The Afro-Cuban 6/8 rhythm embodies the heartbeat of a rich and diverse cultural heritage, transcending the boundaries of geography and time. Its incorporation on the drumset opens doors for new rhythms involving coordination, independence, and polyrhythms. In the following two videos, I show you some ideas:
- Moving the left hand around the drumset to create melodic counter-rhythms.
- Adding a snare drum backbeat in a half-time feel.
- Playing different open/closed left foot hi-hat ostinatos.
- Moving the right-hand bell pattern to the ride cymbal, playing the backbeat on 2 & 4 (a sort of hybrid shuffle).
Check out my previous articles to learn more and deepen your understanding of Afro-Cuban 6/8. You’ll discover Ted Reed’s Syncopation interpretations, funk/rock adaptations, and left foot clave application. Expand your knowledge with these recommended books: Afro-Cuban Rhythms for Drumset by Frank Malabe and Bob Weiner and The Essence of Afro-Cuban Percussion & Drum Set by Ed Uribe. Elevate your drumming!
Exploring Afro-Cuban 6/8 Vocabulary Using Ted Reed’s Syncopation
Some of the main rhythms in West Africa are based on 6/8 feels and the essential concept of clave. The application of Afro-Cuban 6/8 on the drumset opened the way…
Afro-Cuban 6/8 Funk Application: Accent Displacement
The applications of the Afro-Cuban 6/8 feel are endless, inspiring you to play new grooves. Today I’ll talk about applying this rhythm in a funk/fusion style: adding the snare drum…
Afro-Cuban 6/8 Funk-Rock Groove
While preparing new transcriptions and exercises, here’s a clip playing an Afro-Cuban 6/8 groove in a funk-rock context. Let me explain this groove application: Check out my previous article, which…
Afro-Cuban 6/8 Counter-Rhythms Using Ted Reed’s Syncopation
Ted Reed’s Progressive Steps to Syncopation is an excellent resource for studying various aspects of drumming and developing a deeper understanding of rhythmic concepts. There are many interpretations, and the…