Cuban Masters Series the Cuban Piano

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Cuban Masters Series: Piano By Emilio Morales and Jon Griffin Part o the Cuban Masters Series

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Contents Chapter1 .Introduction . . . . . . . . . . . . . . . . . . . . . . . 1 Understanding the montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Montuno versus son-montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 History o piano montuno. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Chapter 2.Son Montuno . . . . . . . . . . . . . . . . . . . . . . 3 Standard Montuno Pattern.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Montuno Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Chapter 3.Cha-cha-chá . . . . . . . . . . . . . . . . . . . . . . . 7 Importance o Bass and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Importance o harmonic voice leading. . . . . . . . . . . . . . . . . . . . . . .8 Ensemble Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Chapter 4.Danzón . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Importance o clave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Danzón orm .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 15 Danzón montuno. . . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . 18

Chapter 5.Bolero . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Chapter6 .Mambo. . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Bass part... .. .. .. .. .. .. .. ... .. .. .. .. .. .. .. ... .. .. .. .. . 29 Clave ... .... ... ... ... ... .... ... ... ... ... ... .... ... ... . 30 Mambo patterns. . . . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . 30 Ensemblee xample. . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . 32

Chapter 7.Timba. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Ensemblee xample. . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . 40

Chapter 8.Changüi. . . . . . . . . . . . . . . . . . . . . . . . . . 43



Chapter 9.Resources. . . . . . . . . . . . . . . . . . . . . . . . . 45 Ensembles.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 46 Websites.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 46 Audio Examples.. . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . 46 Mailing List.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 46



Acknowledgements Many thanks to all who helped out on this project, not the least o which is Jiovanni (Giovanni) Cofiño, and without his help this project never would have been complete. Tanks to my ather, Jon Griffin Sr. or his camera skills and the extra set o eyes in Cuba. Tanks to Emilio Morales or taking the time to make this book and interview better than it would have been. o my amily, in Cuba, thanks or putting up with my erratic schedule the three days that we were filming. For Helen and Luisa, thanks or putting up with my closing the door when I was working on this big project! o Mr. wister, well, one day this will mean something to you, but or now, continue to be a two year old. o Robert Fernandez, or his support and encouragement, and Ed Lozano or the advice on technical and nontechnical matters. Tanks to Olavo Alén Rodríguez or all his help over many years in Cuba, and Julian Fernandez or his tutoring those many years ago. Jon Griffin

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Introduction Understanding the montuno

1

Many people associate the piano “montuno” with Cuban son-montuno. While there are certainly elements o traditional montunos in the piano parts, the parts are generally variations o the montunos played by the Cuban tres. Tese parts have been modified over time, and have even spawned other genres within Cuban son, such as timba. Piano players generally come rom “legit” music backgrounds as opposed to the tres players who were generally sel-taught and learned by tradition. Because o this, the montunos played by piano players differed. Montuno versus son-montuno

It is important to understand the difference between a montuno and the musical style son-montuno. It is one o those terms that could lead to conusion, so I will attempt to give a short, and concise answer. Basically, a montuno is a section that is played aer the verse. Te montuno section could be called a rerain or chorus, but unlike modern Western music which is usually verse, chorus, verse chorus, the montuno is added aer the verse or son, and the verse is never repeated (except maybe the verse idea restated in vocal improvisation). Son-montuno on the other hand is a genre o music that started as son, and beore that changüí, nengon and kiriba. Te musicians later added a section called the montuno. History of piano montuno

Many Cuban ethnomusicologists trace the piano montuno to the late 1800’s when danzón and its subsequent addition o a “son” part in later variations came about. Te musicians (many black), would start to add a montuno part based on what they heard in their neighborhoods and everyday lie. Tese musicians were generally playing or society unctions even though they still lived in squalor and on the outskirts o the cities. Te rise o mambo, and cha-cha-chá urther influenced the way montunos were played on piano, as well as subsequent popular music rom Cuba. Like most attempts to categorize music, there is no exact classification. Some songs have been classified as son-bolero, or son-montuno cha, or even danzón cha. Te point being, don’t get caught up in the terminology, it will come to you in time (just like clave).





