THE CONGA DRUM - Part II: Technical Development

The first step in the development of conga drum hand technique, incorporates the progressive development of the skin sounds of the conga drum. These are obtained by striking the skin with the bare hand, in a variety of positions and shapes. As Howard aptly describes it, the drum is struck in a “definite prescribed manner.”[2] From there, exercises are draw which assist the hands in acquiring flexibility, co-ordination, as well as endurance. Once that phase of the development has progressed, it is then that the basic tumbao pattern (“the repeated rhythmic base”[3]), followed by the vast rhythmic repertoire available begins to unfold. The conga drum player’s role covers many areas of the musical landscape. It is in the aspirant’s interest, especially while in the development stage, to consider all the areas and develop them accordingly. Joey De Leon, a player renowned for his impeccable technique, observes that it is extremely important to consider that, “as a player you are judged on certain criteria such as sound, time, musicality, accompanying and supporting skills, as well as on soloing technique.”[4] Cuban master drummer Tata Güines, regarded as one of the leading developers of the technique of the conga drum, suggests that aspiring conga drummers should turn to the masters for guidance, Chano Pozo, Candido, Mongo. He observes that that student should spend their energy developing the basics, the fundamental technique, and advises “don't get caught up in the war of I can play more than you, I can play faster than you.”[5]

Güines also observes that although many bands in Cuba already employed a conga drummer in the 1940s, there wasn't lot of evolution or development of technique taking place then.[6] Santos believes that it all started with Candido, “Candido is super important, he is another guy with great technique. Actually Candido you know in a lot of ways is the first one. Candido was in New York before the others arrived and he still here. That's something that is really important, he has done a lot of wonderful playing.”[7] Güines states that, after he joined the ensemble Fajardo Y Sus Estrellas conga players like himself and Carlos ‘Patato’ Valdez started developing, creating and modernising conga drum technique as we know today.[8] Indeed many agree, according to Michael Spiro “Tata Güines started the technical revolution.”[9] Santos suggests that the developments Güines is responsible for, marked the beginnings in the new era of conga drum technique, “To me it starts with Tata. It goes from Tata to Changuito and from Changuito to Giovanni. That's kind of the way I see that, because Giovanni to me is the greatest of the new generation of conga drummers. Giovanni is the product of studying all those masters. And Giovanni was already playing incredibly at ten years of age!”[10]

According to Jose Luis Quintana, also known as ‘Changuito’, strong technique has to be developed in order to play in a relaxed manner, without getting exhausted. The hands shouldn't be lifted too high above the drum, even if the nature of striking will direct you in that direction.[11]Santamaria on the other hand, played with a full arm style of movement and a strong and loud attack, which was extremely tough on his hands. Having performed for many years with Santamaria, Sanabria observes that Santamaria was always “a heavy hitter of the skins.” Santamaria wanted his slap, or golpe seco (“dry hit”), as he put it, to sound like a gun shot, “those were his words not mine” Sanabria explained. He believes that Santamaria's aggressive conga drum technique, developed as a result of his bongo drum playing days in Cuba, where the instrument was often played with a tremendous slap sound, is “what eventually killed his hands.”[12] In a recently released interview, Santamaria indeed explained ongoing issues with his hands, “My hands, look at my hands, my calluses are such that when I play sometimes I am laughing and people think that I am having a great time enjoying it, but is just the pain is such (laughs), but one knows that he has to keep going, because that’s the work and you can't disappoint the fans that come and see the band.[13] Quintana observes that one needs to achieve love and sweetness out of each stroke of the skin, to arrive at the correct sonority. He concludes that if one studies the correct technique, developing good open tones and slaps, work will be far more comfortable, and with a proper microphone in ensemble situations, there won't be any need to mistreat the hands.[14]​