Learning Salsa 1

Learning Salsa 1 Alberto Betancourt (albetan)

SALSA is a very rich and exciting rhythm because of its syn complexity of accents in diff fferent percussion instruments. I write rhythmic patterns here in General MIDI confi figurati them in your midi keyboard or sequencer in midi channel 1 The CLAVE is the soul of SALSA and CONGAS or TUMBAS

Click on PLAY and you will hear and read music:

Here is the combination of Clave and congas:

j j b \u0153 \u0153 \u0153 b \u0153 \ u b \u0153 \u0153 0 \u0153 1 b \u0153 5 \ 3 u \u2030 \u0152 \u2030 \u015 \u \u0152 \u0152 c & \u0153 \u0153 \u015 b \u0153 b\u0153 \u0153 b\u0153 \u0153 b\u0 \u0 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u015 \u015 > > > > > > > > > > > > In a fi first step perform with right hand the CLAVE and with

Clave 3 & 2: 3 beats in bar 1; 2 beats in bar 2

Congas

Practice it until mastering it. In a second step play G\u00dcIRO and C\u00c1SCARA. C\u00c1SCARA is a very characteristic fi figure in SALSA an Cow-bell, Cymbal or tymbal-ride.

? b \ u 0 b 1 5 3 b \ u \ 0 u b 0 1 1 5 5 \u0153 \ u 0 \u0153 1 5 3 \u0153 \ u \ 0 u 133 05 \u \u0153 \u015 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 &b\u0153 \u2030 \u2030 \u0153 \u0153 \u0153 \ b \u0153 u 2 \u0153 \u0153 0 3 b \u0153 0 \u0153 \u0153 \ \u0153 u 0 \ b \u0153 u 1 2 \u0153 5 \u015 0 3 3 0 \ \u0153 \ u 2 0 3 0 \ u 0 \ u 1 2 5 > >> >> > > > > > > g\u00fciro

c\u00e1scara

Here C\u00c1SCARA is performed in cow-bell, sounding st When a band is playing the theme it sounds better with cy tymbal-ride. In a third step play drums-set with HI-HAT and BASS -DRU

&

> > > > ?b\u0153 \ u 0 b 1 5 \ u 3 0 \ u b 1 0 5 \ 1 u 3 5 0 \ u b 3 1 \u0153 0 \ 5 \ u 1 u 3 0 5 0 \ 1 u 3 1 5 0 \ 5 \ u\ u00 \1 u 5\u0153 5302 \u \1\0u\5 u 1 u 05 0 2 2\2 1\0u 5\u0153 \5 u3 u 302 \\u0 2 00 u11\0 \u0152 Hi-hat / cymbal / maracas

Bass-drum

In a fourth step let's mix these patterns in order to have a r of S ALSA. Record it in your midi keyboard or sequencer.

Salsa 2

j j b \u0153 \u0153 \u0153 b \ b u \u0153 \u0153 0 \u0153 1 b 5 \ 3 u 0 \u0153 \u . . \u2030 \u0152 \u2030 \u015 \u0 \u0152 \u0152 . &. \u0153 \u0153 \u015 \u0153 \u0153 \u01 b \ u 0 b 1 \ u 5 0 3 b 1 \ 5 u 3 0 b 1 \ u5\u 0 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 b \u0153 \ u \u0153 0b\u0153 1\u0153 5\ \u0153 u3b0\u0153 \1u5 \u0153 \3 0b u\\u0153 1 0 u\u015 1 0 5\?5 1 u.33 5 0\u \3 .& \u0153 \u0153 \u2030 \u2030 \u2030 \u203 \u20 b\u0153 \u0153 \ \u0153 u \u0153 b \u0153 0 \ \u0153 1 u \u0153 b \u0153 5 0 \u0153 \ 1 3 \u0153 u 5 \u0153 b \u0153 3 0 \ \ \u0153 1 u \u01 u 0 5 0 1 3 1 > > > > > > . ?b . \u0153 \ u 0 b 1 \u0153 5 \ u 3 0 \ \ u b u \u0153 1 0 0 5 \ 1 u 1 3 5 0 5 \ u 3 b 1 \u0153 3 0 5 \ \ u u 1 3 0 0 5 \ \ u 1 u 1 3 0 5 0 \ 5 1 u 3 1 \ u \ u001 \1u \u0153 50 32\1\uu \u 50 u\u0152 01 2 01 \5 10 \u \u0153 2 5 u30 32 \20u \\u0 1\Ju 005 u0 Tumbao: TUMBAO is an ostinato figure played by bass which coincides with of TUMBAS, and also with bass-drum. Play this TUMBAO with le