2

Son Montuno I you have watched the ensembles that the masters played (either on Youube, or on the DVD version o this method), you will see that the songs that have a piano part aren’t traditional son montuno ’s. At least in the way a tres player in the 1920’s would play the montuno. Tere is a strong presence o son montuno in all o the ensembles, just like in almost all modern Cuban music. As was discussed in the previous chapter, modern Cuban music is a mix o all that came beore, and as you will see later in this method, even incorporates musical influences rom music outside the islands. Te main influence, aside rom Arica, is the America song and jazz.

Standard Montuno Pattern Whole books could be written about montunos, and you should listen to many different pianists to get an idea o other ways to play montunos. Te ollowing example is a standard piano montuno played in the son and son montuno styles. F

B

C

B 6

F

B

C

B

Example 2-1Basic son montuno pattern



Te chorus or this amous song (which is really a son, not a son-montuno srcinally), along with the melody and chords goes like this.

Di

-

le a

cat

-a

F

-

li

- na

que

B

la

te

com

-

pre

un

C

yu

- ca

se

B

guayo que

B

me-es

- tá-

pa

C

san B

F

do F

Example 2-2 Basic montuno harmony

We start this tumbao on the tonic, subdominant, and dominant chords (I,IV,V). Te relationship between the piano, bass, and percussion is very important, since the rhythm section supports everything else. Te first thing the pianist has to do is listen to what the bass is doing, or example. I

IV

V

IV I

IV

V

IV

I

Bass

Example 2-3 Son bass tumbao

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Tis part may vary, but that is the basic pattern or the bass and here is what the piano and the bass look like together. F

B 6

C

B

F

Bass Guitar

Example 2-4 Son piano montuno with bass tumbao

Montuno Variations Tis montuno has several variations, or instance this one is a little more modern and has some more movement and passing chords. F

B

C

B

F

B

C

B

F

Example 2-5 Variation o son montuno pattern

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Here is another variation with the bass part. All o these montunos have many variations; just remember to keep on the right side o the clave (more on that later i you aren’t amiliar with clave). Te most important things to keep in mind when creating a montuno are the rhythmic and melodic possibilities. Tese variations will, o course, depend on your technical and musical development. On the other hand, it is necessary to think and listen in a collective way when playing in an ensemble. Te bass needs to hear the piano; the piano needs to hear the bass; the piano and bass need to hear the percussion. It’s a collaboration o elements that have to be very close together, very solid.

F

B

C

B

F

B

C

B

Bass Guitar

Example 2-6 Son montuno variation 2 with bass part


F


3

Cha-cha-chá Cha-cha-chá is part o the Danzón amily and probably one o the most recognizable styles o music that came rom Cuba. It is one o the three styles born out o danzón that included a vocal section. Enrique Jorrín is credited with creating the style in the late 1940’s and his songSilver star is considered the transitional song that bridges the earlier danzón and what would become cha-cha-chá. Olavo Alén Rodríguez also talks about this in his seminal book, De lo Arocubano a la Salsa (Artex, La Habana). Here is an excerpt o what he says about the genre (1994:87-8). "... the cha-cha-chá appears to be a variant o the danzón. Te ormer maintains a structure very similar to that o the danzón, since, in spite o dispensing with the rondo orm [o the danzón], it does so only by an internal transormation o the melodic and rhythmic elements used in the composition o each o its sections. Also, in the cha-cha-chá, the interpretative unction o the flute is retained. Tat is to say, its role as a soloist and the characteristics o its manner o improvisation in the danzón reappear in the cha-cha-chá with hardly any alteration. Another important debt that the cha-cha-chá owes to the danzón is the allocation o timbres in its instrumentation. Te melodies o the violins alternate with those o the flute and those o the voices in the way that had become standardized in the danzón and the danzonete. Te principal element that differentiates the cha-cha-chá rom the danzón is the rhythmic cell that gives its name to the genre. Cha-cha-chá is an onomatopoeic representation o two rapid beats ollowed by a longer (two eighth notes ollowed by a quarter note). It is also significant that the cha-cha-chá abandons the elements rom the son that had been incorporated into the danzonete and returns to the strict utilization o elements o musical style that arose and were developed in the context o the danzón amily o musical genres." Tis is an example o a amous Cuban cha-cha-chá written by the late Richard Egües, whose chorus goes like this.

