .; 5
RRlLRRLlRRLLRRLLRR L l R
This exercise involves the playing of 16th notes for one measure, foll owed by a measure of septuplets. Maintain the
heel-tip motion throughout the septuplets; do this by splitting the heel-tip motion in two (between the first and
second septuplets and between the third and fourth septupl ets).
~ IIF =!';:!==T
. =Q-.r',-~J,----~
T==:i;T IIF=HF=T i;:::=~T IIF=!'i;:!=:::::;T==:i;T
J,-----"j,---....J,---..j,---....
. J ,...j ~J._---,JL-~J~~___.L5~
T T II II
H H T T H H '[' T H H T T H H T T H H T T H H T T H H "I' " II

7 7 7 7
J LL~-.n J JJJJJJJJ :[r II

R L R L R L R L R L R L R L R L R L R l R L R L R L R L R
Solo # I
o 0 0 0 s s
-9--r n-71-S-~-s-~~
R L R L R R R R R R R R
L L
]C
I
o
n
J- J- J- J J
0 0 0
J...........,J,.........;J~
~~==~~==~~==~==~c=~==c=~==~~==~.~=~--,
0
,.........;,U___
0
... L I J
=~
0 H T S T II~.....;S....._ O
;,..._.;,O
R L R L R L R L L R L L L R R
42
H T S T H T S T
J.....-J............
J.......J J.....-J............
J.......J
II
H T S T H S 0 0 H S 0 0
Jr-..J-J~
.. . .J. J
JJ""-........-J.,.....~J J""'-J"""""""J-J
II
H T S T H S 0 0 H T S T H S 0 0
JJ""-........
J-J.....-~J J-J.,.....~J
JJ""-........ J""'''''''''J-J.....-~J J.....-J.............J-J
II
H T S T H B T S H S 0 0
J.....-J............
J-J J.....-J.............J-Jr.~J J,....-J~J----.oIIJ
II
L L R L L L R R L L R L L L R L
H T S T H B T S B S BOB S
,..--3 ---, ,----3 ---, r-3 ----, ,----3 ---,
II
J 1'1 Jl 'I Jl 'I J) 'I J) 'I J) 'I J)
L L R L L L R R L R L L R L
B o B S B o B S B o B S
II
H T S T H S o B B B B 0 0 0 B B B B 0 0 0
II
J J J J o J I
Jj j j Jj j ,
Jj j j Jj j ,
L L R L L L R R L R L R L R R L R L R L R
B B B BOO 0 B B B BOO 0 T a a a a a S T a a 0 0 0 S
II JjjjrnyJjjjrnYIJjjjrnyJjjjrny
R L R L R L R R L R L R L L R L R L R L R R L R L R L R
o 0 0 0 0 0 S 0 0 0 a sao 0 a S a a a 0 S 0 0 a 0 S
J j j j r n f J j j j J""'-!!n!!!! ill f Jj j j J""'---I!!!!!J!!!!j rn y

II I
R L R L R L R R L R L R R L R L R R L R L R R L R L R
o 0 S a a a S a a 0 S a a 0 S 0 0 0 S 0 0 0 S 0 0 0 S 0 0 0 S 0
II
J J J j JJ JJ JJ J J J Jj j IJ JJj Jj j j J j j JJ j j j
RLRLRLRLRLRLRLRL RLRLRLRLRLRLRLRL
00 S 00 0 S S S S S S S S S SOT S T H B T S
II Jj j j Jj j j Jj j j Jj j j 1 J J J J J...--....J-J.,..-)f.. .J.
