premel's scene....

Musicien percussionniste / Professeur de Percussion
Gilles Premel
34, rue des Sablieres
33800 Bordeaux France
Tlf: 06.66.44.26.43
e-mail: premelp@yahoo.fr


Musicien percussionniste spécialiste dans la musique afro-caribéenne, afro-brésilienne afro-cubaine et leurs sources africaines.e

Professeur de Percussion
Instruments pratiques : conga, bongo, timbales, bata, berimbau, timba, repinique, pandeiro, tamborim, reco-reco, chékéré, agogo, gan,cajon péruvien,cajon cubain, quijada, surdo, batterie.

C U R R I C U L U M V I T A E
Franco-américain, né le 01 septembre 1961 à Versailles.
Qualifications : Musicien percussionniste spécialiste dans la musique afro-caribéenne, afro-brésilienne et afro-cubaine et leurs sources africaines.
Chercheur : travail en cours sur les cultures Yoruba, Fon, Congo...., leurs transpositions en amérique latine et leurs métissages avec la musique occidentale du siécle dernier.


Experiences et formations

1975 : Conservatoire du 4eme arrondissement de Paris avec Francoise Gagneux, spécialisation batterie.

1976 : Ecole du cirque Gruss departement mime.

1978 : Diplomé du b.a.f.a, stage de formation avec le F.C.V.F. et le C.P.C.V. sur les Arts visuel. (resp. de stage R.robert.)

1979 : Percussions Congolaises avec Lucky ZEBILA au Centre Américain à Paris (croisement des cultures d'Afrique).

1980 : Percussions Traditionnelles Haitiennes et Cubaines avec John AMIRA au Naropa Center à Boulder Colorado USA.

1982 - 84 : Percussions Afro-caribéennes avec Allan SILVA et son C.C.O ( Celestrial Comunications Orchestra ) enseignera par la suite dans son institut I.A.C.P à Paris.

1984 : Percussions Traditionnelles Brésiliennes avec Bira ALMEIDA "Mestre accordéon" de renommé mondiale et instigateur de la Capoeira aux U.S.A. ainsi que directeur musical et compositeur du célébre groupe corpo santo à Sanfransico. Mestre AcordeonCapoeira Arts Cafe2026 Addison StreetBerkeley, CA 94704www.capoeiraarts.com - www.capoeira.bzSchool:(510)666-1255 - Home: (510)236-8901 - Cell: (510)325-4300MY BLOGhttp://capoeirabymestreacordeon.blogspot.com/Biralmeida@aol.com

1985 : Stage de Percussions Cubaines avec Jerry GONZALES ( Assistant pour les stages à Paris au centre de danse rue de Clichy )

1988-89 : Percussions Afro-cubaines avec LOS MUNEQUITOS de MATANZAS à Matanzas, Cuba. Diplome du 3éme cycle du CONJUNTO FOLKLORICO NACIONAL de Cuba, la Havane.

1989-90 : Percussions Cubaines avec Roger FIXI, apprentissage des tambours batas et du cycle Congo. info@ritmacuba.com




Exp�rience dans l'enseignement professionnel

1995- 98 : C.I.A.M . (Centre d'Investigation et d'Activités Musicales-Bordeaux) Professeur de Percussion Afro-cubaines et Afro-brésiliennes, instigateur du programme de percussions latines et de son Instrumentarium.

1997-2001 C.F.A.T. (Centre de Formation aux Arts Traditionnelles-Bordeaux) Professeur de Percussions Afro-cubaines et Afro-brésiliennes et Directeur de l'atelier de polyrythmie.

2001-2004 Conservatorio Josafat Roel pineda Lima, Pérou, résidence sur les percussions d'origines d'afrique de l'ouest en amérique latine et dans les caraibes, leurs influences dans la musique afro-péruvienne de ce siécle.

2002-2005 : E.N.M.D.T. (Conservatoire National de Danse et Musique GABRIEL FAURE - Angoulême) Professeur enseignant de Percussions Afro caribéennes et des musiques Latines en orchestre : projet de mise en reseau des C.N.R. et école municipale pour crée une passerelle musique latines pour jouer au festival de musique métisse à angoulême avec les élèves , les profeseurs et les musicien issue des continants de musique traditionelle et de leurs fusions .
les reseaux son toujour d'actualités. (E.M.val d'albret , avec le directeur bernard salles qui fait un travail remarquable sur le latine jazz) festival musik'arts.........cet été avec raoul de souza!

b.salle@wanadoo.fr

directeur de E.M. du val d'albret, jazz latine jazz !


Dans les groupes suivants :

- première partie à l'Olympia avec la batterie de samba axê dirigé par gilles pour l'ouverture du spectacle de Paul Mindi .

- festival de Jazz au dunois avec le C.C.O d'Allan Sylva
fcotinaud@free.fr

- Elaboration d'un bloco de samba pour le Mardi gras du carnaval de San Francisco invité par Bira Almeida, musicien, écrivain, chercheur et fondateur de W.C.A. (World Capoeira Association).
A partir de cette experience, il créa la première "batteria" de samba à Santa -Fé, Nuevo Mexico, U.S.A. ( banda girasol. ) Directeur, de "bateria" dans plusieurs écoles de samba en France: "Axê " à Paris, "Sarava " à Tours, "Macunaima " à Bordeaux, puis forme le groupe "Timbalada Urbana" ensemble éthnic-métisse.


- Musicien percussionniste du groupe TUPI-NAGO Samba- Reggae Band. Ce groupe a pris ses sources musicales dans la région de Salvador de Bahia, bastion de la culture afro-brésilienne. Ce groupe fut parrainà par Etienne Roda-Gil et Rémy Kolpa-Kopoul journaliste à "Libération" spécialiste sur la musique brésilienne. Tournée européenne et première partie d'artistes brésiliens tels que Joao Bosco, Caetano Veloso, Gilberto Gil.Puis production discographique du groupe sous le label Mélodie Music et caramba productions.


- Musicien percussionniste du groupe ILU-YENKORI , Tambours bata et chants dédiés au panthéon afro-cubain et yoruba ainsi qu'aux pays appartenant aux ex-royaumes du Dahomey, (Togo, Ghana, Bénin.). Cette troupe de danseurs, chanteurs et percussionnistes ont était parmis les premiers en France à promouvoir les cultures de ce panthéon.


Accompagnateur et formateur de la thématique Rythme et Famille , dans le mouvement des activités Reiki en Europe (Ibiza, Cologne) et au Canada (Vancouver). Il prend en charge l'aspect problématique du rythme dans le contexte de la dynamique de groupe dans les stages de formation des futurs maîtres en l'art du Reiki de Phillys ley Furumoto .


En 2000, intégré le groupe Lanaya à bordeaux. Avec un répertoire de musique mandingue, ce groupe comptait le soliste Ousseman souma de tambour et de danse issue du prestigieux ballet national JOLIBA. Gilles fait partie de ce groupe, en apportant le répertoire afro-cubain et afro-brésilien à partir desquels Lanaya evoluera vers une musique métisse. Changement marqué aussi par l'intégration d'artistes de différentes cultures tels que, Fato Camara , Mathias agbokou agbazea , José Hernandez, patrice banchereau :akpon.



Langues: Français
Anglais (2éme langue maternelle)
Espagnol , portugais


Discographie: " Désert Mirage ", CCO Alan Silva (Phonogramme)
"Dream off the Ground ", Future sound ensemble (Future sound ensemble)
" Petit avec des grandes oreilles ", Bill Baxter (Polydor)
" Tupi nago ", Tupi nago (Mélodie Music)
" son del solar" en production actuel .


concert jazz et fusion-wolrd jazz.
Maquiz'Art
Mairie - 27, avenue de la Bastide
24500 EYMET
tél. 05 53 23 82 37
fax 05 53 23 83 54
email : http://fr.f270.mail.yahoo.com/ym/Compose?To=maquizart@wanadoo.fr
web : www.maquizart.com

Projet Congo-fon-bata-cajon.

Ce projet est principalement concentré sur les insertions possibles de l'arara-fon et les rythmes de percussion du Congo dans l'héritage Afro-Cubain et la possibilité polyrythmical dans la fusion traditionnelle et moderne . Nous aborderons les systeme complexe des munequitos de matanzas, du quinto de Pancho quinto de clave y guaguanco et des papines. Comment chacun de ces groupes emploie les bata et l'arara et tout les autres Rythms comme introductions, ponts et canaux de shut ou d'introduction . Un des aspects sera les différents arrangements par les percussion d'utilisation dans ce répertoire. Par l'exemple : l'introduction des munequitos suivit de wala rythm du Congo virant vers la Colombie allant alors pour la fin de rumba- bata de Yambu avec un systéme d'arara du Bénin. C'est juste un exemple de la situation différente que vont approcher les arrangeur de ses groupes . L'autre systéme concernent l'afro-brésilien et les modéles orientés plus vers l'influence congo et bizzarement le senegal. jouer et interpréter le r�pertoire que nous allons voir devrez Concretement nous donner une introspection. agbadja, ogbahoun, afrekete, gangbo, kaka au sujet du répertoire de fon. Pour le congolais : walah, nzobi, wara, et les arrangements de l'okelé . des introductions mandinge , des coupures et certains de mes propres arrangements que nous allons jouers avec le directeur de emile biayenda des tambour du brazza dans le dernier atelier avec emile. Toute ces derniers sera instrumentalisé pour chaque joueur comme un systéme : joueur de l'exmple : un avec le cajon et deux Congas , et une serie de campanas, et un tambour ou batajon ou tambour bata. Ainsi le joueur peut aller d'un bembé et un toque silvé ou guarapachanga ou makuta de nouveau à la coupure de A et finir avec gangbo-baravento. J'espére que ceci a mis une certaine perspicacité au sujet du potentiel de l'atelier et du travail qu'il peut apporter à chaque neophit,plus d'information quant au rapport indéniable avec l'Afrique occidentale et toutes l' héritage lourd qu'elle nous ont inspirés. Mieux pour toutles dermothologist amoureux des problem de peaux .

premel gilles

esclavaves d'africain en occidant.