A min

D7

Toma - - - -cho cola te-

A min

G

-

pa ga lo que - -de - - bes -

-

D7

To ma cho co la

G

te

pa ga lo que de bes

Example 3-1 Melody rom El Bodeguero



Importance of Bass and Piano Here is a typical example o what the bass would play on this tune.

A min7

G

D7

E min7

Example 3-3 Typical cha-cha-chá bass pattern

Tis example shows what the piano and bass might play on this tune. Notice the piano is playing a type o counterpoint to the bass line. Tis is an example o the usion o legit music and Cuban popular music. A min7

D7

G

E min7

A min7

D7

G

E min7

Example 3-2 Cha-cha-chá with bass part

Importance of harmonic voice leading Te first thing that a pianist must do in order to establish a montuno (whether it be a cha-cha-chá, a son, a guaracha, or any style o Cuban music), is to have a clear notion o the harmonic progressions he will use. It is also important to understand that clave is simply a word meaning guide, and is not to be conused with a certain genre o Cuban music. Every song has clave, even American pop songs, but in Cuban music it is important to understand what the exact clave pattern is or every style.



I the harmony were like this: Amin7, D7, GMaj7, and Emin7,you have to find a way, a harmonic link that would bind them all. A min7

D7

G Maj7

E min7

Example 3-4 Harmonic progression

Te progression shouldn’t sound scattered like this example, which has no good voice leading. A min

D7

G Maj7

E min

Example 3-5 Harmonic progression with no voice leading

One way to have cohesion is through the use o common tones. Common tones are notes that are shared in all our chords. Here is an example o good voice leading. A min7

D7

G Maj7

E min7

Example 3-6 Harmonic progression with good voice leading



Once we have established these links, we can play cha-cha-chá's rhythmic cell, which is: the right hand on the beat and the le hand on the ofeat. Play the same harmony on both hands.

A min7

D7

E min7

G

A min7

D7

G

E min7

Example 3-7 Basic cha-cha-chá rhythm 1

Here is a variation o the previous pattern A min

D7

G

E min7

A min

D7

G

E min7

Example 3-8 Basic cha-cha-chá rhythm 2 Te most important things to keep in mind are the harmonic progressions and cha-cha-chá's basic rhythmic cells. Tat is, the right hand on the beat, the le plays on the off beat.

As in most Cuban music, there are variations depending on how the song is played or what the other musicians are playing. Te main thing to remember is that this style is defined by a call and response between the le and right hands. Te le hand always plays on the off beats, but the right hand can fill in with passing notes or chord tones and make more intricate patterns. Some pianists even add melodic ragments to the right hand to strengthen the melody.



Tere are two basic types o cha-cha-chá montunos. Te pianist can use either based on his or her own taste. Here is an example o the second, more challenging cha-cha-chá pattern that is also very typical with the simpler pattern added so you see how they fit together. Remember, the bass part in cha-cha-chá is always constant so it is easy to know what to play against.

A min

A min

D

D7

G

G

E min7

A min

E min7

A min

G

D7

D7

G

E min7

E min7

Example 3-9 Cha-cha-chá rhythmic example



Ensemble Example In the ensembles (either on Youube or the supplementary DVD, there was a song titled La Meneíto. Tis was written by the late, great flautist Richard Egües (who was also a brilliant pianist). Here is what the chorus o that ensemble sounds like when played in the traditional style along with the melody.

La

men

-e

í

to,

-- -

E

la men e

-

í

to,

la men e

A

Example 3-10 La Meneíto chorus

Te way it was played on the ensemble adds a more interesting rhythm, but notice how the le hand is still playing the same pattern as beore. Only the right hand is embellishing the pattern E9

A

B min

E

A

Example 3-11 La Meneíto montuno



Danzón Te danzón is a style that was strongly influenced by the immigration o the Haitian and French people in the late 18th Century. Tis influx o immigrants came about aer the Haitian Revolution and also coincided with beginnings o the certain Cuban defined musical ideas.

