 | |
| Percussion instrument | |
|---|---|
| Other names | Tumbadora |
| Classification | Percussion |
| Hornbostel–Sachs classification | 211.221.1 (Directly struck membranophones in which the end without a membrane is open) |
| Developed | Late 19th century or early 20th century in Cuba |
| Related instruments | |
| Yuka,makuta, bembé | |
Theconga, also known astumbadora, is a tall, narrow, single-headeddrum from Cuba. Congas arestaved likebarrels and classified into three types:quinto (lead drum, highest), tres dos or tres golpes (middle), and tumba or salidor (lowest). Congas were originally used in Afro-Cuban music genres such asconga (hence their name) andrumba, where each drummer would play a single drum. Following numerous innovations in conga drumming and construction during the mid-20th century, as well as its internationalization, it became increasingly common for drummers to play two or three drums. Congas have become a popular instrument in many forms ofLatin music such asson (when played byconjuntos),descarga,Afro-Cuban jazz,salsa,songo,merengue andLatin rock.
Although the exact origins of the conga drum are unknown, researchers agree that it was developed byCuban people of African descent during the late 19th century or early 20th century.[1] Its direct ancestors are thought to be theyuka andmakuta (ofBantu origin) and the bembé drums (ofYoruba origin).[1] In Cuba and Latin America, congas are primarily played ashand drums. InTrinidadiancalypso andsoca, congas are sometimes struck withmallets, while in the Congos, they are often struck with one hand and one mallet.[2]
Most modern congas have a staved wooden or fiberglass shell and a screw-tensioned drumhead. Since the 1950s, congas are usually played in sets of two to four, except for traditionalrumba andconga, in which each drummer plays one conga. The drums are played with the fingers and palms of the hands. Typical congas stand approximately 75 centimetres (30 in) from the bottom of the shell to the head. The drums may be played while seated. Alternatively, the drums may be mounted on a rack or stand to permit the player to play while standing. While they originated in Cuba, their incorporation into the popular and folk music of other countries has resulted in diversification of terminology for the instruments and the players. In Cuba,congas are calledtumbadoras.
Conga players are calledcongueros, whilerumberos refers to those who dance following the path of the players. The term "conga" was popularized in the 1930s, whenLatin music swept the United States.Cuban son andNew Yorkjazz fused together to create what was then termedmambo, but later became known assalsa. In that same period, the popularity of theconga line helped to spread this new term.Desi Arnaz also played a role in the popularization of conga drums. However, the drum he played (which everyone called a conga drum at the time) was similar to the type of drum known asbokú used in his hometown, Santiago de Cuba. The wordconga came from the rhythmla conga used duringcarnaval (carnival) in Cuba. The drums used in carnaval could have been referred to astambores de conga since they played the rhythmla conga, and thus translated into English asconga drums.
Conga drums are classified according to their size, which correlates to their pitch: larger drumheads have a lower pitch and vice versa. Originally, drums were tuned by adjusting knots and tension ropes on the drumhead, or, more commonly, where the drum heads were tacked or nailed to the top of the shell, by careful heating of the head. Modern congas, developed in the early 1950s, use a screw-and-lug tension head system, which makes them easier to tune (or detune). This modern type of tension system was pioneered in Cuba byCarlos "Patato" Valdés and in the United States byCándido Camero.[3]
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Historically, terminology for the drums varies between genres and countries. In ensembles that traditionally employ a large number of drums, such ascomparsas andrumba groups, a detailed naming system is used, which has been taken up by major conga manufacturers. The drums are listed from largest to smallest diameter (drumhead sizes vary considerably by manufacturer, model, and style):
Inconjuntos that playson cubano, as well as incharangas and other ensembles where one or two congas were introduced to complement other rhythmic instruments, the drums are named like the bongos:macho (male) andhembra (female), for the higher and lower-pitched drums, respectively; an additional drum would be calledtercera (third).[4] These correspond to thetumba andconga in rumba ensembles. When thequinto is played byconjuntos it retains its name.[4]
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Congas, being percussive instruments, do not have to betuned to any particular note in purely percussive settings. However, when playing withharmonic instruments, they may be tuned to specific notes. Congas are often tuned using the open tone. In general, the particular note will depend on the make, model, and size of the conga drum. The drum should be tuned so that the bass tone resonates, the open tone rings, and the slap pierces through the musical mix. If the tuning is too loose, the bass and slap tones will sound "flabby"; too tight, and the drums will sound unnatural and "pinched". With a single drum, it is easy to tighten the drum until it makes a pleasing sound and then tighten a little more to reach a uniform desired pitch. It is very important to ensure that tuning is uniform around the drumhead, which can be checked by placing one finger pad in the center of the head and tapping the head near the edge above each lug location to detect any change, adjusting as necessary. Uniform tightness will help "let the drum speak".
Another important consideration is that head tension can greatly impact the ease or unease of the player, and generally a looser drumhead can lead to hand injury more than a tighter one, because a looser drumhead has less rebound and more muffling effect (hence potentially bruising joints and bones under spirited playing). Also, producing a crisp slap tone is nearly impossible on a loose head. During tuning it is suggested to "let the drum speak" and to conform tuning reasonably closely to the natural resonance (pitch) that the cavity of the drum interior presents. This resonance can be heard by singing or playing loud notes near the drum opening (this is true of tuning any drum) and noticing which pitch decays slowest - that will either be the fundamental (resonant) frequency or one of its simple overtones.