Influences ethniques au Cuba résultant de l'histoire du commerce d'esclaves africain à la source du Cuba : Sommaire par batadrums.com de la conférence c.1992 par des bonds Valdez, Ethnologue de l'académie cubaine des sciences Le tambourinage de Bata et d'autres aspects de culture africaine ont était apportés au Cuba par le commerce slave. Une variété de différents groupes ethniques ont était apportées au Cuba au-dessus du cours des centaines d'années, dans différentes proportions à différentes heures. Dr. Valdez a conduit la recherche pour identifier qui les groupes ethniques étaient les plus influents à Cuba à de diverses heures, et comment leurs religions ont était transformées au Cuba. Le yoruba, dont le bata bat du tambour est venu, n'était pas le groupe ethnique principal apporté au Cuba, mais leurs pratiques religieuses étaient finalement les plus répandues. Le commerce d'esclaves d'Afrique a commencé dans les milliers 1400s. tant d'Africains ont était apportés en Espagne et au Portugal, comme d'autres pays, avant qu'ils aient était apportés en Amériques. Dans le 1500s tout, au début de la conquête et de la colonisation espagnoles des Amériques, des Africains habitant en Espagne se sont appelés Ladinos. Latinos ont était apportés au Cuba au moins dés 1511-1514, certains comme esclaves et certains librement. Puisqu'ils ont su la culture et la langue espagnoles, ils pouvaient s'échapper aprés avoir étaité apporté au nouveau monde comme esclaves. esclavagistes ont décidé donc de commencer à importer des esclaves directement d'Afrique. Le commerce d'esclaves vers le Cuba a commencé plus tôt et a duré plus longtemps que dans le reste des Amériques des Caraïbes. Tandis que les Africains n'arrivaient pas aux ETATS-UNIS jusqu'en 1619, et au Brésil en 1538, ils ont était apportés d'Afrique au Cuba dés 1521. Le commerce fini aux ETATS-UNIS dans le 1860s et au Brésil dans le 1850s, mais au Cuba a duré jusqu'au 1870s en retard. Le Portugais a commencé à apporter des Africains au Cuba et l'espagnol suivi. Pendant une longue période, l'Espagnol n'a pas couru réellement le commerce - les esclavagistes la plupart du temps britanniques, français, ou hollandais étaient impliqués puisqu'ils ont eu des réglements t�t en Afrique. Le secteur géographique dont des esclaves ont était pris pendant le commerce d'esclaves était énorme. Ses limites nordiques étaient le Sénégal au centre de l'Afrique (lac Tchad) au Kenya. Ses frontières méridionales étaient une ligne le long des frontières méridionales de l'Angola, la Zambie, le Zimbabwe, et la Mozambique. Les gens ont était aussi bien pris des côtes et des régions centrales. De façon générale, le commerce esclave a eu comme conséquence approximativement 100 millions de personnes étant perdus sur le continent si on inclut les décés pendant des guerres commercer-connexes d'esclaves, des esclaves perdus pendant le passage moyen (à travers l'océan) et les ceux atterrissage vivant dans d'autres pays. Au moins 15 millions d'Africains ont débarqué vivant comme esclaves en Amériques pendant la période commerciale d'esclaves de totalité. [ pour la comparaison, aujourd'hui, en date de 1999, il y a plus de 100 millions de personnes au Nigéria, duquel environ 13 millions sont le yoruba. ] Le nombre d'esclaves débarquant vivant au Cuba au cours de toute la période (1521-1870s) était environ 1.3 million, presque un dixiéme de tous les esclaves en Amériques. Elles ont était apportées la plupart du temps dans les 1800s : Années ou nombre d'Africains débarquant vivant à Cuba par an 1521-1762 500 1763-1789 600 1790-1820 8.300 1821-1870s 16.700 Notez que les Africains ont commencé à arriver à Cuba prés du moment ou des tambours de bata ont était développés (bien que d'abord eux étaient la plupart du temps des groupes autres que le yoruba). Ortiz a écrit au sujet