R L R L R L R L R L R L R L R L R L R L L L R L
43
H T S 0 o S o S 0 S o S
,....-- 3 -----, r---3--, ,....--3 - , r---3 ----, r---3----, r---3--,
II J 7 J J 'I JrJ I '1 Jl '1 JrJ '1 J '1 M "I J 'I JrJ
L L R R L R L R L R L R L
o S 0 0 0 0 H T S T H S o
.---- 3 - , ,....-- 3 -----, .---- 3 - , ,....-- 3-----,
II '1 ) '1 JrJ '1 J '1 JrJl '1 JrJ '1)J I J

R L R L L L L L R L L L R
H T S T H S o o H T 0 H TOT 0 H T 0 H TOT
II
J J J J o I J j j JJ j Jj Jj j JJ j Jj
L L R L L L R R L L R L L R L R L L R L L R L
o H T 0 H TOT 0 H T 0 H TOT o T S T H B T S
II
Jj j JJ j Jj Jj j JJ j Jj J J
R L L R L L R L R L L R L L R L R L R L L L R L
H T S T H S o M M M M M M
r--- 3 - - , ,....-- 3 ----, r--- 3--,
II
D J I '1 ~ J '1 J ~ '1 ~
L L R L L L R R L R R L R
M M M M M M S S S S
,....-- 3 -----, ,----- 3 -----, ,----- 3 -----,
II
'I ~ J 'I J JC:j 'I ~
R L R R L L L L L L
SHTOHTOT SHTOHTOT SHTOHTOT SHTOHTOT
II JjjJJjJj ~jjJJjJJ JjjJJjJj JjjJ~jJj

RLLR L LRL RLLR LLRL RLLR LLRL RLLR LLRL
SHTOHTOT SHTOHTOT SHTOHTOT SHTOHTOT
II JJJJ~jJj JjjJJjJj JjjJJJJj JjjJJjJj

RLLR LLRL RLLR LLRL RLLR L LRL RLLR L LRL
T S T H B T S H T S T H S 0 M M M S
r - - 3 -., .-- 3 ----,
II I '1 n J 'I JrJ -

L R L L L R L L L R L L L R R L R L
M M M S S H T 0 H TOT S H T 0 H TOT
,---3 -----, r-- 3 ----,
II
'I ~ J '1 JrJ JJ J J JJJ J J JJJJ JJJ
R L R L R L L R L L R L R L L R L L R L
o T S T H B T S o MOM
,....-- 3 ----, ,....-- 3 ----, .---- 3----,
II
J I~ 7 7 1> 7 .if/> 7 J 7 .ifJ
R L R L L L R L R L R L
44
o MOM 0 M o M 0 S S S
roo-- 3 -----, roo-- 3 -----, roo-- 3 -----, roo-- 3 -----, roo-- 3 -----, roo-- 3 -----, roo-- 3 -----, roo-- 3 -----,
II 't )l 't JrJ 't ~ 't JrJ1 't J 't Jr~ ,'t )l 't JrJ 't ~ 't JrJ2 't JrJ 't Jr~
s S S 0 0 0 H T S T H S o o
roo-- 3 -----, ,...-- 3 -----, roo-- 3 -----, ,...-- 3 -----,
II 't Jr)l 't bJ 't JrJ 't Jr)l 't JrJ 't bJ ,J J
L L L L L L L L R L L L R R
S S o o H T S T H S T T
II .,
J)j )rj 't JrJ1 , .J""""""J-j~J J"""""""'j"""'j........j
L R L R L L L L L R L L L R R
T 0 o H T S T H S o
II J)fJ $ 't bJ1, .J,..........J-j............J 0 J

R L L L L L R L L L R L L L
H T S T H S o S SO S S S S SO S S S
3 3 3 3
II J JJ j JJJJJ j J~~J~j
L L R L L L R R L R L R L R L R L R L
S S 0 S S S S S 0 S 0 S S S 0 S S S S S 0 S 0 S
3 3 3 3 3 3 3 3
II
J J J J J J J J J J J J ,J J J J J J J J J J J J
R L R L R L R L R L R L R L R L R L R L R L R L
S S 000 000 000 0 0 H S T H s o o
3 3 3 3
II
j j j J j J J J J j J J Ij
R L R L R L R L R L R L R L R L L L R L
H T S T H S 0 0 H S T T H S 0 0 H S TOO S 0 0
II J ~ ~ J J J J J ,J J J J J J J J ,J J ~ JJJ JJ
L L R L L L R R L R L L L L R R L L R R R L R L
Repeat and fade
T H S o o 0
J J J............J-""'-J J
H S S S 0 S
II II:
J J J J ----'l
:11
L L R R L L R R L L R R R L R R
Patato and My Hat

I was playing with Cal at the Irvine Bowl in Irvine, California. Patato was playing with the Tito Puente Band. I had been
with Cal for three years before I met Patato. At that time, I was just tuning my drums the way I liked. I asked Patato
how he tuned his drums, and he sat right down at my drums and tuned them. That's when I learned about the C-E-G
tuning. Well, we started talking. I was wearing a white hat just like Patato-I told him I'd seen pictures of Patato wear-
ing the hat, and he said he'd been wearing this style of hat for years. He asked to see my hat and told me I hadn't been
wearing it right. He motioned for me to follow him-to the men's room, right into a stall. What's going on here? He
started pulling toilet paper off the roll and putting it into the sides of the hat, to help it hold its shape. It was my first
lesson with Patato, and it was how to tune my drums-and how to wear my hat!
