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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".
279:, 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,
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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.
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1054:, 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.”
177:, 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 of
1128:
1 . & . 2 . & . 3 . & . 4 . & . Count X X X X X Son Clave X X X X X Rumba Clave H T S T O O H T S T H T O O Conga O O Tumba L L R R R L R R L L R L L L R R Hand Used or 1 . & . 2 . & . 3 . & . 4 .
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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. He also made more use of muted tones in his tumbaos, all the while advancing the development of . The example
1104:
The basic tumbao sounds slaps (triangle noteheads) and open tones (regular noteheads) on the "and" offbeats. 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
635:
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
365:
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
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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
876:): as implied by the name, this tone is produced by just touching the fingers or heel of the palm to the drum head. It is possible to alternate a touch of the palm with a touch of the fingers in a maneuver called heel-toe (manoteo), which can be used to produce the conga equivalent of drumrolls.
906:
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. The moose call is also done on the
1087:. 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 as
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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 fast
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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 a
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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 by
822:) or simply "muff": like the open tone, it is made by striking the drum with the four fingers, but holding the fingers against the head to muffle the tone. It can also be played with a cupped hand or the heel of the hand.
385:
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):
1129:& . Count X X X X X Son Clave X X X X X Rumba Clave H T S H T O O H T S H T O O Conga O 0 Tumba L L R R L L R R L L R R L L R R Hand Used
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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.
852:) variants, in which the playing hand briefly rests on the edge of the drumhead after the stroke, followed by another stroke with the other hand. When played at fast and short intervals, this is called
1447:
271:
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 traditional
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can be as small as 9 inches (23 cm). Since this drum is typically played while hanging from a shoulder strap, it is considerably shorter and narrower than a traditional conga.
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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
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1 e & a 2 e & a Count H T S T H T O O Conga L L R L L L R R Hand Used Key: L: Left hand R: Right hand H: Heel of hand T: Tip of hand S: Slap O: Open Tone
1170:. 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).
55:
1313:), 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.
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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” by
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Sometimes clave is written in two measures of 4/4 and the open tone of the conga drum are referred to as the last beat of the measure (see MauleĂłn 1993 p. 63)
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A pair of congas (front) with a pair of bongos (back) mounted on top. The combination of congas and bongos was pioneered by Cándido Camero in New York City.
169:(lead drum, highest), tres dos or tres golpes (middle), and tumba or salidor (lowest). Congas were originally used in Afro-Cuban music genres such as
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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 as
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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 of
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and other ensembles where one or two congas were introduced to complement other rhythmic instruments, the drums are named like the bongos:
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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 the
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Basic form of songo tumbadoras part. Triangle notehead: high-pitched drum slap; regular noteheads: high and low drum open tones.
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829:): played with the full palm, in a slightly cupped position, somewhat off center on the head. It produces a low muted sound.
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844:) involves playing an open tone while the other hand rests on the drumhead, which produces a higher pitch. There are open (
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1050:, as it is known in North America. It spans one clave (measure). An alternate phrase (B) is also one measure in length.
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Beginning in the late 1960s, band conga players began incorporating elements from folkloric rhythms, especially rumba.
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on the high-pitched drum. The quinto-like phrases can continually change, but they are based upon a specific counter-
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refers to those who dance following the path of the players. The term "conga" was popularized in the 1930s, when
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883:): played with the tip of the nails, usually finger by finger in quick succession, starting with the pinky.
696:. Raul Rekow of Santana often plays five conga drums and tunes them to the opening phrase of a Latin tune.
840:): the most difficult technique, producing a loud clear "popping" sound. The muted or pressed slap tone (
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Top: clave. Bottom: basic conga tumbao on one drum. S: slap, O: open tone, h: palm heel, t: finger tips.
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All modes of quinto in context. Quinto excerpt from “La polémica” by Los Muñequitos de
Matanzas (1988).
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Although the exact origins of the conga drum are unknown, researchers agree that it was developed by
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1042:(1988). This passage moves between the main modes of playing (A, B, C). The A section is the basic
493:(female), for the higher and lower-pitched drums, respectively; an additional drum would be called
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1277:. In the 1960s, the conga became a prominent instrument in Haitian popular music styles such as
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during the late 19th century or early 20th century. Its direct ancestors are thought to be the
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1222:('musical inventions'), a band adaptation of the Congolese-based Afro-Cuban folkloric rhythm
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1438:"Remembering Candido Camero, Percussionist and Afro-Cuban Pioneer, Who Has Died at 99"
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Playing three congas; one microphone is for the vocals and the other for the congas.
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811:, producing a clear resonant sound with a higher pitch than muffled and bass tones.
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Island Sounds in the Global City: Caribbean
Popular Music and Identity in New York
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to any particular note in purely percussive settings. However, when playing with
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1226:. He played the pattern on three congas on the Paulito song "Llamada anĂłnima."
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In several songo arrangements, the tumbadora ('conga') part sounds the typical
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Tomás Cruz developed several adaptations of folkloric rhythms when working in
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345:(carnival) in Cuba. The drums used in carnaval could have been referred to as
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rhythm that is used for ballads. The conga part is similar to the marcha.
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Conjuntos and orchestras playing
Colombian dance music have incorporated
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The conga repertoire includes many other rhythms found in genres such as
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clave. The specific alignment between clave and this tumbao is critical.
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This relationship between the drums is derived from the style known as
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origin). In Cuba and Latin
America, congas are primarily played as
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1547:"How I do the Moose Call on the Conga Drums - Glissando Lesson"
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664:) invites experimentation and individual customization. Some
1699:
Peñalosa, David (2010) p. 142-144. Redway, CA: Bembe Books.
1609:(Los Muñequitos de Matanzas) Qubadisc CD 9005 (1977, 1988).
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808:
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648:") as is the tradition in western classical music for the
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Peñalosa, David (2011: 86). Alfonso quoted by Peñalosa.
856:, which is often used to instill emotion in the dancers.
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Congas, being percussive instruments, do not have to be
1768:
Conga
Drumming: A Beginner's Guide to Playing with Time
1813:
41:"Tres golpes" redirects here. For breakfast dish, see
1869:
1320:
807:): played with the four fingers near the rim of the
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apart (the interval between the first two notes of "
1765:
1473:
Quintana, Changuito & Hidalgo, Giovanni (1997).
961:. Unsourced material may be challenged and removed.
680:of a major chord (e.g. G, C, E); and some prefer a
551:. Unsourced material may be challenged and removed.
1950:
1815:
1116:Another common variant uses two drums and sounds
333:used in his hometown, Santiago de Cuba. The word
2297:
799:There are four basic strokes in conga drumming:
1186:on the low-pitched drum, while replicating the
120:Late 19th century or early 20th century in Cuba
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313:fused together to create what was then termed
1906:
321:. In that same period, the popularity of the
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112:in which the end without a membrane is open)
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462:can be smaller than 10 inches (25 cm).
455:is typically around 11 inches (28 cm).
1920:
1913:
1899:
1735:. New York Folklore Society. p. 140.
1228:Listen: "Llamada AnĂłnima" by Paulito F.G.
398:can be as large as 14 inches (36 cm).
1814:Sanchez, Poncho; Chuck Silverman (2002).
1715:Cruz, Tomás, with Kevin Moore (2004: 25)
1021:Learn how and when to remove this message
611:Learn how and when to remove this message
2250:Classification of percussion instruments
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1577:"Conga Lesson - How to do a Moose Call"
1514:
1512:
1412:. Alfred Music Publishing. p. 17.
1200:"Songo Patterns on Congas" (Changuito).
692:, with a perfect 4th descending to the
14:
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1935:List of percussion instruments by type
1786:Salsa Guidebook for Piano and Ensemble
1758:Cruz, Tomás, with Kevin Moore (2004).
1640:Salsa Guidebook for Piano and Ensemble
1431:
1429:
1405:
1379:
814:Muffled, muted, closed of flesh tone (
353:, and thus translated into English as
30:For the music genre and ensemble, see
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1518:
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676:(e.g. F, A, C). Some players use the
1788:. Petaluma, California: Sher Music.
1766:Dworsky, Alan; Betty Sansby (1995).
1642:. Petaluma, California: Sher Music.
1509:
1488:
1450:from the original on 8 November 2020
1375:
1373:
959:adding citations to reliable sources
930:
652:. Having three drums (typically the
549:adding citations to reliable sources
520:
1479:. Warner Bros Publications. VH0281.
1436:Sanabria, Bobby (7 November 2020).
1426:
251:, congas are sometimes struck with
153:, is a tall, narrow, single-headed
24:
1729:Allen, Ray; Wilcken, Lois (1998).
1065:
258:
25:
2317:
1837:
1495:. Cengage Learning. p. 269.
1370:
1120:(1a) on the tumba (3-side of the
497:(third). These correspond to the
165:and classified into three types:
65:National Museum of World Cultures
2280:List of vibraphone manufacturers
1760:The Tomás Cruz Conga Method v. 3
1323:
1099:
1070:
935:
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448:to 12 inches (29 to 30 cm).
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325:helped to spread this new term.
232:origin) and the bembé drums (of
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1693:
1680:
1671:
1662:
1653:
1632:
1612:
1557:from the original on 2021-11-14
1232:
1158:pioneered this approach of the
1154:and Raúl "el Yulo" Cárdenas of
946:needs additional citations for
536:needs additional citations for
218:Cuban people of African descent
102:Hornbostel–Sachs classification
1931:List of percussion instruments
1844:Introduction to the Conga Drum
1818:Poncho Sanchez' Conga Cookbook
1686:Santos, John (1985). "Songo,"
1599:
1569:
1539:
1525:. Alfred Music. pp. 6–7.
1482:
1399:
1218:on the right is one of Cruz's
110:Directly struck membranophones
13:
1:
2285:List of timpani manufacturers
2275:List of marimba manufacturers
1382:"A History of the Conga Drum"
1364:
505:in rumba ensembles. When the
349:since they played the rhythm
2265:List of cymbal manufacturers
1638:MauleĂłn, Rebeca (1993: 63).
1033:
370:and in the United States by
317:, but later became known as
63:conga drum exhibited at the
7:
1803:. Redway, CA: Bembe Books.
1719:v. 3. Pacific, MO: Mel Bay.
1717:The Tomás Cruz Conga Method
1622:. Redway, CA: Bembe Books.
1476:Evolution of the tumbadoras
1316:
888:Glissando and pitch bending
10:
2322:
2270:List of drum manufacturers
2219:Indoor percussion ensemble
1870:Dr. Olavo Alén Rodriguez.
1040:Los Muñequitos de Matanzas
926:
712:
423:inches (30 to 32 cm).
40:
29:
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2196:
2168:
2045:
2008:
1941:
1928:
1872:"A History of the Congas"
1858:build your own conga drum
1133:
516:
302:swept the United States.
290:Conga players are called
131:
124:
116:
100:
90:
82:
75:
53:
1864:Percussion Conga Anatomy
1799:Peñalosa, David (2011).
1784:MauleĂłn, Rebeca (1993).
1204:
1145:
1126:
1093:
1079:conga pattern is called
850:tono tapado semi-abierto
1762:. Pacific, MO: Mel Bay.
1688:Modern Drummer Magazine
1522:Authentic Conga Rhythms
173:(hence their name) and
1922:Percussion instruments
1605:“La polémica” (1:57),
1489:Cook, Gary D. (2019).
1380:Warden, Nolan (2005).
1179:
1172:
1113:
1062:
774:Toque de punta de mano
732:Tono ahogado (apagado)
709:
368:Carlos "Patato" Valdés
268:
157:from Cuba. Congas are
36:Conga (disambiguation)
34:. For other uses, see
2170:Electronic percussion
1822:. Cherry Lane Music.
1344:List of conga players
1305:applied to conga. In
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1164:
1111:
1060:
767:Tono de talĂłn de mano
718:Strokes with one hand
707:
513:it retains its name.
