C harlie Rooney for inform ation on Jack Costanzo. G ene Okam oto (Pearl C orporation) for the photo o f A rm ando Peraza and other contacts. M artin Cohen (President o f L P M usic G roup) for providing the photo o f Jose M angual, phone contacts and general inform ation. I w ould like to thank all the people who helped m e com pile the infor m ation to write this book: In particular the great bongoseros: A rm ando Peraza, C andido Camero, Jack C ostanzo and Jose M angual for perm itting m e to interview them and share their stories and vast experiences w ith others. © 1997 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. Sixteenth, Gapped Triplet, Eighth Roll, Eighth/Sixteenth Note Triplet: Son & Rumba Clave () Ĭascara, Manoteo with Accents: Son Clave, Rumba Clave, Cascara () Pa’ ca Clave, Bongos 1 & 2, Conga Adaptation & Variation ()īomba, Plena, Merengue, Cumbia, Beguine 1 i t 2 () One-Bar Fills 1-12 () One-Bar Fills 13-23 () One-Bar Fills 1-8 () One-Bar Fills 9-16 () Two-Bar Fills 1-10 () Fills Derived from Bata Rhythms 1-6 () Fills Derived from Bata Rhythms 1-10 () Fills Derived from Bata Rhythms 1-4 () Bongo Solo () Single Stroke Roll, Double Stroke Roll, Triplets () Flams, Paradiddle, Flam-Triplets, Sixteenth, Paradiddle, Sixteenth Note Triplet Combo () Martillo Variations 1-12 () Martillo Variations 1-12 () Martillo Variations 13-24 () īolero, Bolero Variation, Bongo Bell Patterns 1 & 2 () Jazz Rhythms 1-9 () īrazilian: Bossa Nova & Samba ()
Martillo Variations 1-10 () Martillo Variations 1-11 () Son Clave, Rumba Clave (), Cascara, Clave 6/8, Bell (), Manoteo Variation (), Martillo: Basic, Variations 1-4 ()
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