MIGUEL ‘ANGA’ DIAZ

ANGA MANIA!
MUSIC TRANSCRIPTIONS AND ANALYSIS BY VICTOR RENDÓN
EDITED BY DAN THRESS
PHOTOS © ROBERT MANN

Published by Music in Motion Films Ltd

PO Box 1775, Columbus, OH 43216 USA
tel. 212 358 3877 fax. 212 591 6301
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© 1999 Music in Motion Films Ltd
International copyright secured.
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 KEY
FIVE-DRUM SETUP FOUR-DRUM SETUP

Tone of conga drums from the highest to the lowest

1
2
3
4
5
bell: mouth area bell: neck area
Timbongoro o +

raise tone with elbow

0 = play an open tone

P = play a bass like sound with the palm of the hand
B = play a bass sound in the center of the drum with the palm of the hand
S = play a slap
T = tips, play with the tips or fingers of hand
M = play a muffle sound by pressing against the skin of the drum with the hand
ST = play with stick in hand
(T) = ghost note or light tap with fingers
F = raise tone using the fingers, refer to video

ANGA’S TUNING

D# F#

G# A#
C#

Drums 1, 2, and 3 are the same size

Drums 4 and 5 are the same size

2
MARCHA WITH FIVE CONGAS
As stated by Anga, Niño Alfonso with Irakere was the first with Irakere, Niño’s style became a part of Anga. There
to incorporate five congas. When Anga started playing are five sounds that convert into a harmonic tumbao.

