"
~
.
.
¡
OARD GROOVES f
j
l j
by Manny Patiño and Jorge Moreno
=>ro¡ect Manager: Aaron Swr.g Cover Art: Odal•s Soto Engra·•er: Andrew Parks Muste Ens'a-.,ng "7'echniCl 3a: .; L3
.9 19~ 7 WA RNER BROS PL.BUCAT 0 '-S Al\ Right.s Reser,ed Any dupltC
'¡ ...
.. ... . . "\
;
.
'l
·j
1 i 1
.. ;.
l
,, ,.
¡. . :.· . l1..t.-t
1 1
ACKNOWLEDGEMENTS & DEDICAJ-ION Special Thanks and Dedication From Man'ny tv1y det:pest thanks and appreciation to: God for gi ..·ing me this opportunity and for al:owíng nc to workand leam from great ~usicíans,mywife Alexiys. and m y boys Manny and Ricky for being patient with me through the many hours I sat in my studío and for supporting me
always: llave you al!, Ricardo Patiño for piano grooves, programming and for your endless support <~s always; llove
'
you brother, Jorge Moreno, my other brother, for wíthout his idea this wouldn't ha ve been possible.
.. J
M y 1ppreciation and gratitude to a!l those musicians throughout the years that either created these grooves or in one way or another iniluenced their evolution. God Bless you al!. l would like to dedicate this work to the memory of my p.uents Francisco and Adela Patiño who gave me life and
gave me their !ove and support aiways. 1 love you mamí y papi.
i
_,;¡
.1
Special Thanks and Dedication From Jorge
j
I would like to thank: M y parents ?\.1agaly and Israel Moreno for always supporting me in al! my endeavors, m y 1vife Maritza and my kids Alex, A manda and
Andr~a
for giving me their uncondihonal :ove and support; to m y musical brother Manny Patiño, for
alwa ys bei.ng there forme, without him this book would ha ve never happened; to Rick Patiño for his encouragement ar.d support to this
~::>roject;
to Gustavo Sala for his frendsh;p tJuoughoüt the yea rs a11d for thc .immense talent he put into this
prn¡ect To all the musicia:"\.5 I have worked with and leamed from throughout the years; to almi ghty God for creahng this bci.lutiblun.iv-:rse and allowing meto evolve and grow v>ith it. Thís book is dedicated to my children Alex, A.manda and Andrea. They inspire me daily to be a better human being.
·~
'~
Special TJzanks From Manny & Jorge to: Aaron St.lng for believing in this project since the very beginning, Jose Arias for taking us to see "El Bol", Raul Artiles for numerous consu ltations and support. Alfonso Afonso for percussion and photo touch -ups. Felix Gomez for piano grooves and for being patient as always, Jackson Fondeur for \1erengue piano tumbaos and Merengue history, Jorge "Araña" Hemandez for Cuba's vide'Js, Sandy Poltarack for suggestions and books, Guillermo "El Bol" yivar for the lt:gcnd and history , Israel "Cachao" Lopez for L'-1e legend and for giving us the foundati on and the Mambo, Giov anni Gonzalez for "a lo maco" tambora and conga, Cesar Betar ces for double-checki.ng our Merengue grooves, Alfredo Ah·arez icr piano tumbaos. Rick Ramirez for ? hoto tc uc h -u os . O;baido Ces2 icr \1er e !1~ue history an d up dates .
«,..e r·. rrffrr r··sm
1 1
l
5 t\.I~Í:.lC'S , )esus "Gumby" Navedo for the Bomba & Plena percussion, Gilberto Garcia for the Cha-c:1 a grooves, Abe! Pl>:~'n ~or the Bomba, Plena, & Latin Jazz tumbaos, Raul Gallimore for la y m¡; the piano groO\·es íor the slap & tap bass,
!>.1z._·to ~tarrero for history notes, Johnny Conga "JC" for history notes, Geraldo Peña for Merengue history :1 otes.Igr.aC\o Be:"Ja for the history of the Songo, and especially Gustavo "Cubiche" Sala for laying clown the cowbells, bongos, and .ti~l;:al.