-Poncho Sanchez
45
Preliminary Exercises for Solo #2
These phrases represent some very important methods of phrasing that may come in handy when you tackle Solo
#2. Notice that even though you may not actually hear some of the strokes, they are th ere. Listen to the solo to hear
and fe el the sabor ("flavor"). Then, try to play the preliminary exercises first before going on to the solo.
Here, as well as in other solo phrases, you will find the heel-ti p motion as a timekeeping and ghost note device.
~ s H TOO
r tni--J J-LJ-'-~~__~:II
R L L R L
Poncho plays two very fast taps with left tip in the first four 16th notes of this phrase. They're almost like two fast
doubl e strokes.
T T S S S S S S S s
lC¢ I I: J .LZi~O_U--'-~""":11
LLRLRLRLRL
This is an interesting phrase, usi ng alternating single strokes beginning with the left hand.
~ ]1 II;
T
J •I
0 T
~
0
~
0
J CCJ
T T 0 T
J
0
~
0
~
T
~
T
J
0
J_C~
T 0
L R L R L R L R L R L R L R L R
0 T T 0 T 0 0 T T 0 T 0 T 0 T 0
J~J ~ J-rJ_~ ~ J J_ CJ J .I j
h
L R L R L R L R L R L R L R L R
A very rapid heel-ti p moti on is featured in this phrase.
H T S 0 H T S 0
I ll; II:
.r-J :J j) '!
r) J j) '! :11
L L R L L L R L
Even though you may hear only the open tones, the heel-tip articulati on is here, too!
0 H T 0 T 0
Jn l; I I: 'f J ~ Lr~ J :11

R L L R L R
Once again, the heel-tip arti culati ons are used for timekeeping and as ghost notes.
S H T 0 T 0 0 T 0 H T o
JI-r' "
I :J LJ :J J "I irJ ~- :J J J J :J
R L L R L R L L R L L R
0 T 0 T 0 T T S S s
JC'I J 7=l J :J :J :J .DJ-i~~ .trj)

L L R L R L L L L L
46
These are phrases where taking your time to work through the issues will really payoff. Th e heel-tip motion is used
in three different ways : in tripl et, eighth note, and 16th note phrasings . This all demonstrates how this motion is
utilized throughout this and many solos, as we ll as many other ways of playing.
0 0 rvl l3 T H T 0 T 0 S H T 0 T 0 T
~3~ 3 .I
II ~: II: '! 't

)l JJ j_ J---I J .0 J "
1 j ~ J J ~ '! :11
R L L R L L R L R R L L R L R L
T 0 0 MB T H T 0 0 T 0 H T 0 T 0
.I .1
j J J J U:J I J J Ij=:J J J_ ll J
1111: I I: ~ :11
L R L L R L L R L L R L L R L R
H T S T 0 H T 0
TIl: II: "r--J .>rJ '1_ 11 ~ j ~ J :11

L L L L R L L R
Here's a great phrase that allows you to work on your slaps!
T S S S S 0 H T S S S S 0 H T S S S s
JL~II:
J ZLO_ .o "
I
""
r;
J "
1 j ~ J .lJ_,,1J :11
L R L R L R L L R L R L R L L R L R L
Here, the slap, hee l-tip, and open sounds are used to create an elegant phrase.
T s T 0 T T 0 T T
" " S
" S 0
"
]nlm J ~ ~ j n - LJ J ~ J J_ J J "I ~ :11
L R L L R L L R L R L L R L R L
EI Maestro Tito Puente

Tito and I were partners-our bands played so many
gigs together all over the United States, we couldn't
help but become close. He'll always be "The Maestro."
I used to li sten to Tito's records when I was growing
up in Los Angeles. Every time Tito came to town, I'd
go and hear him. I really studied his playing. Eventu-
ally we became very good friends. I must have played
a hundred times with Tito.