4

Danzón was influenced by the French contradanse and first shows up in Cuba as contradanza. Among the differences is the introduction o Cuban percussion and the ensemble ormat o violin, flute and piano. Tis ensemble ormat emerged into two distinct groups; the charanga típica and the orquesta típica Cubana. Te charanga típica used a five valve flute, two violins, piano, bass, timbales (pailas) and a güiro (gourd). Te orquesta típica cubana consisted o two violins, two clarinets, bass, trumpet, trombone, ophicleide, timbales (pailas) and a güiro (gourd). Only the charanga típica survived and when the orquesta típica cubana ceased to exist, the generic name o charanga as well as orquesta típica Cubana is being applied to the srcinal charanga típica. Tere are other genres in the danzón Family. Tese include; danza Cubana, and the danzón which, was also the national dance o Cuba in the last century. During the last evolutionary phases o danzón, a vocal section was added to the genre. Te styles that contain a vocal part are the danzonete, and the cha-cha-chá.

Importance of clave One o the ensembles that is available (on Youube or the DVD version o this series) was a danzón called Las Alturas de Simpson. Te main characteristic in danzón style is the clave rhythm, which is different than son clave or rumba clave, and looks like this.

Example 4-1 Clave pattern or danzón

Te first prerequisite or all musicians in order to be able to perorm any Cuban music style is to have a good sense o the clave, to acquire an internal eel or clave. Every musician must have an organic eel o clave in his Sheet Music Plus Order 881636120. 1 copy purchased by [email protected] on May 13, 2016.


or her heart andmind when perorming. Tis is regardless owhether the percussion is playing the clave or not. I the clave or a particular style is not elt inside, it will be impossible to approach any style o Cuban music. Both danzón and cha-cha-chá styles share a very easy clave. In the chacha-chá, the clave would be much more stable and look like this.

Example 4-2 Clave pattern or cha-cha-chá

Son has two types o clave, the traditional son clave and the guaguancó or rumba clave. Despite the name, the rumba clave is used in son as well, especially modern son and its variants like timba. It is very important to keep these clave patterns in mind and also play them correctly. You must also understand that the patterns can be played in reverse. Te melody really dictates the direction o the clave, and in some modern styles, both types o son clave (rumba and son) exist in the same song. Generally once a song starts the clave direction stays the same (it can be called 3:2 or 2:3 depending which side starts the first measure o the song) throughout the entire song. In modern Cuban music the clave can, altough rarely, change direction or cross (clave cruzado). Please note that crossing the clave is very rare. Here are the two types o son clave.

Example 4-3 Clave pattern or son (2:3)

Notice that only an eighth note on the 3 side is different in rumba clave.

Example 4-4 Clave pattern or rumba (2:3)



Danzón form o approach the danzón, which we talked about beore, I will show you the same piece that is played in the ensemble example. Danzón can start with a piano introduction or it can go right to the theme. Te orm is as ollows: Te theme; then a trio, which is the singing part; a musical part in which the dancers take a break; the dancing starts again when it goes back to the theme; and then a montuno, which would be the theme again. For example here is the theme part oLas alturas de Simpson. A min

E7

E7

A min

A min

E7

B7

A min

D min7

E7

E7

A min7/E

Example 4-5 Las alturas de Simpson theme



Tis song has two bridges, or trios, that are played aer the theme. Te first trio that is played goes like this.

Example 4-6 Las alturas de Simpson trio 1



You then repeat the theme, and play the second trio. 3 3

3

3

3

3 3

Example 4-7 Las alturas de Simpson trio 2

When that trio ends, it again goes back to the theme. All o these will sound much richer, i you are able to enhance it harmonically. For instance this is the traditional way o playing the song, and stays on the tonic (I) and dominant (V) chords. C

/G

C

/G

C

/G

G7

G 7/D

Example 4-8 Las alturas de Simpson traditional harmony



By changing the melody a little and adding some movement by the use o passing chords, you can get a much richer melody that will sound a lot more modern to our ears. Here is an example o what that could look like. E min7

C

E aug7

3

3

A min

3

Example 4-9 Las alturas de Simpson modern harmony

Danzón montuno In the ensemble version o the song, there was a montuno added. Danzón didn’t have montunos when they were created, but it became common in the 1920’s and later to add one. Tis was to liven up the danzón or the, then, contemporary audiences, and also to let the musicians play a little more ree. Note though, that in a society unction, even in the 1920’s and 1930’s, musicians would probably not add this part. Here is the montuno part that was played on the ensemble. E

F min6

B

D min

E

A min

Example 4-10 Las alturas de Simpson montuno

As you can see, the cadence is similar to the son. Te danzón is an older style than son or montuno son. It’s really matter o choice to add the montuno part. Te bass has less movement when playing a montuno part in the danzón due to the balanced nature o this style. Te piano also plays a very steady montuno part, so it is not really a son-montuno, rather a danzón montuno!



Te tempo has a lot to do with it; it would be a bit aster, but remember there is a very strong relationship between danzón, son montuno, and son.

Example 4-11 Las alturas de Simpson in son style





Bolero Te bolero is a combination o romantic emotions and, generally, harmonic sophistication. It belongs not only to Cuba, but many o the Caribbean islands.

5

Te Cuban bolero is part o the style o music known as Cuban song. Tis shouldn’t be conused with son as they are not the same style at all. Te song genre is generally comprised o music that is meant to be listened to, and dancing to it was a secondary unction. Tis is in contrast to most o the Cuban music played today where the primary purpose is dancing. In Cuba it is said that the music is or the dancers, and that is true or most Cuban styles. Cuban bolero evolved rom the song style o the troubadours (trova), and evolved into a style that does combine dancing, and the bolero is well known around Latin America. According to Olavo Alén Rodríguez (2000,2012), “the bolero, along with the son and the rumba, is one o the most important genres incorporated into salsa music.” Here is an excerpt rom the amous Cuban bolero,Como fue, written by José Antonio Méndez. F maj7

3

C min7

F7 9

B Maj7

E Maj7 ( 11)

A min7

D9

3

G m9

C 13

A min7

A /E

G m11

F

Example 5-1 Excerpt o Como ue

Like any other style, pianist needs to have a wide harmonic knowledge and a refined musical taste. Te bass plays in a very steady manner, usually in Sheet Music Plus Order 881636120. 1 copy purchased by [email protected] on May 13, 2016.


quarter notes or hal notes, simply supporting the harmonic structure or each chord. Te piano is the one that has to add the harmonic variety. Another thing to understand is that the bolero has a very strong link to the American ballad, especially rom the early to mid-20th century. Here is a ragment o a very traditional American ballad. 3

3

3

Example 5-2 Classic American ballad

I we played that same melody as a bolero, it would sound like this. 3

3

3

3

Example 5-3 Classic American ballad played as a bolero



I that melody was played as swing, it would go. 3

3

3

3

Example 5-4 Classic American ballad in swing style

o take this concept the other way, you can play “Como Fue” in swing and it would sound like this. 3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Example 5-5 Como ue in swing



What we’re doing is mixing bolero with jazz. Te only thing we need to do is change the rhythmic eel. I we add percussion, the tumbadoras (congas), and the bass changes while you play in quarter and hal notes you will get the classic bolero sound. Tere is a sentimental eeling associated with the bolero. It is like playing a slow blues or romantic ballad. Here is how the tumba part would be i we played against example 1 again. F maj7

3

C min7

F7 9

B Maj7

E Maj7 ( 11)

A min7

D9

3

HF

G m9

H

S F HOOO

C 13

F S

A min7

A /E

G m11

F

FH O OO

Example 5-6 Como ue with tumba part

Te bolero perormed with the ensemble is a classic bolero, a jewel o the Cuban musical literature called Longina.



Tis bolero goes like this.

3

3

3

3

Example 5-7 Longina (ragment)



We could play this same bolero, as a Latin jazz piece. o make it sound like Latin jazz we would give it a aster son rhythm, characterized by the cáscara on the timbales. We would add tumbadoras, and the bass would be played with much more movement, and thus we would achieve the Latin jazz eel. It would sound like this.