du bata au Cuba presque 100 ans aprés que les derniers Africains ont était apportés au Cuba, ou environ 3-5 générations plus tard. L o� les esclaves de Cuba ont était pris de dans fini changé parAfrique chronométré. Il y avait quatre groupes ethniques principaux qui ont expliqué la plupart des Africains apportés à Cuba : Bantou, yoruba, Ibo/Ibibio/Ijaw, et Ewe/Fon. Les nombres de ces peuples présentés au Cuba étaient : Le nombre de groupe d'Africains a débarqué au Cuba pendant le commerce slave Bantou 400.000 Yoruba 275.000 Ibo/Ibibio/Ijaw 240.000 Ewe/Fon 200.000 D'autres 185.000 Bantou : Les peuples de Bantou, des sud de l'équateur, étaient les plus influents au Cuba et toute l'Afro-Amérique. Les deux sous-groupes principaux étaient le Bakongo (Angola nordique, Zaïre méridional, et Congo méridional), et l'Abudu (l'épellation ?) d'Angola et région du Zaïre. En outre, des secteurs orientaux les sud de l'équateur étaient le Makua (l'apellation ?) de Mozambique. Ils, particuliérement le Bakongo, ont formé la religion Palo Monte qui survit au Cuba. Ils ont était présené tout au long de la période du commerce slave. Yoruba : Les personnes de yoruba étaient le deuxième groupe ethnique principal apporté au Cuba d'Afrique. Elles étaient principalement de ce qui est maintenant le Nigéria du sud-ouest, et arrivé la plupart du temps pendant le 1820-1860s. Beaucoup ont était également apportés au Bahia, Brésil. Au Haïti, en revanche, le commerce slave avait fini en 1791 avec la révolution. Le yoruba a apporté les pratiques religieuses qui ont était façonnées en la religion appelée Santeria ou Regla de Ocha au Cuba. (l'Ijesha étaient un sous-groupe de yoruba du Nigéria du sud-ouest. Leur musique s'appelle maintenant Iyesa. Le Ketus étaient un autre sous-groupe de yoruba, d'un royaume occidental de yoruba à la frontière du Nigéria-Bénin est aujourd'hui. Beaucoup de Ketu ont était envoyés au Brésil et étaient la majorité de Yorubas dans le salvador. La religion Ketu Candomble est venue de leur culture). Ibo, ibibio, et Ijaw : Ces trois groupes reliés étaient le Nigéria du sud-est. A commencé à arriver au Cuba autour de 1762. Un sous-groupe de l'ibibio a appelé l'efik reporté au Cuba la seule société secréte africaine pour survivre le passage - la société secréte d'Abakua (qui n'est pas une religion intrinséquement). Ewe/Fon : Les personnes d'Ewe/Fon étaient du royaume du Dahomey, qui avait lieu en jour actuel Bénin. Le royaume de yoruba a attaqué le Dahomey et beaucoup d'ewe/Fon ont était apportés au Cuba 1750-1800. Le yoruba ont était affaiblis par ces guerres, bien que, et alors le Dahomey ait pris à beaucoup le captif de Yorubas et les ait vendues dans l'esclavage dans le 1800s. L'Ewe/Fon a créé la religion connue au Cuba comme Regla Arara, la plupart du temps dans Matanzas, mais cette pratique religieuse a était en grande partie assimilée par Santeria. Beaucoup de mélange ethnique et racial existé au Cuba. Dés 1526, un arrété royal a permis à des esclaves au Cuba d'acheter leur liberté. Les interactions entre les noirs libres, les Espagnols, les esclaves, et les divers groupes ethniques étaient fréquentes sur une longue période. Bien qu'il y ait eu plus bantou que le yoruba, la religion du yoruba est venue pour être la plus répandue au Cuba, en partie parce qu'elle était ouverte d'assimiler d'autres pratiques telles que Regla Arara et pourrait être pratiquée parallélement à d'autres traditions comprenant Palo Monte, catholicisme (généralement pratiqué par des individus parallélement la Santeria, mais pas tellement avec le consentement de l'église), spiritism, et adhésion d'Abakua. Voir également la cette autre page Web qui a une introduction à l'histoire de la culture de yoruba à Cuba commencé par le commerce desclavage. Soutenez une page de nouveau au Home Page : www.batadrums.com

bbanengola@mac.com

un batteur africain (batterie) pour ceux qui ont besion d'un grand !

un peu d'histoire.........

The afrocubanos drums. First in making a methodical analysis of the arisen instruments of African ancestry in Castilian Cuba it was Israel, that it publishes in 1927 "musical Instruments of the afrocubanos". Later, in 1952, Fernando Ortiz extended the information needing the origin such with "the instruments of the afrocubana music", that included 5 volumes. But before, in 1951 and under the title of "the white Transculturacion of the drums of the black", the same Ortiz made an excellent work on the created drums in our mother country by the afrocubanos. It had to go back to the primitive origin of such and following them in his evolution to arrive at his present appearance. Still it has not been left the birth of the drum clear, if in Egypt or Africa (black) or vice versa, where papyruses with black appeared dancing and touching to a drum (membranofono) in scenes of funerales of the dynasties from century XX a.C. At the beginning of the Christianity the drum was considered pagan and they were only used by the acrobats, vagabonds and those that conserved the folklore. Spain had drums introduced from Africa by the Arabes, berberes and Maurs, who in the conquest were taken by their troops, like those military of the Average Age which they introduced in the old continent the drums of great size, that they knew the sarracenos and these as well of the African. Reason why the Spaniards from before century XV used of "black" the military tradition the cavalry timbals, that consisted of drums of two boxes taken by animals of load in the battalions, of they passed them there to the real cuts and all class of civil and religious ceremonies. Nevertheless, the atambores, as the drums of a single box were called, from century XIII were instruments of cortesana music. The first news that is had of the drums in Cuba is reflected in a act of the Havanan town hall of century XVI, where they name Juan Emberas, receiving 36 ducados annual ones to touch the drum as soon as saw a at sight ship, "from the rock where in 1590 the Castle of the Nose was raised" (Natalio Gallant, Cuba and his sones). That type of drum arrived with the first Spanish military contingent at the island. But already our natives counted between their musical instruments with a drum idiofono, as Gonzalo wrote Fernandez of Oviedo in 1851, "done of round, hollow a log, concavado, and as heavy as a man and more or less (...) she sounds like the deaf atambores that make the black; but they do not put leather to him, but holes and rays that extend to the hollow (...) the atambor have to be thrown in the ground, because having it in the air it does not sound ". To this one Orovio Helium in his Dictionary of Cuban Music it names "Mayohuacan" specifying that is a xilofonico drum that touched behiques (priests) and "percut�a with cleaning rods". Castilian it says to us that in 1839 Ezpeleta governor issued the order to offer free license to make musical instruments in the island, and there is that the African, - wildly transported to work as enslaved - imposes the greater influence in the creation of the Cuban drum. Although already percuta its drum in its earth, had in America that to reinventar it with wood and leathers that found, to be able to continue practicing its beliefs and to touch to him, to sing to him and to dance its Gods to him. A little before authorizing already had created them some, like the called drums of bantu origin of "Yuka" that are three (Box, Mule and Pipe); or those of origin dahomeyanos-will plow "Tahona", that accompanied to the variant by rumba that takes this same name; Don Ortiz mentions the Boca as membrafono of washed leather of used open box in "Oril� rituals (crossed in East)"; the "French Tomb" that introduced in the Eastern province the slaves who emigrated with their French colonos of Haiti with the drums Premier or Redubl�, Second and Bul� or Bebe', also the Tamborita or Cat� Tambora for the touch or dances Mazon; perhaps most important they have been those of origin yoruba, the so famous drums "Bata" that also are three: the "Iy�", "It�tele" and "Okonkolo" that we have seen that from 1930 Gilberto Valdés it took them to the orchestras in his "gross state". For that reason the honored writer Guillermo Goatherd Infant explains in the prologue of the fabulous book of Natalio Gallant "Cuba and his to us sones": "the African rythmical wealth became in America of great volume sonorous and the drums that speak yoruba turned Cuba in drums that sing Cuban with different voices: the bongo drums, the tumbadora and conga are drums that are in all the modern orchestras of jazz, dance of hall and dance hall, music of film, symphonic music and still in the music of camera - like in ` Ritmicas' de Rold�n, composed in 1929 (...) Those Cuban drums resonate in everything ` now disc music' ". After created the secret sect Abaku� (1836), of carabalé origin, they introduced to their rites a trio of called drums "Nkemo or Enkemo": 1 "Binkomé, Biankomé or Bincomé", 2 "Kosi Yerem� or Kuchi yeremi", 3 "Biapa or Obi-apa", that Castilian named Bencomo, Cosillerem� and Llaibillembi. Also it has each head or person in charge of something in the power his, like the Sese drums; Mpeg�; Ekue��n and Nkr�kamo. Of course most important it is "ekue" and the "Bonko" that does the times of Ekue in the Efik powers, that are not percuten but that rubs a rod that leans on the patch producing a rough sound. Most mysterious it is the "Bakri" done with a human skull that in some occasions replaces ekue. Perhaps they named to all their drums "bongo drum", of is there that she is born in the dawn of the century XX, the name that occurs him to most authentic and famous Cuban instrument which in this cycle we will tell him of the same one and of others more. Part II Conga, Tumbadora, Bongo' and Pailas. The target learned of the black some of its lewd dances, and for that reason to the vulgar language they passed the words nominative of dances and black instruments (bembe, cumbe, bongo drum, etc.) (Fernando Ortiz, the afronegrismos of our language, 1922) The instruments created by the afrocubanos in our mother country are varied to touch their religious music. In addition to the drums mentioned in previous Estampa, they constructed several types of marugas or maracas and according to the Dra. Sanjurjo, the afrofranceses black brought the "Marimbula" (not to confuse with marimba) that produces three or four notes emphasizing "the harmony with the low persistence of continuous" being used in the pop music; those