-Poncho Sanchez
47
Solo # 2
Listen to Solo #2 on the CD before you try to play it in its entirety.
o T S T H TOO H T S T
J J J J J.,. . . ;,J,. . . .;,J---;;,J J"""";'J"""";;'J--;"J
I I
RLRL LL RR LLRLLLRR
HT ST HT OO HT S THTOO HT 5 T I-I T OO
]1~J_J~.J~J-LJ_J~J,~J~,1J~~J~J_-LJ~J~~J~J~J~J_[j:J
1 J J J J
L L R L L R R LLRLLLRR LLRLLLRR
T S T H T OO HT$THTOO HT ST H 0
J J J J J J J 1 J J J J J J J J 1 J J J J ",- J_--1~:_---'
L L R L L L R R l l R L l L R R L L R L L L
R
HT S T i \ 'l M M M 0 0 0 0
~11~J~-",--
J ~J~J~J~_J~~J~I~7~~~~~~~-~-~I~ ~~~~=N~~7~~~~~1
L LRLRLRL R R R R
)
~~
n n S HT O
7I---"~'-'-r-["1-7JL~!. ..J,----~
0 00
__ -.--".,---,J"---".~J J_J,_""=J==~,J,----,"';;'J'-,
· --------------~.----------~I--------------------~
TTSS S S S S S S
R l l R L R L L L R L R L R L R L
s s s T T S S S s s s s s
Jrill 7-
R L R
1
JJ J J 0
llRLR l R L R L R L R
o 0 0 o 0 S
JC r ~~ ~:--~--.-'I'l-j 7::l- r J 7 J 1
'1 ~~
R R L R L R R L R R
T 0 T 0 o T T o T 0 o T Tr--..;;0r--..;.
Tr--";;'
O
- 1
J J •I 1
J J JJJ •I JJ
L L R L R L R L R lRLRLRlR
L R L R L R L R L R L R L R L R R L
SS OO 00 S S 0 0 o 0 S S o 0 0 0
•
Jc"-'
J
R
J
L
1 .>r ,---
R
I - j -n___ 'f
~- .. =r:
L R L
J J
R L
J~J
R L
P
R L
I~ J ~_-+
. n--",-----
R L R L R L
s S 0 0 o 0 S S 0 0 o 0 o 0
Jc'J---J
R
J
L
J~J
R L
.n
R L
I ,,--J J
I -
R l
J~J
R L
n~
R
1 I
~
L R
J
L R
48
o T 0 HT S o
m
HT S
" '1
nJ I '1 I
m '1
J) _
R R L R L L R L L L R L
S S S S 0 0 o H TOT 0 S S S S 0 0
"
J J J J !t
-,
J !t
I
J I '7
J J J n J J J J J '1 J '7 J
R L R L R L R L L R L R R L R L R L
S H TOT 0 o T 0 H T 0 o T 0 TOT
II '7
J J J n J I ., JrJ ., J JJ J J I '7
J !t
I
J J J J J
R L L R L R L L R L L R L L R L R L
T S S
m .,JrJl~.
" L L L L L L L L L L L L
o 0 o 0 S H TOT 0 T T S H T OH T OH TO
3 3 3 3
" 7
., J J 1'1 J J J.J J J J I J .,J.JJJJJJJJJ
't
R L R L R L L R L R L L R L L R L L R L L R
H T S H TO H TO H TO H T S H TO H T S H TO
3 3 3 3 3 3 3 3
II
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50
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~
~ 1112 gallons water 1 cup fresh cilantro, chopped ~
~ 3 tbs. Knorr Suira Chicken Flavor Bouillon 112 cup all-purpose flour ~
~ 2 lbs. lean hamburger meat 1 cup long grain rice ~
~ 1 tsp. salt 2 eggs ~
~ ~ ::: :::~:rsalt ~ :;~:.e~~'~;i~:sslices ~
~ 112 cup onion, diced 2 medium zucchinis, I" slices ~
~ 1 medium tomato, diced 1 8-oz. can tomato sauce ~
~ 3 cloves fresh garlic, diced 1 tsp. oregano ~
~ Fill a deep pot with the water and add two tablespoons ofKnorr Suira Chicken Flavor Bouillon. Bring to a boil ~
~ and cook for 20 minutes. While the bouillon is boiling, prepare the meatballs. ~
~ Place the meat in a large mixing bowl and add the salt, pepper, garlic salt, one tablespoon of chicken bouillon, ~
~ ~~~:::::;o::e:~~l~~l:i:;'a~;:;t~::;t~;:,ice, and eggs. Hand mix all ingredients. Make eight to ten ~
~ Add the meatballs and then the vegetables to the simmering bouillon. Add the tomato sauce and 112 cup of ~
§ i§
rice. Bring to a boil and add salt and pepper to taste. Lower the heat to medium, cover, and let cook for 45
~ §
minutes. Serve with com tortillas.
~~~~~~~~~~~~~~~~~~~~
51
Recommended Recordings
Here are some great CDs from which you can learn so much about this music. Poncho has spent hundreds of hours
with these maestros, and he hopes you'll find a lot of sabor here, too!
