Tiger Bill Reviews Conversations in Clave with Horacio El Negro Hernandez book and DVD from Alfred Publishing.

Conversations in Clave:
The Ultimate Technical Study of Four-Way Independence in Afro-Cuban Rhythms

Learn to Hear
El Negro tells us that coordination is more than just playing patterns, it's the ability to "hear multiple rhythms from multiple sound sources at the same time. This is, in fact, the key to high level drum set and percussion performance." I heartily agree. Although in the beginning you need to practice certain patterns to be able to develop four-way coordination, eventually you should get to the point where you can play absolutely anything that comes to mind. To that end, this book is divided into eight main sections and includes a 65-track audio CD. Let's check out each section, one by one.

Part 1: Fundamental Concepts of the Clave Rhythm
This section teaches the four basic clave patterns in Cuban music. It also explains the combination phrasing that El Negro plays so well (switching from four feel to six feel). This section breaks down these patterns so you can easily understand and practice how to superimpose duple and triple meter over an ostinato clave pattern.

Part 2: Achieving Dexterity With the Clave Rhythm
This section is further subdivided into two main sections:

1) Technical Exercises: Rhythmic Permutations with the Rumba Clave - Includes exercises to develop your coordination and musical phrasing. The clave is played with the right hand, hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to seven-note patterns). Reversing the hand parts around is also recommended.

2) Creative Exercises: Melodic Permutations with the Rumba Clave - Contains examples of how to treat the clave rhythm as a melody and play it using different sound sources.

Part 3: Fundamental Concepts of the Cascara Rhythm
This section covers the cascara, which is the basic "ride" pattern in Cuban music. In a percussion section, this pattern would usually be played on a timbale shell but drum set players could play it on a drum shell, cowbell, cymbal bell, etc.

Part 4: Achieving Dexterity With the Cascara Rhythm
This section follows the same structure as Part 2 except that it uses the cascara rhythm.

1) Technical Exercises: Rhythmic Permutations with the Cascara - Includes exercises to develop your coordination and musical phrasing. Cascara is played with the right hand, the hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to seven-note patterns). It's also recommended to reverse the hand parts.

2) Creative Exercises: Melodic Permutations with the Cascara. Four options are given for practicing this section:

3) Applications In Improvisation: This new subdivision gives you examples of how to improvise both the rhythmic line and the melodies.

Part 5: Fundamental Concepts of Afro-Cuban 6/8 Clave
This section follows the same structure as the prior clave and cascara sections except that it concentrates on the Afro-Cuban 6/8 clave.

1) Technical Exercises: Rhythmic Permutations with the Afro-Cuban 6/8 Clave - Includes exercises to develop your coordination and musical phrasing. Afro-Cuban 6/8 clave is played with the right hand, the hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to five-note patterns). Reversing the hand parts is also recommended.

2) Creative Exercises: Melodic Permutations with the Afro-Cuban 6/8 Clave - Four options are given for practicing this section using two of the most common Afro-Cuban 6/8 Clave patterns.

3) Applications In Improvisation: This subdivision gives you examples of how to improvise both the rhythmic line and the melodies.

4) Variations for 6/8 Rhythms: Variations of cowbell ride, bass drum, and hi-hat patterns for 6/8 rhythms. It's also recommended that you apply these to all of the previous exercises in this section.

Part 6: Advanced Systems
Introduces three- and four-limb ostinato patterns with a variety of rhythmic combinations, divided into 3 basic subsections:

1) Technical Exercises - Consists of preparatory patterns and combinations that will give you the coordination required to perform the more advanced exercises that follow.

2) System Exercises - Contains 15 examples of applying left hand variations to various ostinato hi-hat, bass drum, and right hand patterns.

3) Creative Exercises - The final part of this section gives you some tips on applying what you've learned in a musical way and shows you how to combine the previous 15 System Exercises with Melodic Exercise Master Sets (shown later in Part 8) for a thorough coordination study.

Part 7: Groove Transcriptions
These are transcriptions of some of Horacio's patterns offered as examples to help you develop your own grooves. Includes: 6/8 grooves for the drum set, Guaguanco, Mambo, Congo and Comparsas, Cascara, Macuta, Cha Cha Cha, Merengue, Songo, Mozambique, and a couple of grooves transcribed from recordings. Horacio explains that you should not "copy the grooves and leave it at that. You'll never reach your maximum potential as a player if you do not develop your own voice and style." Excellent advice.

Part 8: Supplemental Materials
The final section of the book is divided into three subdivisions, as follows:

1) Left-hand Variations: Master Sets - All variations, from one- to seven-note, are reproduced here for convenience in practicing. Also recommended is the application of these patterns to all of the systems in Part 6.

2) Melodic Exercises: Master Sets - All are reproduced here for practice purposes, along with the recommendation that they be applied to all of the systems in Part 6.

3) Selected Discography - A listing of selected recordings of Horacio appearing with such artists as Tito Puente, David Sanchez, Santana, Giovanni Hidalgo, Gary Burton, and many more.

The Conversational Bottom Line
El Negro's book/Audio CD Conversations In Clave is also available in DVD format, which are perfect together. The DVD allows you to see and hear what he's doing, while the book and accompanying audio CD breaks it down into easily digestible pieces. If you're an intermediate or advanced player who is interested in Afro-Cuban music, four-way coordination, or both, you'll be sure to find something of value here. Considering that the DVD retails for $29.95 and the book/audio CD retails for $26.95, you're getting a wealth of information for about the price of one professional drum lesson. In my opinion, El Negro has done a great job and Alfred Publishing deserves credit for releasing two more high-quality products for us DrumHeads to enjoy. Check them out.

Stay loose!

Tiger Bill

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