Example 5-8 Longina in Latin jazz



By using the same harmony, and just changing the rhythmic structure, we get different versions and variations o the same bolero. Tis is what Longina would sound like in swing style. 3 3

3





6

Mambo Te mambo and cha-cha-chá are very similar, and is part o the Danzón amily. Te mambo, like its relatives the cha-cha-chá and danzonete, had vocal section added. Te mambo is also unique because not all the songs have lyrics in the normal sense. Many mambos were just instrumentals and sometimes there would be a repeating coro, but no real verse. Te mambo is usually a little more dynamic. We should not only reer to the Pérez Prado mambos, but also to one o the great Cuban musicians, the late Benny Moré. Benny used to blend mambo elements with different Cuban patterns in his own compositions and perormances. Here is a very typical chord progression or a Cuban mambo tune G min7/F

C 9sus4

G min7

C 9sus4

F Maj7

F Maj13( 11)

F Maj7

F Maj13( 11)

Example 6-1 Typical mambo chord progression

Bass part I you recall the bass in the cha-cha-chá it would sound like this.

Example 6-2 Bass line in cha-cha-chá

Te same bass line would sound like this i you played mambo.

Example 6-3 Bass line in mambo



Clave Te reason the bass plays this pattern is because the clave in mambo is not the same as son clave. It is basically just our quarter notes. Te bass pattern came about to support this simple clave.

Example 6-4 Mambo clave

It is important to note that the clave is normally not played on the claves. It is usually played on the campana (cowbell) or the cha bell on timbales. Here is what the bass part combined with what the piano would play in a typical mambo.

Example 6-5 Mambo piano part with bass in lef hand

Mambo patterns Normally you will be playing with a bass player and wouldn’t need to play the bass part with your le hand. Instead, you could play something like this, and remember the cha-cha-chá are closely related but this is mambo.

Example 6-6 Mambo pattern 1



Here is another variation that is commonly played.

Example 6-7 Mambo variation Here is the variation with the bass part so you can see the syncopation and interaction with the bass.

Example 6-8 Mambo variation with bass in lef hand

You could also change the montuno with chords or mix and match depending on the ensemble. Here is a possible way to change the chords and rhythms or your montuno.

Example 6-9 Mambo variation with chords



Ensemble example Te mambo that is on the DVD and also available on Youube, is a good example o this style. It also incorporates cha-cha-chá andson elements. Te son part was added at the end o the piece and was used to show o the percussion section. Te montuno in the mambo part was like this. 3

Example 6-10 Montuno or Mambo 2004



Here is a ragment o the son section that was added to this song.



Example 6-11 Son ragment rom Mambo 2004





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imba imba, which is just a witty Cuban word, is a mixture o different elements. It is not a very defined or stable style, and it has a lot to do with internal rhythmic creativity. Te piano works with a tumbao, but the bass works with a different, reer pattern. Tere are oen other keyboard parts that perorm a contra-tumbao to the piano part. Te tumbadora (conga) plays a pattern while the drum set plays a rhythmic counterpoint to it. When all these elements are tied together, like a big musical stew, we get timba. o get an idea o how this all works, we will start with a standard 1-4-5 progression and build this up. F

B

C

B

F

Example 7-1 1-4-5 progression

I you were playing this in traditional son style, the bass would go like this.

Example 7-2 Traditional son bass line



imba is played much aster and reer and taking the roots rom the son pattern the bass would play a much reer and rhythmically complex part.

5

9

13

Example 7-3 Typical timba bass part

Since the bass is not just playing the more stable, traditional son bass pattern the piano can also muchbut reer. could still play montuno overpart a timba bassbepart, it isYou best to learn howa traditional to play the piano part the timba way. Here is another bass line that could be played by the bass player with these harmonies.

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Example 7-4 Variation o timba bass part



You can create many variations o this pattern that fit in with the bass part. One variation o that pattern could also be played like this.

Example 7-6 Variation o timba piano part

Here is yet another example along with what the bass player might be playing.

Bass

Example 7-7 Timba piano part with bass pattern



Tere are many o these variations and they all depend on the skill level o the musicians involved. In the case o timba, the bass player takes on probably the most important role, and must have very good internal rhythm. Te bassist is coming up with the variations on the tumbao that, especially, the piano and tres players are playing off o. Te pianist has to create tumbaos that are not bound to the more traditional and stable son patterns. Te tumbaos need to be more aggressive and challenging, and a pianist must be ready to change those tumbaos at a moments notice throughout the piece. Tis is true whether you are playing the main piano part or a contra-tumbao or emulating the tres player. You could leave the montuno somewhat fixed, but it wouldn’t be as dynamic and timba, the song lose some its on edge. It certainly wouldn’t be traditional butwould sometimes i youoare a gig or the first time and don’t know the charts, is a way to stay out o the way and still sound current. Here are some more examples or you to practice.