.. &.. \u01 ?\u0153 . \ u 0\u0153 . 1\u2030 \5u30\ 1u\u2030 \50 u 3 1 0 \ 5 1 u \ 3 5 0 u 3 1 0 \ 5 1 u J J G7

Guaje or Montuno:

Guaje or Montuno is a repetitive figure played in piano. Easy formula for guaje: | x x x x x | x x x x | |1 - 2 - 3 - 4 -|1 - 2 - 3 - 4 -| Down-beat 1, down-beat 2 , up-beat 2 and the rest of up-beats th

2 beats in 1st bar; 3 beats in 2nd bar \u00d6 j j j . . \u0153 \ u 0 1 5 3 j j j \u0153 . \u0153 . &\u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u01 \u015 \u0153 \u0153 \u0153 \u0153 \u0153 \u015 \u \u00 \u00d6 \u00d6 \u00d6 \u00d \u00d6 \u00d6 \u0153 \u01 ?\u0153 . \ u 0\u0153 . \u 1\u2030 \5u3 0\\u0153 u1 \\u2030 u 0 5 0 1 3 1 5 \u2030 \ 5 3 u 3 0 \ u 1 J J

Clave 2 & 3: G7

clave beats

Perform this Air of Guaracha in all seventh and minor seventh cho

The job of pianist in SALSA is to inject feeling in rhythmic When ther's a bass player, the pianist must play GUAJE wi octaves. Perform these exercises in both ways, as solo pianist and a In organ: play montuno in octaves with both hands, and ba

Salsa

Cl a ve 2 & 3

j j j j . . b \u0153 b j j b b \u0153 j j j \u0153 \u . \u0153 . &\u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u0153 \u01 \u0153 \u0153 \u015 \u0153 \u0153 \u0153 \u0153 \u015 \u00d6 \u00d6 \u00d6 \u00d6 \u00d6 \u0153 \u01 ?\u0153 . \ u 0\u0153 . 1\u2030 \5u3 0\\u0153 u\1\u2030 u 0 5 0 1 3 1 5 \u2030 \ 5 3 u 3 0 \ u 1 J J 3

G m7

Play progression I V7 V7 I in all tonalities, GUAJE with right and TUMBAO with left., and also GUAJE with both hands in octaves. In organ: guaje with both hands and bass with pedals. Clave 2 & 3

. \u2030 \u2030 \u203 . &..\u0153 \u0153 \u0153 \u2030 \u2030 \u20 \u \u0153 \u0153 \u0153 \u0 \u0153 \u01 \u0153 \u0153 \u0153 \u015 \u0153\u0153 \u0153 \u0153 \u0153 \u00d6 \u00d6 \u00d6 \u00d6 \u00d6 ?. \u0153 j j . . j \u0153 \u0153 \u0153 \u01 . \ u 0\u0153 \u0153 \u0153 5 3\ u 0 1 . \u0153 .1 \u0153 C6

G7

C6

Practice progression Im V7 V7 Im in all tonalities in the same way:

Clave 2 & 3

. j \u2030 \u2030 . &.. \u0153 \u2030 \u0153 \u0153 \u2030 \u0153 \u0 b\u0153 \u2030 \u2030 b \u203 \u0153 \u0153 \u0153 \u01 \u0153 \u01 \u0153 \u0153 \u0153 \u015 \u0153 \u0153 \u0153 \u015 \u00d6 \u00d6 \u00d6 \u00d6 \u00d6 ?. \u0153 j j . j j . \u0153 \u0153 \u0153 \u015 . \ u 0\u0153 \u0153 \u0153 5 3 \ \u0153 u\u0153 015 . \u0153 .1 \u0153 C m6

G7

C m6

&

Variation Patterns:

Salsa 4

> > > > > > > > . œ œœœœœ œ œbœ œ œœœœœ œ œbœ œ œœœœœ œ .œœ. . œœœœœœ œ œbœ &b >œ >œ >œ > > > > > > > > > œ œ b œ œ b œ œ œ œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?. . co ng a s . b œ œ œ œ b œ œ œ b œ œ œ œ b œ œœ. &b œ bœ> >œ bœ> > œ bœ> >œ cow-bellœ > > maracas / cymbal / hi-hat

Bongo-bell cáscara:

In improvisations, bongo player performs this figure in cow-bell:

> > >œ b œ œ> œœœ œœ b>>œœ > œ œ œb‰ œ œ œœ œb œœ œ> œœœ ?‰

Clave 3 & 2 : 1st bar has 3 beats, and 2nd bar has 2 beats. x x x x x |1&2&3&4&|1&2&3&4&|

Clave 2 & 3 : 1st bar has 2 beats, and 2nd bar has 3 beats. x x x x x |1&2&3&4&|1&2&3&4&|

j j b œ œœ b œ œ œ b œ œ b œ œ ?Œ œ Œ Œ ‰ Œ Œ Œ ‰ & œbœ œ œ œ œ œœ œ b œœ œ œœ œb œb Congaœ s œ œœ œ œ œ œœ œœ œ ‰ ‰ œœ œbœ œ œ œ œ œ œbœ œ œ œœ œœ œbœ>>œ œœ œ Cow-bb eœ ll > > > > > >

Clave 2 & 3

Salsa

5

Clave 3 & 2

j j bœ œ œ b œ œ b œ œ œ b œ œ ‰ Œ Œ ‰ Œ Œ Œ Œ œ œ œ œ œ œ œ œ b œ b œ b œ b œ œœ œ œ œœ œ œ œ œœ œ œœ œ œœ œ >> > > > > > > b œ œ œ b œ œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ‰ ‰

Write your own chord progressions and create your own montuno ? as in this exercise: Play it in all keys.

Ö Ö Ö Ö Ö Ö Ö Ö Ö Ö œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ . œ œ œ œ œ œ œ œ œ . œ œ œ œ . & J J J J J J J J J J J J œ œœœ jœ œ j j œ œ j j j jj œœ j j œ j Left: œœ œ œ œ œœœ œ œœœœœœ. ?. œ œœ œ œ . œ œ œJ œ œ Bass:œ . J . œ œJ œœ .œ J

Cl a ve 2 & 3 : RighDtm7 :

G7

C M7

A m7

Ö Ö Ö Ö Ö Ö Ö Ö Ö Ö œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ œ œ œ œ œ . . œ œ œ & J JJ J J J J J J J J J œœ jœ jœœ j œœ j œ jœœ j j œ j j œ j j œ œ œ œ. œœœœœœœ œ œ ?. œ œœ œ œ . œ œ œJ œ œ œ . J . œœJ œœ .œ J Upper staff ff: Montuno. Lower staff ff: Montuno and bass tumbao.

Cl a ve 3 & 2 : D m7

G7

C M7

A m7

First step: play montuno with both hands. Second step: Play montuno with right hand and Bass with left hand If you play organ: Perform montuno with both hands, and bass with p

Good luck and enjoy playing Salsa.