· ·
1
Al,out tlze Authors
1'
M.mny Patiño was bom in Barranquilla, Colombia South America. His family moved to New York where he was ex;osed toa variety of musical styles including, of course, American Pop and Jazz, as well as various types of ethnic
u::.n music. He b_egan playing a home-made "marimbula" bass ("box bass" used in early Afro-Cuban and Dominican m¡:;ic) at the age of eight. He later picked·up drums, electric and upright bass as well as clarinet and saxophone. He stu.:iied music at Miami·Dade Community College, University of Miami, and Florida lntemational University.
ML:-.ny has recorded and performed throughout the world accompanying artists in various genres, including: Celia Cruz:, Ar:dy Montañez, Pete "El Conde" Rodríguez, Ismael Miranda, Franky Ruiz, Cheo Feliciano, Willy Chirino, Hansel y R.Ju!. and Roberto Torres in the Salsa circuit; Nestor Torres, Dave Valentin, Mongo Santamaria, Patato Val.dez, Ira SuEvan, Othello Molineaux, and Roberto Perera in Jazz and Latin Jazz; and Selena, Barrio Boys, Gloria Estefan, Jose Luis Ro.iriguez, Raphael, Braulio, Camilo Sesto, Raul Di Blasio, Manoela Torres, Emmanuel, and Ricardo Cocciante in Latin Por!\~a:uLy
currently works throughout South Florida and teaches Jazz Bass at Miami-Dade Community College. Most
rt'c~ntly,
he worked on the published transcriptions for "Cachao's Masterpiece Vol. 1".
Jorge Moreno arrived in the United Sta tes from Cuba in 1962. He began playing classical guitar ata very young age, a far- :! y
tr~ji•ion
c!l:~:ric
st·..;j¡ed
started by hs great-grandfather in Matanzas, Cuba. In t11gh school he started playing upright bass and
bass gu¡tar. At the age of sixteen he started play;ng local gigs anda year after that he recorded his first album. He mu~tc
at
~1i3mi·Dade
Commu.nity College ar.d the Un;versity of
Mia:~u
and has studied arranging and
co::-:- cs¡tion tlndf'r Dr. Cnlos Vare:a. j
!r. :i.:lt1o:> to work1ng with local artists and bands in Miami, North, Sollth America and Europe, h'? has recorded rv..;::-.e:ous .,::'...lm5 and performed with such Latin music artists as Celia Cruz, Jonnny Pacheco, Pete "El Conde"
Roériguez, Char!ic Palmieri, Carlos "Patato" Valdez, Jorge Datto, Roberto Torres, Vicentico Valdez, :-.la~nn,
H~ctor
Lavoe, Spider
Charytin, La Lupe, and Andy Harlow .
l\er~r~tly
jorge worked on the published transcription of "Cachao's \tJsterpiece Volume I" and for the past ten years has
bee :>. .:!trectH"lg his own band "Casablanca".
..
-
~~~·~
1 PAGE 11
J
CD TRACX
t1
Fore_;.ord: Latín Amerícan Music ............. 6 l:~troductim ............................................ 7 .............. 1
Los Tumba)S ........................................... 8 The Clave................................................ 9 intros and éndings ~ .................. ; ............. 12 The Histo7. of Piano and Bass Tumbaos 14 Cross-0\ffr Groove .............................. 16 Exampe 1 ......................................... 16 .............. 2 GuaJira ................................................ 18 Exampe 2 ......................................... 18 .............. 3 Exampe 3 ......................................... 19 .............. 4 Examp\~ 4 ......................................... 19 .............. 5 Son Monbno ....................................... 20 Examp,~ 5 .... ..................................... 20 .............. 6 Exampl:: 6 ......................................... 21 .............. 7 Examp\: 7......................................... 22 ..............8 Guaguancó ........................................... 24 Exampé 8 ......................................... 24 .............. 9 Examp1c: 9 ................. :....................... 26 ............ 10 Examp~
10 ....................................... 28 ............ 11 Mambo ................................................. 30 Exampl~ 11 ....................................... 30 ............ 12
Examp!e 12 ........................... ....... ..... 31 ............ 13 Examp!c.: 13 ................. ...................... 31 ............ 14 Cha-cha-cha ......................................... 32 Exam¡:.!e 14 ....................................... 32 ............ 15 [xam¡;::: 15 ...................... ................ 32 ............ 16 ~.xamp:"~ 16 ....................................... 32 ............ 17 Bomba & Plena 34 Example ·1'! ... .................................... 34 ............ 18 Exa mpie 18 ....................................... 35 ............ 19 ,\1erengue . .. ... .... .................................. 36 Example 19 ....................................... 3 7 ............ 20 Example 20 ....................................... 38 ............ 21 Example 21 ...................................... .40 ......... .. . 22 Example 22 ...................................... .42 ............ 23