Example 7-8 Variation o timba pattern

And another.

Example 7-9 Variation 2 o timba pattern



You can mix and match these to create music that eels very alive and dynamic. Make sure you play these parts percussively and aggressive. imba is about attitude as well as technique. It is not a style or timid, so playing.

Ensemble example I you have the DVD version o this masters class or i you are watching on Youube, you will find a song called “ranquilo.” Tis was written by Jiovanni Cofiño and was srcinally recorded as a traditional son. He updated the arrangement or this project and added elements o not only timba, but bolero and modern son. Te timba elements on piano were added in the last section by Emilio and here is a ragment o what he played.

Example 7-10 Fragment o timba part played onTranquilo

I you were to play the same thing as son moderno, you would play something like this.

Example 7-11 Tranquilo as son moderno



Te bass would also change and sound like this:

Bass

5

9

Example 7-12 Tranquilo bass part





Changüi Changüi is not traditionally played on the piano; instead it is played by the tres. In a modern context elements o the tres part are oen played as a contra-tumbao by a second keyboard i there is no tres in the ensemble.

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In “ranquilo” the tres player added a contra-tumbao to the piano which incorporated changüí. Even though there is no piano changüí part in the ensemble example, it is wise to listen to other musicians to get ideas. Changüi is a very old style that comes rom Guantanamo, specifically Baracoa. It is a usion o an earlier style, nengon. Te basic difference is that when a specific instrumentation existed in an ensemble setting changüí was “born.” Once the ensemble consists o these 4 musical instruments: Marimbula, Bongo, res, Güiro(or Guayo) and a singer(s) you are playing changüi and not nengon. O course, that is an academic answer, and music in Cuba, like the rest o the world, has evolved and used since changüí was invented. Most musicians in Cuba would say that changüí is a style with both the Bongo and res playing very syncopated and the Guayo (or Güiro) playing on the down beats. Another problem is that someone rom Guantanamo who plays "Cuban" music is oen times considered a Changüicero. A good example o this is Elio Reve, who does play Son with some Changüi elements, but this style o Cuban music is really Son Moderno. Also note that there is no “clave” in changüí. I you hear clave in a modern context it is really just an added on part or the changüí is being played in a son context. As a piano player, it is important to understand all o these early music styles since they are important when trying to understand the different sections and styles played in a modern context. For that reason, we also suggest that piano players thoroughly understand the percussion parts as well, even i you never become a percussionist.



Here is a typical changüí pattern as it would be interpreted by a pianist.

Example 8-1 Typical changüi piano pattern

Te changüí flavor can be obtained by playing specific rhythmic accents on either the piano’s tumbao or the tres’s contratumbao. In the ensemble, the piano was playing a son tumbao with some timba elements and, since the rhythms corresponded to each other, the tres answered with a changüí contratumbao. Here is another example with a son bass part or you to practice.

Bass

Example 8-2 Changüi pattern with bass part



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Resources

Anthology o Cuban Music – Limited Copies Available http://e88.me/retro

Con Sabor Al Guaso – Ban Rarra (good examples o Cuban music styles rom Guantanamo) http://e88.me/guaso

Cuban Masters Series – Mini Lessons (hand percussion and vocals) http://e88.me/minimasters



Ensembles YouTube

ranquilo: http://salsablanca.com/tranquilo No Hay Ron: http://salsablanca.com/no-hay-ron Mambo 2004: http://salsablanca.com/mambo-2004 La Meneito: http://salsablanca.com/la-meneito Longina: http://salsablanca.com/longina Las Alturas de Simpson: http://salsablanca.com/danzon

Websites Salsa Blanca – Many more examples o Cuban music http://salsablanca.com/

Audio Examples All o the audio examples are available at: http://mayuli.com/piano-masters-audio

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Cuban Masters Series the Cuban Piano

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