The rumba flamenca is played considerably faster than the tango flamenco. Its song character has made it well-known throughout the world and is well suited for commercial music, as repeatedly proven by groups such as Ketama or the Gypsy Kings. Their worldwide hits, especially "Bamboleo", have sold millions of records; music that still today adds that Mediterranean flair to any party. The main accents in the rumba follow a 3+3+2 pattern. The rumba flamenca is played considerably faster than the tango flamenco. Its song character has made it well-known throughout the world and is well suited for commercial music, as repeatedly proven by groups such as Ketama or the Gypsy Kings. Their worldwide hits, especially "Bamboleo", have sold millions of records; music that still today adds that Mediterranean flair to any party. The main accents in the rumba follow a 3+3+2 pattern.
By playing this accent pattern with continuous hand strokes, and adding a bass on the one, you arrive at the easiest basic rhythm for the rumba flamenca (see basic rhythm #1). This rhythm may sound a bit polite and weak but is very authentic in hits such as "Volare" or "Bamboleo". More drive can be achieved by adding a bass on the three (see basic rhythm #2). In another variation of the rumba flamenca the high and low accents are ex- changed, with the accent on the one becoming a tip.By playing this accent pattern with continuous hand strokes, and adding a bass on the one, you arrive at the easiest basic rhythm for the rumba flamenca (see basic rhythm #1). This rhythm may sound a bit polite and weak but is very authentic in hits such as "Volare" or "Bamboleo". More drive can be achieved by adding a bass on the three (see basic rhythm #2).
In another variation of the rumba flamenca the high and low accents are ex-changed, with the accent on the one becoming a tip.
The rhythm takes on more of a Cuban character, which combines beautifully with the melodies and lyrics of the rumba flamenca. By adding a secondary accent on the two and filling out the subdivisions with tips (Pay attention to the hand pattern!) you arrive at a Caribbean interpretation of the basic rhythm for the rumba flamenca.The rhythm takes on more of a Cuban character, which combines beautifully with the melodies and lyrics of the rumba flamenca. By adding a secondary accent on the two and filling out the subdivisions with tips (Pay attention to the hand pattern!) you arrive at a Caribbean interpretation of the basic rhythm for the rumba flamenca
The trickiest aspect with this syncopated version of the rumba rhythm is the mis- sing accent on the one. It can easily happen that the perception of the rhythm gets turned around. One hears the accent shifted by one eighth note, which can make it difficult to remain oriented and return to the original rhythm. The only thing that helps is practice, practice, practice until the rhythm is so internalized that retuning to the original rhythm poses no problem. Tapping your foot in a steady rhythm helps to visualize the beat, and also to amaze your band mates who are most likely struggling with their own perception of the rhythm.
In modern versions of the rumba flamenca, the drum set as well as Latin Ameri-
can percussion instruments such as congas, bongos, timbales and guiro are used.
Modern Spanish groups, in particular Ketama, have developed a style in
the last few years which fuses the rumba flamenca with Latin-American salsa cre-
ating a sort of a flamenco-salsa.
Rumba-remates end at the beginning of the measure and are at least two measures long. Here are four examples:
