“Tun wor bantros LIPeRALLY I MEARS “LCPPLME STICKS" lb) THE DALE YOS ARE JUST ‘CHAT —1WO STICKS USED YO PAY VARLOUS REIVTEIBHEE PA's TERNS —MOSY COMMONLY Use in the Rumba siyles You, Guage’, and Columbia, When dhe Lernt is applied int these siples it refers te both playing the paliios—the iistrument—ae well as playing the paditas riychin—ohiaiever speeifie pattern is called for in the particular piece hac is being ployed. ‘This is identical to saying “play clave,” in that the erm encompasses both die instrament smd the rhythede pauern, ‘The Palitos are traditionally played on an instrument called the Cua Gua piece of bambon mounted on a stand that produces a hollow wooden sound, (Guts-Gua is the tame of a bus or van in Cuba—and Puerte Rico ancl other Latin Ameriean Tslancls—andl this instrument sort of drives the ensemble, hence the adaplation of the name.) Ieis also played oat any wood sound sch as fgnve? woodblock, shell of a conga drum, shell or rim of Le bombo er lage tom- tom, jam block, or anyching that pro- duees a round, holes, wenden one. In certain pieces or in sections of certain pieces the palitos are alsa played ona cowbell which ig either ncunted! or stiapped to tbe side ofa bombo oF tuoibadora (conga dium). This often happens in section thiol bas builein rhytlimic activity anc intensity. Some: times the rhytianie pattern is also hanged t@ i more active or shythmi= cally complex ane, The sviteh from veooel Go ret lung with the change in patter increases dhe yohmme 2s well as ereutes more intensity ‘The patterns of the palitos aie closely’ ied to the clave, Generally, once ‘9 pallern is begin iL is kept constant excep for perhaps au atranged change ata specific section, Jn traditional styles tbe palitos player does not improvise within a piece, Init may introduce some variations of tie paviern, fo vontradi- tional siyles these patcerns are excellent as improvisational wpolifs, especially when used in Latin Juz siyles on tbe diewin ser percussion and in soloing: iin chese siyles ‘The palivas rhythms can be played with edi her the Son er Rumba clave, butee 20} eerie combinations are éerived from thls rhythin. Play this rhythm in one hand i and thie clave rhythim in the other. Also keep in mind that fou should be able to | ‘art these on eilhier bar to accommoclate Doth the 2-2and 2-3 clave positions sre most used in the Rumba sty consequenily hearc! with the rumba clave. Following is the Rumba clave with the basic pal'to shythm {with no accents for now). All of the seo-haniled palito igo Dy Lb ine dtodd ST dy pded player. The first three examples contain the most common accent patterns. The first accents the rhythm of the clave, the second accents the basic Rumbs rhythm ‘ofthe bomba, The third is the most i common for comping, in the Son styles. i all contain ‘The following are ovo") combinations based 01 the basic pal: tern above, There are a conple of things to notice and practice. There isan accent pattern (usually in the right and) that outlines a specific rhythm Which accent pattern is ised clepends The remaining patter on the musical siyle being played and common variations, : the chythmic effect desired by the = core tad DL hy Accant pottern eutlines the Cleve rhytiim wpe) Lately ‘Accent pettern outlines the bombo rhythm. mie Lele) Lay agg) Led dyl+ STRepack ia ccc | es * myel Ay Gly od * pel Dey Loy * miged-Seedady-d Tod need Bag i JT nga LAE Li ot * mgt dela vee nee extensions of paucrn one. Notice how they line up with the clave Each af the three pate different degrees of rhyttonie fnensity ie Clove Ine J) for the canrect interpretation, " mapd dan ll dy Le