Tito Puente: Top Percussion/Dance Mania (RCA Victor, #BCD 15687)

Tito Puente: Puente in Percussion (Tico, #TRLP-I011)
Both of these recordings were experimental at the time-no one had ever recorded these kinds of percussion al-
bums before. You can clearly hear Tito, Mongo, Willie, and Patato playing very authentic patterns and rhythms.
This is the way you want your drums to sound.
Cachao: Cachao y su Ritmo Caliente from Havana to New York (Caney, #CCD 501)
Listen to Tata Guines' great sound and solo ideas.
Candido: Brujerias de Candido (Tico, #TSLP 1142)
Listen to Candido s solo on the track uTake More Candi." I learned a lot from this solo, including how to phrase my
solo ideas.
Cal Tjader: Monterey Concerts (Prestige, #PCD-24026-2)
Listen to the great bongo solo on the track UTu Crees Que ''-powerful slaps! On the track uTumbao," listen to Mongos
great solo ideas, especially how he goes from 4/4 to 6/8.
Cal Tjader: Soul Burst (Verve, #V6-8637)
Listen to Patato s great sound and melodic playing.
Cal Tjader: Soul Sauce (Verve, #V6-8614)
Listen to Armando Peraza s great sound and style of playing.
Mongo Santamaria: Our Man In Havana (Fantasy, #FCD-24729-2)
This album contains the sound of the son, conjunto, guaguanco, rumba, baU, and charanga
Mongo Santamaria: Afro Roots (Prestige, #PCD-24018-2)
This album contains the sound of the son, guaguanco, rumba, and bata. I learned how to solo on a chachacha
(two-point shuffle) by listening to the track UMazacote. "
Tito Rodriguez: Big Band Latino (Palladium Records, #PCD-117)
Listen to the track UEsta Es Mi Orquesta''-this is a music lesson in itself.
Tito Rodriguez: The Best of Tito Rodriguez & His Orchestra Volume 1 (RCA, #3419-2-RL)
Heres more great Tito Rodriguez music to practice with and listen to.
Ray Barretto: Indestructible (Fania, #LPS 00456)
Listen how the band plays very tightly and together.
Ray Barretto: Carnaval (Fantasy, #FCD-24713-2)
This album contains the charanga and conjunto sounds, and also includes Chombo Silva on saxophone. Listen for
Ray Barretto s crisp and clean playing.
Willie Bobo: Uno Dos Tres 1,2,3 (Verve, #V6-8631)
Listen for Victor Pantoja s clean and crisp sound.
Eddie Palmieri: Sentido (MP, #MPPK-5-6251)
Eddie Palmieri: The History of Eddie Palmieri (vocals by Ismael Quintana) (Tico, #TSLP 1403)
Both of these are great records to practice with.
Joe Cuba Sextet: Diggin' the Most (Seeco, #SCCD-9259)
This is the first recording I learned to play with.
Papin y Sus Rumberos: Guaguanco Conjunto Guaguanco Matancero (Antilla, #CD-565)
Patato: Patato y Totico (Mediterrano, #MCD-I0065)
Both of these records have great rumba and guaguanco playing and singing.
52
REFERENCE/INSTRUCTION
BASS SECRETS LEGENDS OF LEAD
WttEIU: TOIHY'S H,,--'\') SrYUSTS GUITAR
Gel' TO TtlE BUlTo.\! iJ,\:E TilE BE.... OF 1"'UlVIEWS:
CHERRY LANE compiled I~}' jobll SI i.\' 1995-2000

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Randy Covcn, Tony Fr.lIlklin and Billy !'i hcchan. Thcy rcreal how thcv achievc thcir cxtraordinarv cr.lf!.
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Visit Chcrry Lane onlinc at www.chcrryl:lIlc.colII 11 0 1

NOTE-FOR-NOTE
TRANSCRIPTIONS
025(XHO; liest of'llic Marshall 'Ihckcr 11:.lrId .....................519.95 02506236 joe Satriani - 5 of the Bcstl\'ol. 2 ...................... $12.95
CHERRYLANE 02501:)57 Dare Matthews 8;ul(l -
Bcfore 'n llOSC Crowucd St reel~ ............................ 5 19.95
02507029 joe &llri:mi -
Fl}ing in a Ullle Drc:ulI ......................................... S22.95
from MUSIC COMPANY 0250 1279 Ihlre Matthews Band - Cr:lSh..