of carabali origin created the "Ekon" species of cowbell; and between those of bantu origin the "Tingotalango" or "Tumbadera" stands out that Angeliers Leon in "Of the song and of the time" it describes like "a flexible branch, nailed in the Earth, that, been nauseated, puts in tension a wire or a cord that subjects of a vegetal lamina (yaguas) or of brass; this one goes fixes to the ground, covering a hole practiced in the Earth, to certain distance of the tensile arc ", the On guard vertical wire is struck with a wood in a hand and with the supported other in the bent rattan" the tension is modified and obtains sounds of different heights ". But the instruments of afrocubana influence that were constructed more were the drums that prevailed in the pop music, standing out the Conga, the Tumbadora, the Bongo drum and the Pailas. Perhaps due to the configuration and the name is confused the call Drum the Congo or Tumbadora with the Conga drum. As it indicates his name are coming from the Congo that is, of the Bantu Rule. The Congas calls like their prime brothers Yuka drums, are three: Tumba or Tumbadora (although for some it is Conga Under); Llamador or Conga (who is the intermediate drum) and Fifth or Requinto (this last one is smallest than it gives an acute sound, and he is the favourite for the improvisation). Facts of you almost always hurt and iron iron straps. Don Ortiz describes them like "of a meter of length, something abarrilados, opened with a single membrane of ox and fixes by clave�n". They are used in rumbas, specially in the street Guaguanco and the Congas, perhaps for that reason they gave name to this musical sort or vice versa. Of the Bongo drum Ortiz said in "Of the Rumba and the Bongo drum in controversy", in 1936, that "is a mulato instrument, very brown one, created by the Cuban genius (...) the bongo drum is creation of free Cuba", adding in the same paragraph: "it arises when mulata music, I generate of its Africa mother and her peninsular father, can alternate without esquiveces, protest right and already exhibit its values". The Dra. Perez Sanjurjo describes them like "two helmets done of wood, that are united by means of them, and that above have stretched leathers, and the sound removes to them striking the center or the edges to him. Different sizes are used, but generally one is of eight inches of side to side, and the smaller other of six inches (...) Those two drums are placed between the knees, with leathers watching at the front, being the great Bongo drum to the right of which it touches it and the boy to the left ". Shortly before being born the Bongo drum they had been created the Pailas, indispensable in all the sets or charangas that touches a Danz�n, that Gallant assures that they were reaffirmed from the Dance: "Sharpened in dominant tonic and and using, as much its skin in tension as the concavity of his pailas of copper". If the first Danz�n released Miguel Failde in the province of Slaughters 1ro. of January of 1879, with the title "the heights of Simpson", can be assured that the Pailas was already being used before that year, as Gallant says, "replacing t�mpani". In dictionary Orovio the Helium it has them like an instrument different from the Creole Timbals, but for me they are the same thing. The classic Timbal is a species of drum of a single patch, with metallic box in form of average sphere, that is touched both simultaneously with wood hammers with head surrounded in felt or leather or puffs up. The been born ones in Cuba are different. It includes/understands two metallic boxes with leather patches, united in the center by a metal foot. The greatest drum measures 14 inches and the other is of thirteen, this last one is placed to the left of which it touches it (just as the Bongo drum) and is struck with a twig of 12 inches in length, generally without surrounding nothing to him in its head. Possibly these Cuban timbals used the name of a type of frying pan that is called paila to him or of pailas of the sugar talents or the factories of salt, to differentiate them from the classic ones, or most probable it is than as the Cuban uses the word ` timbales' with double sense to indicate a part of the masculine genital organs, they chose to use the definition of ` pailas' to avoid malicia. In which yes it is clear Orovio is that it assures that arose like transformation from timpani within the Charangas that interpreted the Cuban Danzon. He grants the "seal to him of tipicidad", I I would also grant it in this case to the Bongo drum. By something Ortiz says that "it is in republican Cuba when has prevailed the bongo drum, that was not tolled in the Town halls ` of nacion', nor still nowadays repica in santerias of the Cuban paganidad" and the Dra. Sanjurjo it is emphasized that "he is indispensable in the Cuban typical sets". Part III - Him Maracas. He is peculiar to observe that percussion instruments like the redoblante and military, pandereta drum and castanet, did not arrive to work in urban popular sets and to become as indispensable as maracas, key, congas, etc. (Natalio Gallant, Cuba and his sones). Not only the drums were made by our afrocubanos and Creoles (who were used in the religious liturgies of first and in the popular orchestras of the seconds), also, as the Dr Crist�bal wrote Diaz Ayala in "Cuban Music, of the Areyto to the New Trova", were that the native ones or had between their instruments, in addition to the "Mayohuacan" - that are the drum hollowed without patches or membrane - and "sonorous olives", the "guamos or tubes of the called snail Cobo (Strombus Gigans), as well as whistles of stone and ceramics and until small flauta done of a bird bone" But most important, without doubt, of all the musical instruments used by this race criminay eliminated it was the Maraca, "done of calabazo or g�ira" that is as it says to Diaz Ayala "the only native instrument well, in addition to the human voice, that will accompany in these almost five hundred years to us to happen musical". In dictionary Orovio the Helium it appears the maraca in two classifications: the native and the Cuban. Of the one of the indocubanos ones he tells that "he is formed by two stems of mag�ey - thus with di�resis - (he plants, also called He toots), adhered, that contain piedrecillas in their interior". Of that he names Cuban says that "she is not native of Cuba, since he belongs to the universal maraquera family (...) the Antillean Indians sounded them in his musics". The Dra. Elena Perez Sanjurjo in its substantial book "History of Cuban music", wrote that the dry maracas "are g�iras that can be made oval or round and