In Volume I, Tomasito reveals the time tested conga method which he himselfstudied with Changuito and other master congueros at the ENA conservatory in Havana. Volume I starts at the absolute beginning and is designed for the personwho has never touched the congas, but is also of great value to the advanced player who wishes to understand the foundation and rudiments of the approach that has allowed the ENA and the other Havana conservatories to consistently turn out so many world class congueros each year. Volume I begins with simple exercises to develop technique and systematically works its way through rudiments and 'recursos' for use in solos and fills and basic rhythm patterns such as Salsa, Cha-Cha and Bolero. These are presented using the unique Step by Step online video Method, which enables the student to learn the patterns by watching the video and imitating Tomasito as he builds the patterns stroke by stroke. This, combined with a special type of notation designed to be simple for those who don't read music, results in a conga course that really works, rather than just another reference book to add to the bookshelf!

Volume III is the first educational product to tackle the complex subject of Timba, the new musical genre which has been played in Cuba since 1989. Timba represents a quantum leap for all the instruments of the rhythm section and especially the congas. The recordings of Toms Cruz are considered the most advanced examples of Timba conga-playing and so fascinated the three coauthors that they sought out Toms Cruz and spent a year and a half studying his style and meticulously documenting it before even considering the idea of publishing it. After many hundreds of hours of passionate research, this "labor of love" eventually reached fruition as Volume III. Volumes II & I were then written to trace the roots of the style and to understand the path Toms took to arrive at his phenomenal level of technical mastery and rhythmic creativity. Much more than a collection of patterns or exercises, Volume III analyzes Timba arrangements from beginning to end, explaining the role of the congas in each section, the relationship to the "clave," and Tomasito's creative process, including an exercise which teaches the reader to invent his own Timba conga parts. It was the intricacies of the material of Volume III which inspired the creation of the Step by Step DVD Method, which enables the reader to learn these exciting new rhythms in a fraction of the time it would take working with only written music and audio recordings.

Volume III is the first educational product to tackle the complex subject of Timba, the new musical genre which has been played in Cuba since 1989. Timba represents a quantum leap for all the instruments of the rhythm section andespecially the congas. The recordings of Tomas Cruz are considered the mostadvanced examples of Timba conga-playing and so fascinated the three coauthors that they sought out Tomas Cruz and spent a year and a half studying his style and meticulously documenting it before even considering the idea of publishing it. After many hundreds of hours of passionate research, thislabor of love eventually reached fruition as Volume III. Volumes II & I were then written to trace the roots of the style and to understand the path Tomas took toarrive at his phenomenal level of technical mastery and rhythmic creativity. Much more than a collection of patterns or exercises, Volume III analyzes Timba arrangements from beginning to end, explaining the role of the congas in each section, the relationship to the clave, and Tomasito's creative process, including an exercise which teaches the reader to invent his own Timba conga parts. It was the intricacies of the material of Volume III which inspired the creation of the Step by Step online video Method, which enables the reader to learn these exciting new rhythms in a fraction of the time it would take workingwith only written music and audio recordings

Volume II is aimed at two distinct categories of readers: 1) Intermediate players who are ready for a wider range of rhythms to study and use in live playing situations; and 2) Experienced congueros who have digested Volume I and now seek to understand the roots of the modern Cuban conga style. Having assimilated the material in Volume I, the student should be able to play basic Son Montuno, Salsa, Chachacha, and Bolero. Volume II moves on to Guaguanco, Iyesa, 6/8, Changui, Afro, Mozambique, Pilon, Songo, Merengue, Bomba, Cumbia and other rhythms that a professional conguero will be expected to know. Each rhythm is accompanied by an article reflecting on its history and role in the "big picture" of Latin music and offering listening recommendations. Like Volume I, it uses the Step by Step online video Method. A special 8-page appendix explains the often infuriatingly complex subject of "clave" with an unprecedented level of clarity and insight. Includes access to online video.

This book and accompanying audio are a perfect introduction to the conga drum. The book includes lessons on music notation, posture, positioning, tuning, and hand strokes. There are also many exercises, examples of Latin rhythms, andeven some history of the instrument. Written by best-selling Mel Bay author Trevor Salloum, this method is all you need to start playing the conga today!

This book--which won the 2000 DRUM Magazine Readers' Poll for "Best Instructional Book"--is a complete, step-by-step course on conga drumming. It's the book we looked for but couldn't find when we were first learning to drum. We did everything we could to make it user-friendly, so even non-musicians could understand it. The book teaches families of drum parts for several authentic Afro-Caribbean rhythms, including rumba, bomba, calypso, conga, and bembe. The instruction is clear and step-by-step, and the writing creates the intimate feel of private lessons. The charts are big and easy to read. Life-like illustrations clearly demonstrate proper technique for each stroke. Please note: audio files of the CD that comes with the print version of this book are not included in this ebook version (but are available separately).

This book presents an encyclopedic selection of all the basic rhythm parts used on timbales and drums in Latin music (salsa, timba, Afro-Cuban folkloric rhythms, rumba, danzón, chachachá et al). The central premise is for the student to master each rhythm by singing and tapping before attempting to play it on an instrument, so as to avoid bad habits of technique during the critical period when the rhythm is being memorized and internalized.To accommodate as many learning styles as possible, each rhythm is presented in eight ways: two types of standard notation, two types of graphic or "box" notation, full speed audio, slow motion audio, and two speeds using a special "task-by-task" learning method where the rhythm is learned one stroke at a time against a steady rhythmic accompaniment.Each rhythm is first presented as a single part in its historical context and then in the combinations of two and three parts at once that a percussionist would be expected to play in various group situations.One group of audio files (107 tracks) is available as a free online download, with the link provided in the book. The remainder (the more advanced files) are available as a separate downloadable product.The book will also be useful for those who can already play drums and timbales but need to quickly learn the necessary rhythms for salsa and timba, but for true beginners, our strategy is to learn to sing and tap all of the basic rhythms before taking your first lesson and there's a very important reason for doing it this way: As with golf or tennis lessons, learning to play a musical instrument is about physical movements, dexterity, timing, coordination and body language - the types of things that are easier to demonstrate than to explain and are easier to master when your brain stays calmly out of the way as your body goes through the learning process. If your brain is struggling to learn what to play, it interferes with your body's natural ability to learn how to play. To put it another way, if you're concentrating on mastering the pattern of a new rhythm, you won't be able to give 100% of your effort to tone production, posture, hand position, and feeling the groove, and you're likely to develop "bad habits" that are hard to unlearn later. But if you've already learned to sing, clap and tap the rhythms before you take your first lesson on drums or timbales, you'll be much more likely to succeed, and - just as important - you'll be much more likely to enjoy the process.