When two or more drums are used, there is the potential for more variation of which notes are chosen; however, tuning between or during compositions is rare in live performance. With only two drums, it is common to find them tuned aperfect fourth apart (the interval between the first two notes of "Here Comes the Bride") as is the tradition in western classical music for thetimpani. Having three drums (typically thetumba,conga, andquinto) invites experimentation and individual customization. Somecongueros like using theintervals of amajor chord (e.g. F, A, C). Some players use thesecond inversion of a major chord (e.g. G, C, E); and some prefer amajor second between thequinto andconga, with a perfect 4th descending to thetumba. Raul Rekow of Santana often plays five conga drums and tunes them to the opening phrase of a Latin tune.
There are four basic strokes in conga drumming:[4][5]
Other strokes can be used to enhance the timbral palette of the instrument. They are not used by all drummers, but have become the hallmark ofcongeros such asTata Güines.
Thedeslizado,moose call orglissando is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva or sweat, and sometimes a little coat of beeswax is put on the surface of the conga head to help make the sound.[7][8] The moose call is also done on thebongos.
Tobend the pitch of the congas, aconguero sometimes uses his elbow to shift around on and apply pressure to different parts of the head; this causes the note to change. This is not a traditional stroke, but it is common in modern salsa and rumba.
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Guaguancó uses three congas. The smallest conga is the lead drum known as quinto. The following nine-measure quinto excerpt is from the guaguancó “La polémica” byLos Muñequitos de Matanzas (1988).[9] This passage moves between the main modes of playing (A, B, C). The A section is the basiclock orride, as it is known in North America. It spans one clave (measure). An alternate phrase (B) is also one measure in length.Cross-beats, the basis of the third section (C), contradict the meter. By alternating between the lock and the cross, the quinto creates larger rhythmic phrases that expand and contract over several clave cycles. Los Muñequintos quintero Jesús Alfonso (1949–2009) described this phenomenon as a man getting “drunk at a party, going outside for a while, and then coming back inside.”[10]
The basicson montuno conga pattern is calledmarcha, ortumbao. The conga was first used in bands during the late 1930s, and became a staple of mambo bands of the 1940s. The primary strokes are sounded with open tones, on the last offbeats (2&, 2a) of a two-beat cycle. The fundamental accent—2& is referred to by some musicians asponche.[11]
1 e & a 2 e & a CountH T S T H T O O CongaL L R L L L R R Hand UsedKey: L: Left hand R: Right hand H: Heel of hand T: Tip of hand S: Slap O: Open Tone
The basic tumbao sounds slaps (triangle noteheads) and open tones (regular noteheads) on the "and" offbeats.[12] There are many variations on the basic tumbao. For example, a very common variant sounds a single open tone with the third stroke of clave (ponche), and two tones preceding the three-side of clave. The specific alignment between clave and this tumbao is critical.
Another common variant uses two drums and soundsbombo (1a) on the tumba (3-side of theclave).[13] For example:
1 . & . 2 . & . 3 . & . 4 . & . CountX X X X X Son ClaveX X X X X Rumba Clave H T S T O O H T S T H T O O Conga O O TumbaL L R R R L R R L L R L L L R R Hand Usedor1 . & . 2 . & . 3 . & . 4 . & . CountX X X X X Son ClaveX X X X X Rumba Clave H T S H T O O H T S H T O O Conga O 0 TumbaL L R R L L R R L L R R L L R R Hand Used
There is also thebolero rhythm that is used for ballads.[14] The conga part is similar to the marcha.
Beginning in the late 1960s, band conga players began incorporating elements from folkloric rhythms, especially rumba.Changuito and Raúl "el Yulo" Cárdenas ofLos Van Van pioneered this approach of thesongo era.
This relationship between the drums is derived from the style known asrumba. The feeling of the high drum part is like the quinto in rumba, constantly punctuating, coloring, and accenting, but not soloing until the appropriate moment (Santos 1985).[15]
In several songo arrangements, the tumbadora ('conga') part sounds the typicaltumbao on the low-pitched drum, while replicating thequinto (lead drum) ofguaguancó on the high-pitched drum. The quinto-like phrases can continually change, but they are based upon a specific counter-clave motif.[16] [See:"Songo Patterns on Congas" (Changuito).
Tomás Cruz developed several adaptations of folkloric rhythms when working inPaulito FG'stimba band of the 1990s. Cruz's creations offered clever counterpoints to the bass and chorus. Many of his marchas span two or even four claves in duration, something very rarely done previously.[17] He also made more use of muted tones in his tumbaos, all the while advancing the development of . The example on the right is one of Cruz'sinventos ('musical inventions'), a band adaptation of the Congolese-based Afro-Cuban folkloric rhythmmakuta. He played the pattern on three congas on the Paulito song "Llamada anónima."Listen: "Llamada Anónima" by Paulito F.G.
The conga repertoire includes many other rhythms found in genres such asdanzón,mambo andcha-cha-cha, as well as foreign styles that have adopted Afro-Cuban percussion such as Jamaicanreggae, Braziliansamba andbossa nova, and Americansoul,funk,Latin jazz andLatin rock. In the 1960s, the conga became a prominent instrument in Haitian popular music styles such askonpa,yeye andmini-djaz.[18]
Conjuntos and orchestras playing Colombian dance music have incorporatedcumbia rhythms, traditionally played on tambores known as alegre and llamador, to the conga drums. The standard Colombian cumbia rhythm is simple and played slowly; it goes 1-2-2-1, also heard as 1-2-1-2. In the Dominican Republic, the fastmerengue rhythm, which goes 1 2-1-2, can be played on the conga. It can also be heard as 1-2-1-2 1-2-1-2-1-2. Essentially, it is the rhythm of thetambora applied to conga. Inmerengue típico (orcibaeño), the rhythm is usually more complex and less standardized; it can range from simply hitting the conga on a fourth beat to playing full patterns that mark the time.