a handle is added to handle them better to them. When they are prepared to remove a strong sound to him and burdens, seeds of olives are put to them inside, and when they are wanted smooth sounds put pellets or small seeds inside to them "(That of the pellets and the seeds of haberselos olives has aggregate after the colonization, perhaps a little before using them for the pop music). In the tribes tainos only it could use behique, priest or bewitching doctor, for ` to communicate with deities that to him much later prosperidad' brought "is that they are used like rythmical instruments in the typical orchestras, being indispensable in the Rumbas, Congas, Boleros and Guarachas (...) the sound that are due to remove to them is equal to that they take the timbals when it is struck by the sides", specifies the doctor. Don Fernando Ortiz From century XVI, due to the shortage of musical instruments that were engaged in of Europe, they were begun to use the maracas in the catholic masses "next to other instruments created in the Island", as it explained angry the cronista Jose Maria of the Tower. In Cuba in addition a similar one in the rites of some sincreticos cults is used, like in Rule Ocha Yoruba-Lucumi the "Anaku�" (maruga metallic) and the "Agogo" that are bells to evoke to his "orishas"; ���igos-abakua constructed the "Erikundi" (sonajas); those of origin will plow-dahomey have another type of maruga call "Assongué"; and in the French Tombs of East they use a metallic class of maruga of cylindrical body with flat covers in the ends and a handle inserted in his central part, adorning with tapes multicolors, that are known him like "Chacha". The "Chekeré", considered exists sometimes in addition like a type of maraca, although its interior makes with guiro or great that must be dry and hollow, and unlike the maracas is empty (sometimes also it is created with a great pumpkin), the great loudness that removes to him when shaking it of different forms with the hands, is because a network or cord mesh becomes involved - excepting its ends - of that it has inserted cauris (snails). As of 1970 the Chekeré became very popular in the orchestras of the Island and as usual its tradition was exported. Reason why it is certain that in all Antilles where they inhabited tribes of tainos maraka or maraca existed or, but was the Cuban Creole the one that introduced the two in its native music, beginning by guajiros his guateques and including their urban orchestras. Part IV - Him Key, il Guiro, il Calabazo and il Cowbell. In this stage primigenia key, guiros and some atabal lent their logic, nonexisting rythmically in Europe, desarmonizando with melodia only that composed it (Natalio Gallant). In a paragraph of chapter II of "Music in Cuba", I move away Carpentier begins saying: "He is doubtless that, from very early, America began to create a music of very diverse expressions - in agreement with the put ethnic factors in presence". It is why I say that due to this musical restlessness and to the shortage of instruments that were engaged in of Europe, our Creoles had to invent the own ones, to be able to create music with "own appearance", as the same Carpentier called to him. "Cuba added to the keys, instrument originated in Havana, whose ` palitos sonoros' were, primitively, the wood keys or pins last that they were used in the assembly of the ships, according to has demonstrated Fernando to it Ortiz". And later Carpentier adds: "the rate of the keys as intelligently it has observed it Emilio Grenet, is the unique one that can always adjust, without variants, to all the Cuban types of melod�as". The Dra. Perez Sanjurjo says to us that "it is possible to be said that it is the instrument that directs the passages of the dancers", of his great importance in all created danceable rate in Cuba there. Gallant clarifies that he is at the end of the century XVII that the keys "added their timbre in the popular sets, when Havana began to define itself as an arsenal, where the enslaved black pleased of the sound of the pins of �canas that fixed maderamen of the boats as a nails". Reason why we confirmed that for the 1700 already the Cubans counted with three of their more original instruments: the keys and the maracas, in addition to the Guiro. In dictionary Orovio the Helium it says that the Guiro possibly comes from bantu music "although the idea that cannot be rejected the amerindian ones used it". Since we have observed in its work, to this instrument also it confuses it (as the timbals are interpreted that they are different from pailas), it wrote that calabazo or guayo has been called him, and in fact are different instruments. The Dra. Sanjurjo explains that the Guiro makes of guiro extended and dry, that deepens rays to the front in form of horizontal channels to scrape to him or to rub a metal or wood rod to him lasts. The sound with the metal is more vibrant and with the wood he is smoother. Of the other hand subjects by the thumb that is introduced in a hollow that is opened to him in the part of back. The executed sounds that take place the being, that is, when rubbing the rod among the canalitas of one or two millimeters of separation, must be combined with the blow of the keys. In some cases for want of keys percute by the part of back removing the sound from these. Of the Cowbell ���igo says to Ortiz "Creole imitation of the Ek�n", reason why they were the afrocubanos of carabali origin first in using it. "It is simply a cowbell of which the market hardware dealer sells for the cattle, whose bell has taken off him bandajo, and percute from the outside with one baquetilla of metal or wood is lasted". Ortiz also clarifies that it offers two different sounds depending the place by where is percutido: "high if in its narrower part, next to the handle or handle, and under if in its wide edge and perimeter of its opening". The Dra. Perez Sanjurjo specifies that sometimes "for Cuban rates two Cowbells are used, one great one and smaller other, than is placed in the edges of timbales.