PACE 11
CD TRACK 11
C7 Tu m bao (Descargas) ...................... .44 Example 23 ....................................... 44 ............ 24 Example 24 ....................................... 44 ............ 25 Example 25 ..............................·......... 45 .......... ..26 Songo .......... :.............. :.. ;.....:...... :.......... ~(, Example 26 ............... :....................... 46 ........ ;... 27 Example 27 ....................................... 47 ............ 28 Example 28 .. ·..................................... 48 .......... .. 29 Música Afro-Cubana ........................... .49 Example 29 ....................................... 49 ............ 30 Example 30 ....................................... 49 ............ 31 Example 31 ....................................... 50 ........ .... 32 Salsa ..................................................... 51 Example 32 .......................... .. ... .. ..... 51 ............ 33 Example 33 ...................................... 52 ............ 34 Example 34 ...................................... 53 ............ 35 Example 35 ...................................... 54 ............ 36 Example 36 ...................................... 56 ............ 37 Example 37 ...................................... 58 ............ 38 Example 38 ...................................... 58 ............ 39 Example 39 ...................................... 60 ............ 40 Example 40 ...................................... 61 ........... .41 Example 41 ........ .............. .... ... .... ..... 62 .. ..... .... .42 E~ample 42 ....................... ... ............ 63 ............ 43 Example 43 ....... ............................... 64 ............ 44 Exan1ple 44 ...................................... 64 ............ 45 latin Jan ............ ................................. 66 Exarnpie 45 ... ... ................................. 66 ........ .. . .46 ExampiE:: 46 ....................................... 71 ............ 47 Exarrpie 47 ........ ... ..... ....................... 72 ........... .48 Example 43 ...... .... .... .. ...................... 74 ........... .49 Mixing the Styles .............................. .... 76 Conclusion ........................................... 76
FOREWOI{D: LATIN Al\1ERICAN MUSIC
1
Lltin American Music has expericnccd enormous influences from various parts of the world. It has a rich diversity in s~·les
that seem similar yet are conceptually different in their interpretation. Wilhcut elaborating to<> greatlyonthe effect ·
oi cultures, religions, and customs on the evolution of this music, we will briefly wuch u¡xm those that ha ve had the most .J
ob\·ious influence in its formation . The earliest and most dominant of these influences carne from the European Cor.quistadors to the New World. From Europe we inherited the instruments and harmonic functions of classical musíc along with its cultural dances and song fonns such as the Contra-Danza francesa (country dance song), the Paso Doble (polka-like song), and the Rumba Flar.1enca wlúh is of Gypsy origin.
_j
From Africa we inherited various complex rhythms derived from tribal religiou:; rituals mainly of Nigerian and Congolese descent. We also acquired a number of percussive instruments, i.e., yembe drum (conga-li ke drum), palitos
j
(sticks), guiros (scrapers), tambores bata' (bata' drums), chekere (shaker), sencerros (cowbells), and agogo bells among other hand-held percussion instruments. Along with these, African tribes also brought usan immense repertoire of polyrhyth.rns so rich in sound and pitch that harmony and melody almost became secondary. tncluded in these varied and diYerse polyrhythrñs carne the Clave•. And of course, like the field-haulers e! ~orth America thc slaves brought ir.'lprovised singing. The Aborigines of Latín America were influenced positively and negatívely by both these cultures. In South America ·~
J ·.~
nc-tes were added to their existing pentatonic sca les, and polyrhyth.ms and percussion were incorporated in the music. Aó·erst:ly, some indi5enous musical instruments, rr.anttas, chants and rituals were abolished by the imposed doctrines ar.d philosophies of the Reman Catholic Church. In the Caribbean, un!ike Scuth Amer.ca, :he Spaniú1 Conqtustadors
'
" '- ~e rmi.nated
J
Ti·1e L'rü ted h·1:.h
a!l the
Sta~es
inhabitan~.
This genocide made the rrw.sic r:f Cub;> ard otht:; /\IIt1!les L;land.; strictly an Afro-
also influenced
tt.~
devebpment of Latin music. lts influence r.as been rr.ort> prominent in this
cen~tr;
me advent of phonograph recordings, radio and television. The Bi,? Band Er.a h ~ d a tremendous impad on Latín
b.1nds like Beny \1ore's Orchesrra of Cuba. And Jazz hannonies, R & B and Roer. & Roll beats have always hadan inr1uence on Latín Music. !n summary. Latin American Music implies many things. It is music bom of a Eu:o-Aho-American union enonnously
rich in rhythms and colors. The spectrum of musical frequencies range fro:n a poly-rhyth;nic percussion ensemble, or comp a rs<~ ,
toan eloquent melodic Tango 'Jr har.nonically rich Samba. lt is mus1c U1at was crea red by the interrv.·ini.ng of
cultures and religions that continues to evo! ve in itself.
· r~cn o unced '-lah·vay : An underlying ostl.f\ato rhythmic pattem (U5e
'
... ..... ~.
· ··- -~-
······•-•·"-•··· ... ~· · · · · --· ·· .... ., ~· · ··' ···~· -·-- ..........~·- . · · - - ~"".
..
1
1
1
CD
0
INTRODUCTION
~
·. ..' . ..-: j
'
1 . .
'
'
,
1 ]
__j
This book will provide you with a solid understanding of the funchon of both the bass and piano within popular Latir music. lt is a co!Iection of 'tumbaos' (grooves) that you can assimilatc without sitt:ng through recordings where the tumbaos are sometimes obscured by the other instruments. lt does not. in any wa::, replace the educatio:.al value of li:'tening a:1d analyzing 5ound recordings or videos and actually seeing ;ive grou?s perform this music. This book sho be uscd as a too! for leaming the fundamE.ncals of the grcoves . lt should serve as a stepping stone for the musician to crea te r.1s or her o;,·n tumbaos within the characteristics of each style.
1
\'
This book is ior th ose pianists and bassists who ha ve always been inrrigued by the complex polyrhythms and syncopa patter~s
of L'!tin r.r..J.sic . It is also for those who might v.ant to increase :heir voc¡;,ouiary of Latin grooves and for those
musicians who ha1.·e had difficulty in finding "one" or just simply "feeling" the "wr.e" in sorne Lat:n grooves. The scope of Latín American music stretches from popular, well known sty·les to !ess known regional folk music. Then are many more rhythms that compose a good portion of the total spectrum . From Buenos Aires to the Caribbean there prism of music that 1s impossible to fit within this writing . For this study we will ::,e focusing mamly on Latín AfroCuban dance rnusic. From the greater Antilles lslands of the Caribbean evolved most of the popular Latin dance rnusic we hear toda y. Frorr the island country of Cuba we have inherited the vast majority of pop-dance rhyü1.rr.s like Rumba, Cha-cha, Mambo, Songo, Guaracha, Bolero and many more. From Puerto Rico evolved la Plena and la Bomba. ln addihon, Puerto Rican immigrants in New York elaborated on the Cuban Guaracha and produced a hybrid form cal!ed "Salsa". And from the Dominican Republic the most notable contribution to Latin music is of course, the \ferengue.