02500:;89 Dm'e Matthcws R:llIU - E\'el")lla)"
....... 519.95
................. 519.95
02507074 j oe Satriani - Not ofll 1is Earth ... .... ............... $19.95
02506959 j oe Salriani-
0250 1266 Da"c Matthews Bmu[ - Surfing with the Ali(,11 ........................................... 519.95
Quality in Printed Music Undcr ule 'llIllle :ulll Drc:1lI1ing .......................... 519.95 0250 1226 joe Satriani - 'lime Machinc 1 ............................ SI9.95
02500 131 Dm'e Malulcws/lim ReynOlds - 0250 1227 J oc Satrillui - 'lime Machine 2 .. ................... $19.95
Guitar Transcriptions iJl"e atl.llther c.ol1ege... .......................... $19.95 02500088 SCjlullllr.l - Against .... $ 19.95
025OM·H Alien ,\l1t J:ann - AI' "I1IO!ogy .................... $19.95 0250[ [95 Met:ll1k;1- Metallic l .. ..... 522.95 0250 1239 Sepullur.l - Arisc ... ............................................... $19.95
02500009 Bush - ncst of.. ........................... ....$19.95 02506965 Met:lllic l - ,.,Andjustice for All ......................... 522.95 02501 240 SCllUllu r:I - lIcl1cotUI the Rem'lins .. .......... SI9.95
02501 272 lIush - 16 Slone.. ...................... $21.95 02500070 Metal1ica - (;arage Inc...... ...... ... ......... ................. 524 .95 0250 lHS SCJltI]llIr.l - Chaos A.D. ........................................ SI9.95
0250 1288 Bush - R:17.orblmlc SuitC:l'-;C ............................ ....$21.95 025070[8 Metallica - Kill 'Em All .. ................. $19.95 0250 [24 1 Sel'lIltllr.l - Schi7.ophrcnia .................................. 519.95
02500 193 lIush - llle Science (Jf'l1ling..; ... .... $19.95 0250l H2 Metallil':I- Lire: Binge & Pllrge . ................... ...519.95 0250<)\ 88 1I(.~t nfthe Urian Setzer Orchestm ....................519.95
025()()()98 Coal Chmnbcr.... ............................. $19.95 0250 1275 Metallic l - l.oad .. ....................... 524.95 02500177 Sercndust.. ................................................. $19.95
02500 174 Coal Ch:ullhcr - Chamher Music ....... ....... ... ..... $19.95 025U7920 Melallica - Master of l'lIprel~ ............................ 519.95 02500 176 Sc\·('utlust - llollle .... .......... ................................... SI9.95
02500 179 Mary Challin C:u"pcntcr- 0250 1297 Metall ica - Heload .. ............................ $24.95 02500090 Soullly.. . .... $19.95
Authentic Guita r Style of.. . ...............................$16.95 Ul50iO l9 MetalJic:l- Hide ule l.ighlning. ...................... 519.95 0250 1250 Ill'St of Snuutlganlen ............................................. SI9.95
0250 1257 Faith No More - King for a Oa}J 02500279 Mela ll ict - S&M Highlights .. ........................... $24.95 0250 12.)0 Soundgan lcn - SupcnlllknowTl .......................... $19.95
Fool fo r :ll.ifclimc ................................................ $19.95 02;062 10 Metal1 im - 5 ofille IIcstl\'ul.1 ............................ $12.95 02500 167 Ill'st of Stl'1!ly D:Ul for Guit:U' .............................. SI9.95
02500 132 El"olutiun of t\ ."aI" F;!ctlln' .................................... $ 19.95 02506235 Metal[ icl -:; of the lIL'StI\'ul. 2 ........................... $12.95 02500 168 Sll'1!ly J)an's c, 1'('!ltcst Songs.. ... SI9.95
0!500 198 Best of Foreigner ....................................... 519.9; 0250 1555 lkos l ofStcrc Mol"SC... . ... .519.95 0250126J 'les!a - 'lime's Making Changes.. ........ $19.95
02;0 1242 Guns N' noses - Allthol0l:,')" .................................. 524,95 Ol500.W~ 07.zr Oshounlc - 02500 191) Ill'st ofl. .a kk Wylde................................. ............... $22.95
02506953 Guns N' nIlSl'S - mi 7.7~ lrtl of 0 7.7..................................................... .$19.95
,\ppctitc for Destruction .................... ................. 522.95 fIl50 1277 0 7.7.\' OshounlC- Bass Transcriptions
02501286 GUliS N' Roses l>i:Ul ' of OJ Madman .. . ....................... $19.95 0250<}()()8 lIest of Illlsh .. .5 16.95
Complctc, Volumc I ................... ............ ............... $24.95 0251.199B ()7.7.r OsbounlC - Songhtmk ................ ........... ... .524.95 02505920 lIush - 16 Stone . .... ............................ $[9.95
