Just a quick correction ... or two:

The first note should be a dotted-quarter-note, and the second note's flag needs to go to the right of the stem, not the left. I'm sure you were just quickly writing this out, but the clarity is needed if someone is going to read this ... especially those who may not already know this rhythm, which is who this is really for anyway.  

Also, just for fun, you can do something a little unconventional by reversing the clave against the Guaguanco pattern. Just something else to work on, even though you'll get beat up outside if you try this on a Afro-Cuban gig.

Ah yes, it's Guaguanco (pronounced gwa-wahn-KOH), not Quaguanco ... which sounds like a possible name for a Star Wars jedi. Perhaps it's just a typo or you read your teachers hand writing incorrectly.

One thing that I do is verbally say the clave' pattern while playing the hand drum part; use syllables, numbers or mimic the clave sound. Once I get this down, I then add the clave' part with my foot. Being able to first verbalize these types of things seems to speed up the learning process. May not work for everyone, but it has helped me over the years, as well as many of my students. For an added challenge, play clave' with the foot, whatever hand pattern you are wanting to use (ie. Guaguanco) ... but count 1 2 3 4 out-loud. Not only does this help ground you mentally and physically, but it's great to be able to shout out the pulse for students and/or any newbie musicians not familiar with the style ... and unable to find where beat 1 is!  

Practicing daily the conga/tumba with left hand and clave with right, but one of my friends suggested I change the tumba hit on the one count to the 8th note after it to simulate the quinto hit. That was really tough at first, but it has become second nature.
A second exercise with the clave on the left hand is doubly reinforcing the rumba clave, and the elusive quinto ride is now almost possible when we play as a group.

Just for the fun of it, I'm including some ASCII block notation for the two exercises.

I'm using a 4/4 beat measure divided into 16th notes.
X - stick strike
O - tone
B - bass
S - slap

First exercise: Tumba & Conga played with left hand, Clave with right.

Right hand Clave  X--X---X--X-X---
Left hand Tumba  -S-B--O-------O-
Left hand Conga  ---------O--O----

Second exercise: Clave played with left hand, Quinto ride with right.

Left hand Clave    X--X---X--X-X---
Right hand Quinto -S-----O---S----
                             -O-----S---O----

Careful, if you're going by my sound clip! My third Clave hit is too early. Also, I think my notation was correct, except for a missing 8th rest between the first two notes.

I'm finding that though I am generally a fast learner with things I'm highly motivated to learn, like Rumba, my clave still needs tweeking. I kept wanting to hit the third note too soon. Now that I'm working on it every day, and figure that I might comfortably be able to play all the parts of Guaguanco in maybe a year.
So far to go, and yet so much fun learning.  

windhorse,
I was trying 1st pattern with tumba and conga. It proved quite challenging. Just wanted to verify that I got it right from your chart, here it's in same width font, so that placement is more precise:

count: 1 a 2 a 3 a 4 a 1 a 2 a 3 a 4 a
clave: x     x       x     x   x
tumba:   S   B     O               O
conga:                 O     O    

Also on the recording it sounds like the first one is the one on the chart and then it's different???

I personally think it's best to notate this as a two-bar pattern.

Clave patterns are typically notated as two-bar patterns ... hence the 3/2 or 2/3 versions. The same goes with the Guaguanco rhythm.

When you play this rhythm in a song, it's traditional going to take two-bars to complete the rhythm ... not one-bar.

Also ... a traditional way to play the opening bar that you all notated ... would be to play two slaps before the bass tone.

I play the slaps on the conga (tres golpes), as well as the bass tone, but it could be played on the tumba (salidar). Do whatever you want really when playing all the parts by yourself. Here's what I would do:

count: | 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & ||
clave: | X - - X - - - X | - - X - X - - - ||
conga: | - S - B - - - - | O - - O - - - - ||
tumba: | - - - - - - O - | - - - - - - O - ||


Notice that I notated the conga on top since it's higher in pitch than the tumba.

Use the typerwriter feature to get the symbols to line up. All fonts are different sizes. The typerwriter keeps the spacing the same. The code would be like this:

Here's the way I play Guaguanco; a little more complex, but really grooves:

count: | 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & ||
clave: | X - - X - - - X | - - X - X - - - ||
conga: | - S S B - - - S | O - S O - S - - ||
tumba: | - - - - - - O - | - - - - - - O - ||

Well ... if were are talking about "standard" music notation, then yes.

Obviously it's up to each individual to notate in such a way that it works best for them; it is a personal thing. However, if you want people to read your notations easily, it is much easier if you notate in the way I explained earlier. From a conductor's point of view, it is MUCH easier if you follow basic orchestral score guidelines ... high to low, top to bottom respectively.

As a performer, I certainly do much better when the notation follows these guidelines ... but I'm right at home reading standard notation; other individuals may not be.

I will also say that the majority of Drum Tab takes the same stance ... with lower pitched sounds appearing at the bottom. It helps having to always look back to see which line represents which instrument. Notation that takes timbre into account certainly has everything to gain and nothing to lose ... in my opinion.

No ... he said it was on the 'e'
the bass tone or heel of the hand was on 'a'

Traditionally the 'a' is sounded by the bomba (low) drum. The bomba drum is shorter and wider ... traditionally made from rum, nail or lard barrels ... what many of would recognize as wine barrels.

OK, I think I know what's messing you up.
I re-wrote the notation with 1e&a2e&a3e&a4e&a
That's 16 notes right?

OK, the first two clave hits are the 1, and the "a".
That leaves two 16ths between them -right?
Now, I'm saying the normal quinto ride has the first slap dead center between the 1 and a, which means it splits those two 16th notes.

Bart was saying he likes to put two slaps there, meaning that both 16ths - the "e", and the "&" are hit.
Of course, I don't see him doing this at any speed with only the left hand while the right is occupied with clave (my exercise). I suppose he might do the clave with a foot pedal, and uses both hands for the drums. That way you can alternate hands and get all the licks in the two 16ths pocket.