337:came from the rhythm
266:
77:Percussion instrument
2197:Percussion groupings
2047:Unpitched percussion
1753:General bibliography
955:improve this article
646:Here Comes the Bride
545:improve this article
2229:Percussion ensemble
2209:Marching percussion
1952:Keyboard percussion
1876:www.afrocubaweb.com
1677:Evans (1966) p. 23.
1668:MauleĂłn (1993: 64).
1519:Evans, Bob (1966).
1492:Teaching Percussion
872:Touch or toe tone (
846:tono tapado abierto
842:toque tapado normal
783:. Fingernails tone.
409:is typically 12 to
126:Related instruments
50:
2224:Percussion section
1943:Pitched percussion
1878:. AfroCubaWeb, S.A
1849:2008-02-06 at the
1180:
1138:There is also the
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760:Tono bajo de palma
710:
700:Playing techniques
269:
48:
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2260:Percussion mallet
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1770:. Dancing Hands.
1742:978-0-9661472-0-9
1690:. December p. 44.
1532:978-1-4574-4593-4
1502:978-1-337-67222-1
1419:978-0-7390-3349-4
1031:
1030:
1023:
1005:
918:of the congas, a
848:) and half-open (
790:. Glissando tone.
753:Tono seco cerrado
739:Tono seco abierto
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620:
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595:
347:tambores de conga
149:, also known as
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16:(Redirected from
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1409:All About Congas
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1389:Percussive Notes
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1406:Kalani (2003).
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1307:merengue tĂpico
1261:, and American
1235:
1207:
1190:(lead drum) of
1148:
1136:
1131:
1130:
1102:
1097:
1096:
1073:
1068:
1066:Marcha (tumbao)
1036:
1027:
1016:
1010:
1007:
964:
962:
952:
940:
929:
890:
797:
748:. Pressed slap.
734:. Muffled tone.
720:
715:
702:
668:like using the
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363:
261:
259:Characteristics
195:Afro-Cuban jazz
107:
71:
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39:
28:
23:
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15:
12:
11:
5:
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2214:Front ensemble
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2015:
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1839:
1838:External links
1836:
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1607:Rumba Caliente
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1028:
943:
941:
934:
928:
925:
916:bend the pitch
889:
886:
885:
884:
879:Nails stroke (
877:
874:toque de punta
858:
857:
830:
823:
812:
796:
793:
792:
791:
788:Tono deslizado
784:
777:
770:
763:
756:
755:. Closed slap.
749:
742:
735:
728:
719:
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714:
711:
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698:
642:perfect fourth
619:
618:
533:
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372:Cándido Camero
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92:Classification
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2145:Temple blocks
2143:
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2019:
2016:
2014:
2011:
2010:
2007:
2001:
1998:
1996:
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1990:Tubular bells
1988:
1986:
1983:
1981:
1980:Tubular bells
1978:
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1848:
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1842:
1841:
1831:
1829:1-57560-363-2
1825:
1820:
1819:
1812:
1810:
1809:1-4537-1313-1
1806:
1802:
1798:
1795:
1794:0-9614701-9-4
1791:
1787:
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1779:
1777:0-9638801-0-1
1773:
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1705:1-4537-1313-1
1702:
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1648:0-9614701-9-4
1645:
1641:
1635:
1629:
1628:1-4537-1313-1
1625:
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1608:
1602:
1587:on 2012-08-27
1586:
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1198:motif. [See:
1197:
1193:
1189:
1185:
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1171:
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1163:
1161:
1157:
1153:
1143:
1141:
1125:
1123:
1119:
1110:
1106:
1100:Clave-aligned
1092:
1090:
1086:
1082:
1078:
1071:Clave-neutral
1059:
1055:
1053:
1049:
1045:
1041:
1025:
1022:
1014:
1003:
1000:
996:
993:
989:
986:
982:
979:
975:
972: –
971:
967:
966:Find sources:
960:
956:
950:
949:
944:This article
942:
938:
933:
932:
924:
921:
917:
912:
910:
905:
904:
899:
895:
882:
881:toque de uñas
878:
875:
871:
870:
869:
867:
863:
855:
851:
847:
843:
839:
835:
831:
828:
824:
821:
817:
813:
810:
806:
802:
801:
800:
795:Basic strokes
789:
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782:
778:
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771:
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583:
579:
576:
572:
569:
565:
562: –
561:
557:
556:Find sources:
550:
546:
540:
539:
534:This article
532:
528:
523:
522:
514:
512:
509:is played by
508:
504:
500:
496:
492:
488:
484:
480:
476:
468:
464:
461:
457:
454:
450:
434:is typically
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408:
404:
400:
397:
393:
389:
388:
387:
384:
380:
375:
373:
369:
361:Types of drum
358:
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78:
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66:
62:
57:
52:
44:
37:
33:
32:Conga (music)
19:
2306:Conga (drum)
2178:Drum machine
2089:
1970:Glockenspiel
1880:. Retrieved
1875:
1817:
1801:Rumba Quinto
1800:
1785:
1767:
1759:
1731:
1724:
1716:
1711:
1695:
1687:
1682:
1673:
1664:
1655:
1639:
1634:
1620:Rumba Quinto
1619:
1614:
1606:
1601:
1589:. Retrieved
1585:the original
1571:
1559:. Retrieved
1541:
1521:
1491:
1484:
1474:
1452:. Retrieved
1441:
1408:
1401:
1392:
1388:
1331:Music portal
1310:
1291:
1253:, Brazilian
1236:
1233:Other genres
1223:
1219:
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1165:
1149:
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1103:
1088:
1080:
1074:
1047:
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1037:
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1008:
998:
991:
984:
977:
965:
953:Please help
948:verification
945:
919:
913:
901:
897:
893:
891:
880:
873:
861:
859:
853:
849:
845:
841:
837:
833:
826:
819:
816:tono ahogado
815:
805:tono abierto
804:
798:
787:
781:Tono de uñas
780:
773:
769:. Heel tone.
766:
762:. Bass tone.
759:
752:
745:
741:. Open slap.
738:
731:
727:. Open tone.
725:Tono abierto
724:
693:
689:
685:
684:between the
682:major second
665:
661:
657:
653:
638:
634:
622:
607:
598:
588:
581:
574:
567:
555:
543:Please help
538:verification
535:
510:
506:
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486:
474:
472:
466:
459:
452:
431:
427:
406:
402:
395:
391:
376:
364:
354:
350:
346:
342:
341:used during
338:
334:
330:
295:
291:
289:
284:
280:
270:
215:
150:
146:
144:
2234:Drum circle
1882:19 November
1454:10 November
1349:Ngoma drums
1247:cha-cha-cha
1156:Los Van Van
1077:son montuno
1052:Cross-beats
866:Tata GĂĽines
832:Slap tone (
825:Bass tone (
803:Open tone (
776:. Tip tone.
674:major chord
489:(male) and
355:conga drums
300:Latin music
283:are called
242:Trinidadian
179:Latin music
83:Other names
2255:Drum stick
2160:Wood block
2135:Tambourine
2125:Snare drum
1995:Vibraphone
1395:(1): 8–15.
