List of Musical Examples

Introduction

1. Musical Example i. Andrew Schloss' transcription and description of conga bass drum patterns from the album Carnival in Cuba.
2. Musical Example ii. Labeling and counting subdivisions.
3. Musical Example iii. Notation key.
4. Musical Example iv. Hemiola and clave patterns.
5. Musical Example v. Triplet and tresillo.
6. Musical Example vi. Displaced triplets and tresillos.

Chapter 2

1. Musical Example 2.1. La Conga del Tivoli's 1913 Columbia groove.
2. Musical Example 2.2. Western Cuban/columbia bombo pattern and its relationship to clave and rhythmic archetypes.
3. Musical Example 2.3. Primary (B) and secondary (b) bombo notes and their relationship to tresillo and clave.
4. Musical Example 2.4. La Conga de Los Hoyos' 1914 Pilón groove.
5. Musical Example 2.5. Bokú un y dos/salidor and similar patterns from Cuba and Brazil.
6. Musical Example 2.6. Conga groove as played by La Conga del Mejiquito, c. 1922-26.

Chapter 3

1. Musical Example 3.1. Campanas (Bells).
2. Musical Example 3.2. Mani tostao, requinto and pilón reinforce the hemiola figure.
3. Musical Example 3.3. “Paan” Tambora accent as played by Nanano, 1935.
4. Musical Example 3.4. ”Paan” Tambora accent, displaced tresillo, and clave.

Chapter 4

1. Musical Example 4.1. General model for modern conga groove.
2. Musical Example 4.2. Pilón/Requinto combination with interwoven bare hand slaps.
3. Musical Example 4.3. Modern Bell Patterns.
4. Musical Example 4.4. Bokú Pattern used by Mariano “uiuí” Duharte, c. 1960.
5. Musical Example 4.5. Partial Bokú or Fondo Section, Conga de Los Hoyos, 2016.
6. Musical Example 4.6. Basic tambora (a.k.a. galleta or redoblante) patterns.
7. Musical Example 4.7. Adaptations of “Mamá que fue” refrain: 1921–1996.
8. Musical Example 4.8. Different versions of “Abre Que Ahí Viene El Cocoyé” refrain.
9. Musical Example 4.9. Typical Introduction and Interlude: “Ases del Ritmo en la Calle,” La Conga de Los Hoyos.
10. Musical Example 4.10. Common corneta china salidas.
11. Musical Example 4.11. Corneta china transitional phrase.
12. Musical Example 4.12. Corneta china variations: Conga de Los Hoyos, probably Valentín Serrano or Neno Betancourt.
13. Musical Example 4.13. Corneta China variations: “Va llover” refrain.
14. Musical Example 4.14. Coda melody, corneta china.
15. Musical Example 4.15. Basic groove for comparsita as played by Bertha Armiñan Linares.

Chapter 5

1. Musical Example 5.1. Bokú zapatón and Brazilian Congo de Ouro patterns.
2. Musical Example 5.2. Quinto “ride pattern” and variations, Andrés Quiala, 2025.

Chapter 6

1. Musical Example 6.1. “Modern” conga-columbia (c.1940-present).
2. Musical Example 6.2. “Modern” conga-columbia compared to Western Cuban conga.
3. Musical Example 6.3. Masón as played by La Conga de Los Hoyos and others.
4. Musical Example 6.4. Monguito cell.
5. Musical Example 6.5. Paan/Monguito cell combination.
6. Musical Example 6.6. Un y dos bell Patterns.
7. Musical Example 6.7. Low bell variations: Conga de Los Hoyos' style as played by Lázaro Bandera.
8. Musical Example 6.8. Tambora variations played by Juan Hechavarría “Pililí” as transcribed by Galis (215).
9. Musical Example 6.9. Tambora variations, Jesús Milanés.

Chapter 7

1. Musical Example 7.1. Bell ostinati, Conga San Agustín, "Ambience de Rue."
2. Musical Example 7.2. Timeline patterns with 4a/1e cell (3-2 clave orientation).
3. Musical Example 7.3. Un y Dos Bell Patterns, Conga San Agustín, as played by Carlos Guerra Pimentel.
4. Musical Example 7.4. Quinto “ride pattern,” Conga San Agustín.