(...) She is an important guide for the other instruments of rates, since it controls to which take part in the sets ". In some places they name him to the same Bell, and others think that this one is different from the Cowbell. More instruments exist many than they are used in Cuban music but those that we mentioned to him are those of greater popularity within the native ones, including a Botija or Botijuela, that in its days was the instrument that replaced the low one. It consisted of a mud earthenware pitcher of which they concerned the oil "with a perforation or small hole in one of his sides, by which 1952 are blown, while with the movement of one of the hands introduced by the mouth, the sound is modified, that serves as support the rest of the set" (Ortiz, the instruments of afrocubana music). With reason Gallant said: "the facility of the Cuban to percutir in any surface and to obtain a dialogue between its fingers, a rythmical chachareo of a peculiar contrapuntastica consistency, the imagination working zones of the plane that imitate timbricos resistances, almost imperceptible, sometimes more obvious with the attack signs or smooth of the fingers; others, discover that the index of the introduced right hand in the neck of a bottle, whose joint grazes, with certain cleverness, the wood frame of a door, tries a sound amplified in the body of the bottle, resemblance to a pigrim's staff of bees in ideal choir for a low one without defining their harmonic center ". In order to finalize this cycle and by the importance of the same one, we will dedicate the next Stamp to him to the Three, the Cuban guitar. Part V - Il Three. To that guitar a modification as far as the refining has become him of its cords, and thus sharpening them in three prudent doubles, we have the Three (Dra. Elena Perez Sanjurjo, History of Cuban music). In Cuba musical instruments of percussion have been not only created, direct descendants of whom they were used in the African tribes, also we have a very Hispanic stringed instrument to which we named Three. It is derived from the Spanish guitar. The Dra. Sanjurjo explains that it is sharpened in "three prudent doubles", being the indispensable instrument to jointly accompany Cuban rates with the Spanish guitar. (one talks about to Are, the Guajira of hall, the Zapateo, etc.). "the Guitar when it is accompanying to Is Cuban (...) has a percutante function, leaving the Three it follows the melodico song adorning it with cadences and melismas" (Everything �sto said Carpentier before to it). It related in addition I move away Carpentier in "Music in published Cuba" in 1946, that the birth of the Three must to year 1562, when it becomes popular "Are of the MeTeodora", created by those blacks horras, Teodora and Micaela Gin�s, that founded on Santiago of Cuba one of the most famous and little orchestras of the time. "an interesting detail: his side it it seems to have lost two orders of cords, transforming itself into an instrument similar to the three, that still it is used deeply in the Cuban pop music. If the songs are of Spanish inheritance, the rasgueos are of African inspiration. Both elements, positions in presence, originate the Creole accent ". In order to corroborate his function in another one of his pages it says to us: "Thus, in They are Cuban, like in the Brazilian Samba, the guitars have one more a function percutante than melodica. The contrabajistas of street orchestras do not use the arc. Only the Three, derived from the old guitar of four cords, usually follow the song, adorning it with cadences and melismas "(Of it must here it have taken the Dra. Sanjurjo to enrich his wonderful book). And although I confess does not like Alberto Muguercia because I have realized that in some of its writings is omitted what it does not agree to him to the communist government of Cuba, (like in "Rita Montaner, brilliant interpreter of Cuban music", Bohemia magazine, 1978) and not to make just like he, we must use part of testimonies who says it gathered on the Three to extend this study: "the primitive ones were made with wood boxes of the used ones to package codfish. The arm was hard made of one more a wood and the cords of curric�n encerado. Nen� Manfug�s, almost legendary personage, touched it on 1892, by the streets of Santiago of Cuba, brought of Baracoa ". Apparently Nen� Manfug�s was very popular in the carnival of Santiago of Cuba from year 1892 where it executed "a rustic instrument of three prudent doubles and one called wood box three". In a magnificent page cybernetics (Web page) call Conclave of Rafael Figueroa Hernandez, narrates that the Three are a "... instrument derived from the guitar, that carries out the work melodica and of counterpoint to the voices and which more than no other exemplifies the traditional sound of Are Cuban". Following navigation cybernetics, I was a Musical Glossary in the Spanish the Country and elaborated newspaper with taken care of much by Carlos Galilea in which it says with property that the Three is the "Cuban guitar with three prudent sharpened steel doubles by fifth, which it is touched with a prong". Reason why I reach the African conclusion that the Three is the Cuban guitar with a noticeably Spanish influence in its texture and by the sound that removes to him. These instruments were used mainly in rural music in addition, they added the machete to him (that percut�an with a knife by the back of same and with a nail or the rod by the back); Jaws (that are the bone to maxilar superior or inferior of a load animal that moving or rubbing smoothly removes sound to him to the teeth when they hit to each other); "Grate" or tooth or tip of plow (for want of cowbell they removed a very similar sound to him percutiendo it generally with a nail from line). Also sonorous and rythmical elements have been seen in congas street of the Carnival and formerly in the Day of Kings like: The San martin (a simple affluent iron plate tempered bending that percute with an iron baryta only occurring two notes); Cake (drum similar to the big drum, but more gotten flat; Spoon (of that also they are used to eat, are made percutir on any wood surface); Drawer (preferably of codfish that replaces the drum for want of this one, percutiendo itself also with the hands); Frying pan (two small frying pans held to a wood frame to be able to support, percute with two cleaning rods or metallic rods or of wood). We cannot forget to the "adapted Chinese Bugle" to our music, as transculturada "Ortiz said" that it was introduced firstly in comparsas Asian of the Havanan Chinese district and around 1910, was taken to Santiago of Cuba "by the soldiers of Eastern the active army" to fall in love with congas like main element. It emits five notes of penetrating acute tone with gangoso timbre. Since they verify is doubtless the talent of the Cuban to create his own musical instruments and so many popular rates that they have given the return him to the world. Maria Algeria Vizcaino: Life and Builds

dg114@aol.com david's garibaldi's email for his wondreful work on ........cuban percussion with......mailto:with......mspirobata@aol.com michael spiro and jesus diaz.

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