P O P S T P T O O P T S O O S O O O T S T P T O O P T S O O S O O

L R L R L L L R R L L R L L L R R L L R L L L R R L L R L L L R R

MARCHA WITH FIVE CONGAS—VARIATIONS

Play the basic ride between each example. 2-3 clave

1 O T S T SS O T SS O T S S O T S O O S O O

01:50

L L R L RL R L RL R L R L R L R L L L R R

(T)
2 O T S T O O O O O O O O O S S O O S O O

02:18

L L R L R L R R L R R L R L R L L L R R

(S)
3 O T S T P T O oO (T) T S O O S O O

02:40

L L R L L L R rL R L R L L L R R

4 O T S T P T S (T) s S sS (T) (P) O O S O O

02:49

L L R L L L R L rL rL R R L L L R R

5 O T SS O T S SO T SSO T P T S O O S O O

03:18

L L RL R L RL R L L RL R L L R L L L R R

3
MARCHA—MELODIC VARIATIONS
1 O T S T P T O O P T S S O O O O
03:51

L L R L L L R R L L R R L R L R

(T)
O O O T S T T O T T S S O O O O

R L R L R L R L R L R R L R L R

2 O T S T P T O O P T S T O O O O
04:30

L L R L L L R R L L R R L R L R

ghost note
O O O (T) O T S O P T S T O O O O

R L R L R L R R L L R R L R L R
open slaps
3 3
3 O T S (T) S S S S S S T S S S S S S O O S O O
05:07

L L R L R L R L R L L R L R L R L L L L R R

4 O T S T P T S O T T S O O S O O
05:28

L L R L L L R L R L R L L L R R

4
16-bar melodic pattern

5 O T S T P T O O P T S O O S O O O O O O O O O
05:30

L L R L L L R R L L R L L L R R L R R R R L R

O T S T P T S O P T S (T) O O O O O O O O O O O

L L R L L L R R L L R R L R L R R L R R L L R

3 3
O T S T P T S O P T S (T) O O O O O O

L L R L L L R R L L R R L R L R R L

3 3 raise pitch with fingers; refer to video

3
O O O O O O O F F F F O O

R R R L R R R R R R R R R

O O O (T) O T T S T O T O T

L R R R L R L R L R L R L

O P S T P T S sS T T S O O S O O

R L R L L L R rL R L R L L L R R

(P)
6 O T O PTS T T O PTS T T S O O S O O
06:10

L L R LL R R L R LL R R L R L L L R R

5
MARCHA—MELODIC VARIATIONS
7 O T O S SS OS S S O T S O T P S O O S O O
06:35

L L RL R L R L R L R L R L R L R L L L R R

O T O S SS OS S S O T (T) O T P S O O S O O

L L RL R L R L R L R R R L R L R L L L R R

O T O S SS OS S S O S O O T P S O O S O O

L L RL R L R L R L R R L L R L R L L L R R

3 3
O O (O) O O O S S O P T S O O S O O

L R R L R R L R R L L R L L L R R

8 3 3 3 3 3 3 3
O O O O O S O O T T T S P T S O O S O O O O O O O S O O P O
07:08

R R L L R L R R L R L R L L R L L L R R R R L L R L R R L R

3 3 3
P T S O O S O S O O O O O S O O P O P T S O O S O S

L L R L L L R R R R L L R L R R L R L L R L L L R R

3 3 3
O O O O O O O O P O P T S O O S O S

L L R R R L R R L R L L R L L L R R

6
APPLICATION OF MARCHA VARIATIONS WITH PIANO ACCOMPANIMENT
This is a demonstration of the basic tumbao or marcha basic ride with some of the variations played in the
on five congas in conjunction with the piano. The first previous section.
12 measures are transcribed which demonstrate the

0:07:34

Piano Intro O/O

2-3 clave congas

L/R

O P S T P T S O P T S O O S O O P T S T P T B oO T T S (T) O T O S

R L R L L L R R L L R L L L R R L L R L L L R rL R L R R L L R R

O S S O O S S oO T T S O O S O O O S S O O S S oO T T S T O OS S O S S

L R L R R L R rL R L R L L L R R L R L R R L R rL R L R L R LRL R RL

O P S (T) P T B oO T T S T O T O T O O O S O S S oO T T S O O S O O

R L R L L L R rL R L R L R L R L R L R L R L R rL R L R L L L R R

etc.

7
GUAGUANCO VARIATIONS
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
start looking at the variations.

O O S O (T) S O (T) (T) S S B T S O S

R L R L R L R L R L R L R L R R

0:10:10 3-2 rumba clave

P T T P P T T P P T T P P T T P P T T P P T T P P T T P P T O

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

3 3
3 3 3 O O O P T B O T O S S B T O T
*

R R R R R R R R R R L L R R L R L R L L R L

* raise tone with elbow; refer to video

T M M B (T) T O T O S S M T M O T T S S B (T) T O T O S S B (T) T O T

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

M M M M M M O T O S S M M O T T S S B T T O T O S S O T T O T

R L R L R L R L R L R L L R L R L R L R L R L R L R L R L R L

T S S B T T O T O S S O T T O T T S S B T T O T O S S B (T) T O T

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
(O O) (O O)
(S S) (S S)
T M M O (T) T O T O S S B (T) T O T T M M B (T) T O T O M M B T T O T

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

8 Basic Ride
GUAGUANCO—COUNTER MELODIES
Practice Suggestion: Learn the basic ride first with all
alternate sounds. This will make it easier when you
practice the variations.

1 T S S B (T) T O T O S S M (T) M (T) M (T) M (T) B T T O T O S S B (T) T O T

10:50

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

2 T S S B (T) T O T O T T B T T M M M M B T T O T O S S B (T) T O T
11:03

R L R L R L R L R L R L R L R R R R L R L R L R L R L R L R L
Ride variation
3 T S S B (T) T O T O S S O T T O T
11:17

R L R L R L R L R L R L R L R L

4 T S S B (T) T O T O S S B T M M M M O (B) T O T O S S B (T) T O T

11:28

R L R L R L R L R L R L R L R L R L L L R L R L R L R L R L

5 T S S B (T) T O T O S S B T S S (T) O OOO OO O T O S O S S B (T) T O T

12:01 3 3

R L R L R L R L R L R L R L R L RL RLRLR L R L R L R L R L R L

6 T P S T T P O T O P S T T P S T

12:40

R L R L R L R L R L R L R L R L

9
GUAGUANCO—COUNTER MELODIES
3
7 T S S B (T) T O T O P S S O O O O O O
13:10

R L R L R L R L R L R R L R R R R R L

8 O O O O T T T T O O O O * raise tone O O
with elbow
13:48

R R R R L R R L R L R R R R R

O O O S S B (T) T O T

L R R L R L R L R L
(O) alternate sound (O)
9 T S S B (T) T O T O M S M T M O M T M S M T M O M O M S M T M O M

14:15

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

SOLO ANALYSIS
A solo has three parts:

1 beginning
2 middle
3 end

In between those parts you can have variations, differ-

ent rhythms, experimentation of different formulas, etc.
Nonetheless, it should always be within these three
areas. This is the formula for producing a good solo.