1365:References
1275:Latin rock
1271:Latin jazz
1259:bossa nova
1211:Paulito FG
1075:The basic
1011:April 2015
981:newspapers
898:moose call
601:April 2015
571:newspapers
479:son cubano
477:that play
392:supertumba
327:Desi Arnaz
323:conga line
285:tumbadoras
238:hand drums
211:Latin rock
96:Percussion
27:Cuban drum
2115:Mark tree
2080:Castanets
2055:Bass drum
2000:Xylophone
1985:Tubaphone
1856:Plans to
1287:mini-djaz
1192:guaguancĂł
1152:Changuito
1034:GuaguancĂł
903:glissando
894:deslizado
834:tono seco
827:tono bajo
670:intervals
666:congueros
511:conjuntos
483:charangas
475:conjuntos
396:rebajador
379:comparsas
304:Cuban son
292:congueros
187:conjuntos
151:tumbadora
117:Developed
106:211.221.1
86:Tumbadora
69:Amsterdam
18:Tumbadora
2300:Category
2204:Drum kit
2155:Triangle
2150:Timbales
2023:Steelpan
2013:Handbell
1965:Crotales
1960:Carillon
1847:Archived
1591:20 April
1561:20 April
1555:Archived
1448:Archived
1354:Timbales
1317:See also
1299:merengue
1220:inventos
920:conguero
864:such as
862:congeros
629:harmonic
460:requinto
432:tres dos
351:la conga
343:carnaval
339:la conga
308:New York
296:rumberos
294:, while
207:merengue
191:descarga
181:such as
2188:Octapad
2140:Tam-tam
2110:Maracas
2100:Cymbals
2095:Cowbell
2060:Bodhrán
2033:Timpani
2018:Handpan
1975:Marimba
1581:YouTube
1551:YouTube
1311:cibaeño
1303:tambora
995:scholar
970:"Conga"
927:Rhythms
820:apagado
713:Strokes
650:timpani
585:scholar
560:"Conga"
495:tercera
467:ricardo
443:⁄
418:⁄
407:salidor
253:mallets
245:calypso
163:barrels
139:, bembé
2105:Djembe
2085:Claves
2070:Cabasa
2065:Bongos
1826:
1807:
1792:
1774:
1739:
1703:
1646:
1626:
1529:
1499:
1416:
1359:Tumbao
1294:cumbia
1251:reggae
1239:danzĂłn
1224:makuta
1188:quinto
1184:tumbao
1140:bolero
1134:Bolero
1089:ponche
1085:tumbao
1081:marcha
997:
990:
983:
976:
968:
909:bongos
854:floreo
838:tapado
686:quinto
662:quinto
660:, and
587:
580:
573:
566:
558:
517:Tuning
507:quinto
491:hembra
453:quinto
281:congas
234:Yoruba
226:makuta
167:quinto
159:staved
137:makuta
2243:Other
2130:Taiko
2120:Parai
2090:Conga
2075:CajĂłn
2028:Tabla
1385:(PDF)
1339:Bongo
1279:konpa
1255:samba
1243:mambo
1215:timba
1205:Timba
1196:clave
1168:rumba
1162:era.
1160:songo
1146:Songo
1122:clave
1118:bombo
1083:, or
1002:JSTOR
988:books
694:tumba
690:conga
672:of a
658:conga
654:tumba
625:tuned
592:JSTOR
578:books
503:conga
499:tumba
487:macho
428:conga
403:tumba
383:rumba
335:conga
319:salsa
315:mambo
277:conga
273:rumba
240:. In
230:Bantu
203:songo
199:salsa
175:rumba
171:conga
161:like
147:conga
49:Conga
43:MangĂş
1884:2017
1824:ISBN
1805:ISBN
1790:ISBN
1772:ISBN
1737:ISBN
1701:ISBN
1644:ISBN
1624:ISBN
1593:2021
1563:2021
1527:ISBN
1497:ISBN
1456:2020
1443:WBGO
1414:ISBN
1309:(or
1285:and
1283:yeye
1273:and
1267:funk
1263:soul
1257:and
1245:and
1048:ride
1044:lock
974:news
892:The
809:head
786:10.
688:and
564:news
501:and
465:The
458:The
451:The
426:The
401:The
390:The
381:and
331:bokĂş
311:jazz
306:and
275:and
249:soca
247:and
228:(of
224:and
222:yuka
209:and
155:drum
145:The
133:Yuka
1213:'s
1046:or
957:by
914:To
900:or
836:or
818:or
779:9.
772:8.
765:7.
758:6.
751:5.
744:4.
737:3.
730:2.
723:1.
547:by
473:In
430:or
405:or
394:or
189:),
183:son
67:in
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1874:.
1579:.
1553:.
1549:.
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1464:^
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1440:.
1428:^
1393:43
1391:.
1387:.
1372:^
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1281:,
1269:,
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201:,
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1900:v
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1866:.
1860:.
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1796:.
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1650:.
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1565:.
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1505:.
1458:.
1422:.
1024:)
1018:(
1013:)
1009:(
999:·
992:·
985:·
978:·
951:.
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589:·
582:·
575:·
568:·
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