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The conga is a tall, narrow, single-headed Cuba n Drum of Africa n origin, probably derived from the Congolese Makuta drums or Sikulu drums commonly played in Mbanza Ngungu , Congo. A person who plays conga is called a "conguero". Although ultimately derived from African drums made from hollowed logs, the Cuban conga is staved, like a barrel. These drums were probably made from salvaged barrels originally. They were used both in Afro-Caribbean religious music and as the principal instrument in Rumba . Congas are now very common in Latin Music , including Salsa Music , as well as many other forms of American Popular Music . Most modern congas have a staved wooden or fiberglass shell, and a screw-tensioned drumhead. They are usually played in sets of two to four with the fingers and palms of the hand. Typical congas stand approximately 75 cm 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. Because congas are an understudied instrument, opinions vary on the names of the drums. Although 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. A sampling of current conga websites finds the following:
Conga players are called ''congueros'', while ''rumberos'' refers to those who dance following the path of the players. The term ''conga'' was popularized in the 1950s, when Latin Music swept the United States . Cuban Son and New York Jazz fused together to create what was then termed Mambo , but later became known as Salsa . In that same period, the popularity of the Conga 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 as ''boku'' used in his hometown, Santiago de Cuba. The word ''conga'' came from the rhythm ''la conga'' used during ''carnaval'' (carnival) in Cuba. The drums used in carnaval could have been referred to as ''tambores de conga'' since they played the rhythm ''la conga'', and thus translated into English as ''conga drums''. PLAYING THE CONGAS Strokes There are five basic strokes:
Also, to Bend The Pitch of the conga, a "conguero" 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. Rhythms Afro-Cuban and Puerto Rican There are various rhythms for the conga, the most well-known being the Tumbao . The tumbao rhythm is as follows: 1-2-3 1-2-3 1-2. Both of the 1-2-3's are played using muffled tones, and the 1-2 is played using open tones. This rhythm is commonly played on 1 to 3 congas, but has no true limit for the amount used. The tumbao is the most common rhythm in Salsa, Latin Jazz, Rumba, Chachacha, Mambo, and other similar Cuban or Puerto Rican styles. Some songs that include the tumbao or slight variations of the rhythm are:
Countless other songs use this rhythm. There is also the Bolero rhythm, which goes 1-2-3 1-2 1-2-3. Being very similar to the tumbao, it involves a minimum of two congas and can be heard on:
More complex rhythms can be heard in the music of Santeria and Abakua rituals, many of which also apply to the Bata drums, such as Guarapachangueo and Chacharo-kafun . In Cuba, variants of Guaguanco, Bembe, and Abakua change from province to province, so there is no true stating to what is or isn't correct. Afro-Dominican The Merengue rhythm, used in orchestral merengue, goes 1 2-1-2. It can also be heard as 1-2-1-2 1-2-1-2-1-2. Essentially, it is the rhythm of the Tambora applied to conga. This can be heard on Elvis Crespo 's ''Suavemente'' and Grupo Mania 's ''Me Miras y Te Miro''. Originally, this rhythm was derived from the Trap Drum ming of African slaves from various animist religions. South American The Cumbia rhythm, simple and slowly played, goes 1-2-2-1, also heard as 1-2-1-2. It can be heard in Fito Olivares 's ''Mosaico Fiestero'' and ''La Cumbia Sampuesana y La Cumbia Cienaguera'' by Ancieto Molino y Los Sabaneros. Other Genres There are many other kinds of rhythms for the conga. It is constantly applied in new genres of music, therefore taking up the rhythms of that specific style, such as Punta , Reggaeton , Brazilian forms such as Samba and Bossa Nova , and even Reggae and Country music. TUNING THE CONGAS Conga drums are tunable to different notes. The original drums were tuned by adjusting knots and tension ropes on the drumhead, or, where the drum-heads were tacked or nailed to the top of the shell, by careful heating of the head. Modern congas use a screw-and-lug, tension head system which makes them easier to tune (or detune). As was discussed above, terminology for the drums varies. Here, the naming system used is a composite of those mentioned before with those currently in use by major conga manufacturers. The drums are discussed in order from largest to smallest; the sizes of the drumheads given vary considerably by manufacturer, model, and style.
Tuning Systems Congas, being percussive instruments, do not have to be Tuned to any particular note in purely percussive settings. However, when playing with Harmonic instruments, they may be tuned to specific notes. Generally congas are tuned using the open tone (see above). 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 slaps pierce 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 difficult to go wrong with tightening the drum until it makes a pleasing sound. When two or more drums are used, however, there is much variation on which two notes are chosen. With two drums, it is not unusual to find them tuned a Perfect Fourth apart (the same interval used in " Here Comes The Bride "). Having three drums (typically the ''tumba'', ''conga'', and ''quinto'') invites experimentation and individual customization. Some ''congueros'' like using the Interval s of a Major Chord (e.g. F, A, C); some use the second Inversion of a major chord (eg. G, C, E); and some prefer a Major Second between the ''quinto'' and ''conga'', with a perfect 4th descending to the ''tumba''. Raul Rekow of Santana often plays five conga drums and choses to tune them to the opening phrase of a Latin tune he likes. FAMOUS CONGA PLAYERS
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