| The instrumentation of Cuban Conga rhythm | | | | characterized by a constant pattern on a high |
| differs depending on whether it's for the | | | | drum, wood block, or bell fused with |
| Conga Habanera (from Havana) or the Conga | | | | intricate rhythms in the maracas and other |
| Oriental (from Santiago de Cuba, in Oriente | | | | hand drums. Over the years, lyrics were added |
| Province). Conga Habanera utilizes the | | | | to Cumbia song arrangements, and eventually |
| requinto, quinto, and conga drums, various | | | | orchestral and electronic instruments were |
| sized bass drums, cowbells, snare drums, | | | | added. Today, Cumbia is popular throughout |
| trumpets, and frying pans. The Conga Oriental | | | | North, Central, and South America, and is |
| replaces the frying pans with brake drums | | | | frequently included in the repertoire of Afro |
| while also employing the hoe blade, and | | | | Cuban ensembles. The typical Cumbia drum set |
| replaces the traditional trumpet with a | | | | pattern is characterized by a steady rhythm |
| corneta china or trompeta china (Chinese | | | | made up of a quarter note followed by two |
| coronet or Chinese trumpet). The Conga | | | | repeated eighth notes, along with a strong |
| Habanera features sounds more often found in | | | | back beat from the snare drum, and a |
| city life, whereas the Conga Oriental retains | | | | repetitive bass drum pattern usually matching |
| a rustic musical character. just as the | | | | the rhythm of the bass player. Typically, the |
| Mozambique is adapted for the drum set from | | | | hi hat foot accompaniment doubles the snare |
| several instruments, the Cuban Conga rhythm | | | | drum back beat. There is no clave rhythm in |
| for the drum set attempts to encapsulate the | | | | the Cumbia style. The tempo is quick with a |
| rhythms played by many percussionists into | | | | double time feel at quarter note = 160-252 |
| the playing of a single individual. Though | | | | beats per minute. |
| the rhythmic patterns in the Conga are more | | | | |
| numerous than one person can actually play, | | | | Pilon was pioneered in the 1970s in the |
| the following grooves include its most | | | | eastern part of Cuba, most notably by the |
| prominent features, capturing its overall | | | | group Los Bocucos. Its steady rhythm is |
| feel. The Conga pattern is played at the very | | | | influenced by the sound of workers pounding |
| brisk tempo of quarter note = 216-264 beats | | | | coffee beans. Much like the Mambo or the |
| per minute. | | | | Guaguanco, this two measure Afro Cuban |
| | | | pattern has both a signature conga pattern |
| The Cumbia dates back to the early 1800s and | | | | and also a signature timbale melody. When |
| is from the Caribbean coast of Colombia. Its | | | | adapted to the drum set, the snare hand |
| roots can be traced to Gaitero music | | | | commonly plays the timbale pattern while the |
| folkloric music played on two flutes | | | | feet and ride hand play repetitive patterns. |
| (indigenous flutes made out of cactus wood), | | | | The drum set pattern itself has similarities |
| maracas, African hand drums, and other | | | | to Cumbia, though the roots of the two styles |
| instruments. Similar in evolution to other | | | | are not related. The pattern is based on a |
| Afro Cuban genres, Cumbia developed through | | | | 2-3 son clave rhythm (not usually played by a |
| the mixing of African slaves and their | | | | drum set player). The tempo is quarter note = |
| descendants with local tribes and settlers in | | | | 172-224 beats per minute. |
| the new world. Rhythmically, Cumbia is | | | | |