NSW Day of Percussion 1 July 2012

Learn Cajon Masterclass

Australian Percussive Arts Society and
Sydney Conservatorium Open Academy
Excerpts from Learn Cajon DVD:
Master the Cajon - Background Notes

What is the Cajon?

The Cajon (Spanish for box or drawer) is a wooden drum with one side made of thin plywood for
hitting. It can be played with hands or wire brushes. Originally from Peru, it developed from African
slaves playing percussion on cod fishing crates or other boxes to replace their native drums.
Since the 1970s when flamenco guitarist Paco de Lucia introduced it into his music, the Cajon has
spread worldwide in popularity. Today, apart from its well-established place in Spanish, Flamenco
and Latin American music, the Cajon is used in genres ranging from Rock, Pop, Funk and Hip Hop
through to Folk, Blues and Jazz. Artists as diverse as Bon Jovi, Pink, Ben Harper, Tracy Chapman,
even Jennifer Lopez all use the Cajon.
The Cajon should have a strong bass and a distinctive contrasting snare, which is created from
steel guitar strings or an actual snare attached to the inside of the front playing surface.
Sometimes referred to as the drum kit in a box, a quality Cajon can replicate the bass, snare and
hi hat of a drum kit. Raw materials such as European birch and beech plys are perfect for getting
the warm bass tone and contrasting snare tones of the modern Cajon.

What is Spanish Flamenco Rumba?

Flamenco rumba is a blend of both flamenco and Afro-Cuban music which was brought back to
Spain from Cuba in the 19th Century. As such it combines the sensuality and charm of Cuba, with
the distinctly flamenco sound of the Spanish guitar. Rumba became very popular in Catalonia, in
the north of Spain, in the 1950s and 1960s, particularly through the music of Catalan gypsy, Peret.
The Spanish rumba is a fantastic rhythm to learn. Like most rock and pop, it has four beats per bar,
and so is an ideal place for beginners to start. It is also a great rhythm to learn for jamming with
friends, for playing in drum circles, and playing along to music you might already have.
1. Understanding Rumba with Number Groupings 1
One way to understand rumba is with number groupings. With this method, rumba can be thought
of as a 3 3 2 pattern.
A 3 group is:
1

A 2 group is:
1

So a 3 3 2 pattern is:
3
1

3
2

2
2

The one is always the accent - or where we clap, like this:

1

With thanks to Greg Sheehan and Ben Walsh for teaching me about number groupings as a way to
understand rhythm.
2

Learn Cajon 2012

www.learncajon.com

>

>

>

clap

clap

clap

2. Understanding Rumba with Musical Notation

Here is Spanish Rumba in musical notation (with a fun vocalised version of rumba)

3. Flamenco Rumba on the Cajon

Once we understand the rumba rhythm, we can look at ways of playing rumba on the Cajon. If you
have studied Cajon Technique Module 1, you should be familiar with the basic sounds that we
are going to be working with here: bass, tone, and tip. I have abbreviated these as follows:
bass

tone

tip

ti

Flamenco Rumba Pattern A

1

Once we can play the basic pattern, we can then add in tips on the non accented parts of the
rhythm so that the pattern becomes:
1

ti

ti

ti

ti

ti

For more information on Spanish Rumba, you can download your free Learn Cajon
Module at www.learncajon.com

Learn Cajon 2012

www.learncajon.com

What are Rhythms in Three?

Sevillanas, waltzes and jigs are all examples of rhythms in three, and this means that there are
three beats per bar - 1, 2, 3.
Sevillanas is a regional folk music and dance genre popular throughout Andalusia in the south of
Spain, particularly Seville - hence the name. It is originally thought to come from the ancient
seguidillas song of central Spain. While its compas, or rhythm, remains the same, it is an evolving
form to which new styles are always being added. Usually consisting of four verses, or coplas, it
is a popular dance and music form which is danced and played at the various fairs or ferias
throughout Spain. You will even sometimes see it danced at Spanish nightclubs.
1. Musical notation
Here is the basic Sevillanas in musical notation. Note that the time signature we use here is 3/4.
The top number - the three refers to the number of beats per bar, or cycle (3) and the bottom
number refers to the type of beat (in this case 1/4 notes, or crotchets).

2. Rhythms in Three on the Cajon

Once we understand the rhythmic concepts, we can look at ways of playing rhythms in three on
the cajon. If you have studied the Cajon Technique Module 1, you should be familiar with the
basic sounds that we are going to be working with: bass, tone, tip, tip slide and the foot pulse. I
have abbreviated these as follows:

bass

tone

tip

ti

tip slide

ts

foot pulse

accent

>

Rhythms in Three - Pattern A

Pattern A is a rhythm in three using just the tone, tip and tipslide sounds of the cajon. Make sure
you alternate your hands from right to left, or left to right, so that the accented tones fall to either
side, as in the following chart. This is important for speed and ease with other rhythms we will
learn, which build on these basic skills. Practise leading with either hand. When you are ready, add
the foot pulse on the side of the cajon.

Learn Cajon 2012

www.learncajon.com

ts

ti

ts

ti

ts

ti

ts

ti

>

>

>

>

Rhythms in Three - Pattern B

Now play the same pattern as in Pattern A but with all the tones and tips on the bass part of the
cajon.
Rhythms in Three - Pattern C
Pattern C brings the first two patterns together so that the first and third accents are bass sounds
and the second and fourth accents are tone sounds:
1

ts

ti

ts

ti

ts

ti

ts

ti

>

>

>

>

What is Flamenco Bulerias?

Bulerias is one of the most fascinating rhythms in flamenco music and dance. Consisting of 12
beats per compas, it is a style which is always evolving, is characteristically full of humour, playful
and is open to endless improvisation. It is often used to end a flamenco gathering or performance.
There are many opinions about where bulerias originated from, but it is commonly thought to have
developed from other slower palos (flamenco styles) in the 19th century with the same rhythmic
cycle, for example from soleares and alegrias. These palos typically end with a faster more upbeat
bulerias rhythm.
As to where the actual word bulerias comes from, there are various theories - the most popular
being that it comes from the Spanish word, burlar to joke, to banter. There is also a theory that
the name may have come from the 19th century dance the bolera.
5

Learn Cajon 2012

www.learncajon.com

1. Understanding Bulerias with Number Groupings

One way to understand the bulerias compas is with number groupings. With this method, bulerias
can be thought of as a 3 3 2 2 2 pattern, as follows:
A 3 group is: 1 2 3
A 2 group is: 1 2
So a 3 3 2 2 2 pattern is:
3=123
3=123
2=12
2=12
2=12
Or, written across in a line:

3
1

3
2

2
2

The one is always the accent (>) or where we clap, like this:

>

>

>

>

>

clap

clap

clap

clap

clap

2. Understanding Bulerias as a 12 Beat Cycle

The bulerias is a 12 beat rhythm. If you count the syllables in the words above, or the individual
numbers in the number groupings, you will find that there are twelve counts.
Once you can clap the compas, its useful to learn to count it as a 12 beat cycle, so that you can
communicate with other flamenco musicians and dancers. Here, the accents fall on the numbers 3
6 8 10 and 12.
In practice flamencos usually count the compas as if it begins on 12. Well go into why we count
like this in another module, but for now, just practice counting in groups of 12 where the first accent
is on 12 - like this:

12
clap

clap

clap

Learn Cajon 2012

www.learncajon.com

8
clap

10
clap

11

Note that this is exactly the same rhythm as weve been learning about with number groupings, as
follows:

12

10

11

>

>

>

>

>

3. Bulerias on the Cajon

Once we understand the bulerias compas, we can look at ways of playing bulerias on the Cajon.
Bulerias Pattern A
This first pattern consists of the main bulerias accents being played as bass notes with your
leading hand. In other words, instead of clapping the bulerias accents, you play these accents on
the bass of the cajon, as follows:

12

10

11

Once we can play the basic pattern, we can then add in tips on the non-accented parts of the
rhythm so that the pattern becomes:

12

10

11

ti

ti

ti

ti

ti

ti

ti

To start with, you can play all of the bass tones with one hand and all of the tips with your other
hand.

*
For further information,

visit www.learncajon.com
email claudia@learncajon.com
mobile 0425264375

Learn Cajon 2012

www.learncajon.com