The beginning of the solo on the video starts out with a

tabla pattern from India. This is the main theme. It then
goes into other areas more related to the congas.

To achieve a solo, one must have peace and tranquillity

within and concentration. One must not think of it as an
opportunity to show off technique and do a lot of hits.
It’s like composing a piece of music.

10
TECHNIQUE EXERCISES
The first exercise comes from Changuito’s creation:
“la mano secreta.”

3 3
O OPTS O OPTS O
23:57

R RL LR R RL LR R

This exercise comes from the school of Tata Guines.

3 3 3 3
O P T O P T O P T O P T
36:11

R L L R L L R L L R L L

The 2nd exercise can then be combined with different Note: Do not use the heel or the outer edge of the
sounds such as an open and bass sound on Example 3. palm. It is always the whole palm followed by fingers.
Work up these exercises to a fast speed.

3 3 3 3
O P T B P T O P T B P T
27:20

R L L R L L R L L R L L

11
TECHNIQUE EXERCISES GUAGUANCO VARIATIONS
3-2 rumba clave
1 P T T P P T O T O T T B T T O T
31:17

R L R L R L R L R L R L R R L R

P S T B P T O T O T S B T T O T

L R L R L R R L R L R L R R L R

P S T B P T O T O T S B T T O T

L R L R L L R L R L R L R R L R

2 T M T M T M O M O M S M T M O M
31:36

R L R L R L R L R L R L R L R L

Anga speeds up this pattern to a very fast speed.

TECHNIQUE EXERCISES—DOUBLE STROKES

There are two types of doubles to practice. Start out slow cise 2 with open tones or open slaps with the fingers only. The
and gradually build to a faster speed. Note: Practice Exer- second note of each double is accented as indicated.

1 P T P T P T P T
32:40

R R L L R R L L

S S S S S S S S
2 O O O O O O O O

R R L L R R L L

12
DJ GILB-R & ANGA IMPROVISATION
Setup: Four congas (eliminate the lowest drum),
timbongoros, bells, two bells with foot pedal.
Maintain the cowbell pattern with your feet throughout
each example (1st line played with right foot; 2nd line
played with left foot).

34:09

1 (P) T S T P T S O P T S O O S O
35:00

L L R L L L R R L L R L L L R

2 T S P T S O P T S O O S O

35:05

L R L L R R L L R L L L R

3 T S P S O oO S S O O S S

35:18

L R L L R rL L R L L L R

4 (P) T S T P T S O P T S O O S S O

35:25

L L R L L L R R L L R L L L R R 13
DJ GILB-R & ANGA IMPROVISATION
5 (P) T S T P T S O S S O O S O oO
35:40

L L R L L L R R L R L L L R rL

6 T S B T S O O S S O O S T O
35:44

L R L R L R L L R L L L R R

7 (P) T S T P T S oO S S O O S O T
35:47

L L R L L L R rL L R L L L R L
3 3 3 3
8 P T S T P T S O O O O O T O O B T T S

L L R L L L R R R L L R L R R L R L R
3 3 3 3 3 3 3 3
O O O O O T O O B T T S O O O O O T O O B T T S

R R L L R L R R L R L R R R L L R L R R L R L R

9 P T O P O S O O T high bell T med. bell T low bell

37:47

L L R L R L R R L R R L R R L R

In Example 9, play with a stick in right hand. Open This is the basic ride. Many variations can be created
tones with the right hand are also played with the stick. by playing on different surfaces.

14
DJ GILB-R & ANGA IMPROVISATION—COWBELL PATTERN IN TRIPLETS
Notice that Example 8 goes into a double-time in
triplets, maintaining the cowbell pattern with both feet.
3-2 rumba-clave

3 3 3 3
O O O O O T O O B T T S

R R L L R L R R L R L R
cowbells
right foot 3 3 3

left foot

DJ GILB-R & ANGA IMPROVISATION—SECOND PART IN DOUBLE-TIME

This groove goes into a double-time feel. Maintain the
bell pattern with the feet. 3-2 rumba-clave.

T * ST ST T O T O O O O O O S O O
38:39

L R R L R L R R L R L R L R R

T bell T bell T bell P T O T O S O O

L R R L R R L R L L R L R L R R

*Can be played on timbongoros, conga, cowbell, etc.

The x can also be played on timbongoros, conga, etc.
ST = strike drum with the stick.

15
MIXING STYLES—PILÓN + FUNK

2-3 clave Hi Hat

Drumset

o + + o + + o + + o + +

Timbales

P T S T P T B O O T S P O O O T
Congas

L L R L L L R R L L R L R L R R

MIXING STYLES—BATATUMBA + FUNK

Note: Anga plays the congas with a stick in his right
hand which also plays a cowbell mounted on a stand on
the right side. The iyá is playing a batá rhythm that
comes from Iyesá.

2-3 clave
41:10
Drums

OS/O OS/O OS/O O O S S O O S S

Bata: Iya drum call

S O S S O O S O S S O S
Three Congas w/ cowbell

R L R L R L R L R L R L R L R L

16
HOMENAJE A EMILIANO SALVADOR—UPTEMPO WITH FOUR-DRUM SETUP
In addition to the four drum setup, Anga continues the
bell pattern between his feet. The bells are mounted on
two separate bass drum pedals. 2-3 clave.

1st bell with right foot

2nd bell with left foot

The first section of the piece is played with the hands that these examples are variations on the basic tumbao
on four congas until we get to Example 4 which is or marcha played at a fast speed. Reminder: maintain
played with a stick in the right hand. You will notice bell patterns with the feet. 2-3 clave

1 P T S T P T O O P T S O T T O O

41:57

L L R L L L R R L L R L R L R L

2 P T S T P T O O P T S O O S O O

L L R L L L R R L L R L L L R R

3 P T S O P T O O P T S O T T O O
42:14

L L R R L L R R L L R R R L R R

(Played with a stick in the right hand)

4 T T O T O T O O T T T

42:42

L L R L R L R R L R R L R R L R

17
HOMENAJE A EMILIANO SALVADOR—SECOND SECTION
This takes us into the second section of the tune which different surfaces where the cowbell is indicated (refer to
is a guaguanco derived pattern played with a stick in the the video for ideas). Be sure to maintain the bell pattern
right hand. Many variations can be played by playing with the feet when practicing these examples. 2-3 clave

1 P T O T O T O O O O T O T O O T T T
43:22

L L R L R L R R L R L R L R R L R R L R R L R

2 O O O O T O O T T T

L R L R L R R L R R L R R L R

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CHAPTERS: Introduction, Position of the Timbales, Different
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19
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out the essentials on the set. Any broad-based analysis of a
continent’s worth of drumming is an ambitious work, but
Mokhtar keeps the common threads from country to country.
Any drummer interested in a fresh look at how to orchestrate
a groove on the drumset would find these rhythms uplifting,
and that’s the idea, its all up! — JAMEY HADDAD
Each groove is a dance and until you dance the patterns, they
may seem daunting. Dance first and read the notes after then
the grooves will explode. The first time you make that connec -
tion it will feel incredible. — CHRIS PARKER
Finally, a book that includes North African rhythms. Thank
you, Mokhtar. Respect! — BILLY MARTIN
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Mohktar has given us many creative and original adaptations
of traditional African drumming styles. He presents the material
in a logical order which allows us to develop each rhythmic ele -
ment gradually, internalizing these difficult and multilayered pat -
terns. His contribution highlights the sophistication, genius, and
deep feeling in traditional African music. — ROYAL HARTIGAN
A welcome addition to the drumming lexicon. Ancient rhythms
with endless modern day applications. Mokhtar’s material not
only opens doors of insights into his music, but that of jazz
and Latin, as well as any form of creative popular music.
Bravo! — TONY MARTUCCI
Roots rhythms made fresh, challenging and fun! Talk about
coming full circle—by embracing the past—Mokhtar points us
in the direction of the drumset's future! — DAVE STANOCH
For a long time I had hoped an African drummer would write a
book based on contemporary African drumset playing. Mokhtar
did it, and what a drummer! His book is a gem. — ALAIN RIEDER
This man can really play! Many new books are just older
books with an added cd. This book is a fresh, genuine project
that will become a classic! — ALBERTO SEMENZATO
As Mokhtar Samba explains in the introduction to this excel -
lent book, there were no drumset players in African bands
as recently as fifteen years ago. But by now an African kit
tradition has been established, and Samba—who’s played
with, among others, Youssou N’Dour and Jean-Luc Ponty—
takes the clearest, most direct route toward explaining it to
a new audience. — MODERN DRUMMER MAGAZINE