Level 5 · Styles & Musicality · 5-1
Tresillo - the Latin key
The 3-3-2 rhythm underneath reggaetón, rumba, and half of Latin music.
What you play
B bass · S snare · g ghost · rest1
B
&
·
2
·
&
B
3
·
&
·
4
S
&
·
70 BPM
startpass
How to play it
- 1Play bass on 1, bass on the and of 2, snare on 4, . Three, three, two.
- 2Count one-and-two-AND-three-and-four-and out loud. Your hits are on 1, the AND of 2, and 4.
- 3Say ONE-two-three ONE-two-three ONE-two while you play, and keep quarter notes going in your foot or your nod.
- 4Loop it until it stops feeling like maths and starts feeling like a wave. Once it is solid, add ghosts in the gaps and hear it turn into rumba.
- 5Record about 90 seconds.
Listen forThe 3-3-2 spacing clearly audible and stable, with the middle hit off the beat, looped steadily.
start 70 · pass 100 BPM · take about 90s
Record a take
I start the click at 70 BPM, count one bar, and stop after about 90s. Phone about a metre away, facing the front plate. You get my notes within a minute of sending it.
Watch out for
- • The second bass drifting onto beat 3, which turns Latin into marching
- • Even spacing. 3-3-2 is asymmetric on purpose.
- • Losing the brightness of the snare on 4
Read about this
- The rumba pattern on cajónThe flamenco groove, built up from the 3-3-2 skeleton underneath it.
Play this for real
- The bulerías compás on cajón200 BPM · Twelve beats, five accents, and the hardest compás in flamenco to hold steady.
- The reggaetón groove on cajón95 BPM · Dembow is 3-3-2 with a backbeat on top. Two strokes and you are in.