02501287 Guns N' ROSl'S 1.12507904 Oay Os!Joum cll{;mdy nhoads 0250(1)66 (;UII S N' Roses-
Complctc, Volullic 2 ............................................ 524.9; Tr ihute .. .... $22.95 t\ppctitc for Dt.'structioll ...................................... 5[9.95
025062 1I Guns N' nOSl~ - 5 of thc IIcst, Vol. ................. 512.95 025t.H}j I6 1':IJlOJ Itoach - Infest.. ..... $19.95 0250(}0 13 lIest (If 'l1le Dare Matthews I1:.Ulu ....................... 510.95
02506975 Guns N' J{OSl'S - GN' It J.k'S .................................519.9; 1125(Hl I9·l I'owenuan 5000 - 025059 11 Metallic:t - Mel:t1lic:I ............................................. $19.95
02500299 GUliS N' HIlSl'S - !.iI"C I~ra Tunight Illc Sta rs iteml !! ..................................... .$li.95 02506982 Mct:t1liC:I - ...Antl ) ustice for AII ......................... SI9.95
'87-'93 lIi ghlighl~ .................................................. S24.95 O!500025 I'rimus Antholo!,'y- 02500075 Met:liliC:1- (;ar.lge, Inc.................................. ...... S24.95
02)0 11 93 Guns N' RUSt'S - A-N ((;uitar/Bass) .................................................. 519.95 02507039 Met:IiIil': I - Kill 'Em All ........................................ $19.95
Usc Your illusion I.. . ................................. 524.9; 0250009 1 l'rimlls ,\uthology- 02505919 MetalIiCI- l.oali .. ............................................... 519.95
02501194 Guns N' noses- o-z (G uitarlllass) ..................................................SI9.95 02506% 1 Mctal[il'!l - M:l~ler of Puppets ... ......................... $ 19.95
Usc Your Illusion 11 ............................................... $24.95 Ol50 1l55 Rest of Joe Satri;rni ............................................... s19.95 02505926 Mctal[ic:l- Hclu;ul ................................................ S2 1.95
02500387 Best of llcart... ....................... ................. $19.95 02501268 J oe &lIriani ............................................................. S22.95 025070-10 Mctallic l - !tidc the Ughtlling. ............ $17.95
02500007 IIlllc - Cclcuril\' Skin ............................................$19.95 Ol 501291) J oe &lIriani - Crystal I'[:met .............................. 52-1.95 02500288 Metllli" l - S&M lI ighl ights.. ........................... S19.95
02501260 lIolc - tirc 11H'(lU ~h 'Illis .. .................... 519.95 02 500:)06 J oe Satriani - Engines of Crt.~l lioli ..................... $22.95 02505925 0 1.7.y OsbounlC -
02500024 ncst of l.cnn}, Kr.lI'itz ............................................s19.95 0250 1205 j oe Satriani - 'l1]e I~Xlremis t ............................... 522.95 Dial")' of a Madman ................................................ 517.95
02500380 Lenny Kr.lI"it7. - Grt.'!lt(:st Ili l~ ............ ............. .... $19.95 02500025 Primus AlIlholoJ.,,}' -
02;00.H5 l.ifchouse - No N'UllC I::tcc.. ..........................519.95 A-N ({;uit:lrlUass) .................................................. $19.9;
02500:-;62 Best of I.ittle Ill'!lt .......................................... ......... $ 19.95 FOR MOR E: IN FO RMATION, SEE Y OUR L OCAL M U S I C D E ALE R , 025(){)()<) 1 Primus Antho]u!,,}' -
025UI259 M;lchine llcoltl-ilurli Mr I~rcs ........................... 519.95 OR W R ITE T O: o-z (GuitarlUass) ................. ............................... SI9.95
02500 173 M;lchine llcold - 'Illc Burn ing Itcd .................... .519.95 025059 18 llest of Scl'ullur.I for lIass .................................. SI8.95
HA L - LEO NAR D ® 025059 17 1k.'Stuf Slllmtigarden .. ............................... ....$ 16.95
C ORPORA T ION 11 01
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GREAT STEELY DAN
"
BOOKS •
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MUSIC COMPANY
STEELY DAN'S GREATEST SONGS
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Parts not sold separately
ISBN 1-57560-363-2
o 3
02500278

Conga Cookbook Poncho Sanchez

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Conga Cookbook Poncho Sanchez

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, . • .

Poncho and Ramon Banda

I played a lot, jamming at Griffith Park here in L.A.-we

The conga or tumbadora originated as a musical instrume nt

The ngomo or palo drums are also used to

groups throughout nearly all of the country.

Modem Cuban Tumbadoras

The drum to be played is indicated by the placement of the notehead.

Conga, Tumba, Supertumba

The Sounds of the Drums

The Bass Tone

The Bass Tone

Tuning Your Drums

The Open Tone-Left Hand The Open Tone-Right /-land

The Muffled Tone

Right Hand Open Tone with Left Hand Resting

jl'/uffling on the t,'dge of the Drum

The Slap, Tapao, or Pop

The slap is a ve ry important part of playing congas. You need to de-

The Tilting of the Conga

0i-_~O __,''._--:,T S 0r-_~O __',.'_--:,T s

Mongo Santamaria- Our First Meeting

Mongo Santamaria and Poncho, July 1988

Basic Chachacha - "Two- point shuttle"

Patterns tor Chachacha

~ ~>,~ '- .J~

~ ~ ~ J j ~ .>,~ '- v J ~ j ~ J " J J- 1

J'~-J.;-.....;;;3-...;,J J'~-3T-.....;;;JO-..;;;J :'~I-':"J-...:3:""""":;JO JO·. .-.:;.3-...::;,,. -':;J

H T S T 1-1 T 0 0 ,-, T S T 0 1-1 T 0 0

Play 36 rim e.\' (ad lib )

Preliminary Exercises for Mambo

T¢ II: J J J '! I J J J '! :11

]nj~ II: 'J

Mongo and My Son

Patterns for Mambo

I-I. _....;,.T_...;S:,-.....;,T Ii T S ° 1-I._....;,.T_...;5,..·_-iT I-I,_~O_..:I;..'_.:;

Latin Drums All Over

Poncho with the University of Southern Californ ia Marching Band

JDI~ II: I :1]

B 1-1 TO O T 5 0 1-Ir-""""rT_ - ,5,:--...;T 1-1 T 5 0

9ir:!D 0 S 0 0 H l' 0 1-[ T S T II TOO 0

o SOO Tao T51' 1-I 1 ' 0 5 a

JOI: II: J -c::J J J J Jq J UJLJjJ

SOO H TO I-IT SOOSOS 0

J --"J,---J'"------r-'I ,J-----,"- J--"J-----.l~J J J J :11

JC¢:II: J--J~------,J~-.J-jr-::~J;'-_-~":';"J:::::.,_I_I...J--J~------"J~J J~------"J~:II

~ Salt and pepper ~

Preliminary Exercises for 6/8

II g II: J J 'I J j 'I I

0'r-"_~5r-_~0 O'r-_0T-_"::'S O'r-_,,;;Sr-_':';O ° ° 5

Ignl'"l:JO.J_____ ,--I--+J__J~_,,-J--r-- J-----"J"---..J. _ •.;--I--"J~-:'lTII--J"' ----1'~·~-__nll

II: J'r---":";J~"""J J~J'

O,-;;;;MB;;-..;;;O ;"Ii-";';;,'_.;;,S S,-..;;;",-,:;;.;m MT M:-'I 0

Our Second Trip to New York City

Jr--.;;;.)Br-"""°l J.r--..;;];...-.....,j J''''--JT_ _,:;.;).B _"':J:.;.1--..;;;j

000 0 o 17\ ((ld lib)

Jd- s-'- k'"¥-J>-S-~ -'--

JQ=u: J J ~ •I o=r'j Lj ~ JJ h lJ J- Lj.,~-~

Play -17 lilllCS

H H T T H H T '" H ~I T T H H T T 11 H T T H H T T H H 'r or H ~[ " '" H

HHT T HH T THH T THI'ITTH~I T T H

H H T T H H '[' T H H T T H H T T H H T T H H T T H H "I' " II

J LL~-.n J JJJJJJJJ :[r II

J j j j r n f J j j j J""'-!!n!!!! ill f Jj j j J""'---I!!!!!J!!!!j rn y

Ignl'"l:JO.J___ ,--I--+JJ~_,,-J--r-- J-----"J"---..J. _ •.;--I--"J~-:'lTII--J"' ----1'~·~-__nll