1
1 (The Conzping)
The mc..5t important thing in any pop-dance music is "time". Lkewise in Afro-Cuban mu.:;ic. Themost crucial element, other than the Clave which we will discuss soon, is being very cÓnscious of the time /pulse and ki\Ov:ing at al! times where the beat is. Peripherallistening, constant adaptation and accommodating to the sounds of the other instruments ¡5 very crucial for "locking in" with a real groove. What I mean is an adjustm.ent of the volume, attack a::'\d sustain or decay of each note being played in relation to what is "happening" around you . Of course, this mteraction is limited when one plays with a drum machine or sequencer (which, by the way, is very good practice for acquíring time). In playing Afro-Cuban music it is essential that the rhythm section be close together. The section shoutd run like a fine! y
'\
:.·. t•·. · ··
tuned machine. Precision is the key in a music that has so much overlapping of rhythms. One note from any ene of its
'
IJ
members, that is out of time, will de-tune the "mechanism". Of course, we're not talkmg about one note in a whole tune, but rather one of the repetitive notes of a pattem that is constantly off. This can also mean an inconsis tent time feel ora dragging and/or rushing of one or more notes.
'
~
..
When playing these styles you will realize sorne similarities between them . Tempos, rhythmic pattems and chord progressions will give eaCh a different flavor. To the musician/tistener who is first exposed to Afro-Cuban music it may
j
all sound the same. Long term exposure and carefullistening will enable him/her to distínguish the differences.
_,;
Sorne measures in certain tumbaos•• can be interchanged depending on the clave. The groo:.h'S can be mtbellished ami!or edited
by the playeras long as he keeps in mind the underlying accents of the respective cl!we. As menhoned earher. the "t:ick" is to k<•ep your "ears" open at al! times. Listen to what is goi'1g on around you and how it is ~elating to '"hat you are doing . If you're critica! about your playing a11d about music in general you will feel the groove when it "locks" .
a•r!h discretion
•(¡a,·e (k..idh·vay): An under!ymg osnnato rhythmic pattem (used in Alro-Cuban) mus1c whereby all of the s;mcopanon.s and accents of the O\er\aymg mus•c must ~ srncrl~· arranged m relallon to this ostmato pattem (please se-e "The Clave") .
••rumbao (toom·t>a·o) · Groove. or comping a groove; vamptng on a groove; usually a repennve two bar rhythrruc vamp playtd bv rhe ptano . bJss . or rn~ gu 1rar rhat musr be pla~· td in rel.stton to rhe clave (se-e page "His ro ry SynopstS ol Tumbaos").
1 1 1 1
THE CLAVE ' La Cla ve' (klah-va:·) is the most cruc ial element in Lar;n Afro-Caribbean Music The el
. .
·
. .. . . . . ...veIS ,¡n underlying ostinato rhythm1c pattem on wmch the mus1~ IS rhythm1cally based . Tius pattem is played on two wood . ks . . . . " " enshc aboutoneinth in d1ameter by e1ght tnche:; m length called by the same name, claves . lt is also played on a woodbl k . . oc · 1t IS beheved the clave was bom out of the 6/8 rhythms of the African tribes and that originally there were many clav h . . es t at ...., ere .Use• by Nigerian and Congolese slaves. . · · · Afro-Cuban Music, Salsa, Mt:rengue and Bossa Novas all ha ve a clave. Much like Jazz and Rock in which two and four
:' ,
.•... · . .•.
are the strong beats, clave is the underlying accent in these musics. They must be composed and performed with the clave in mind. Afro-Cuban composers naturally write with an intemalized knowledge of the clave. A musician, singer, writer wel! versed in this idiom automatically hears and feels if a melodic phrase or rhythmic pattem is "cruzado" crossed or inve:-ted with the clave pattem. The clave used today is either "rumba/guaguanco clave" or "son clave". This rhytr.mic patté·m encompasses ,, total of four beats (two measures in 2/2 time, Illus. 1). Clave 3:2 means three accents followed by two. They can be in verted wi the "two-side" of the clave at the beginning of the phrase (two accents followed by three). Percussion pattems, piano a: bass tumbaos, rrielodies and any improvised riffs or solos must adhere to these accents.
Illustration 1 Son Clave 3:2
2
3 x.-.x
x
1
~
-
x
Rumba/GuJgu:;. nco Cla ve 3:2
~e
'2
3 '8 ·
'
¡ 1
~
i J ~
:X·
:
X
r---
:r:¡· -
_=:)__
e
Son Cla ve 2:3 (Inve:-ted)
2 x
r
x
;
Rumba/Guagu3nco Clave 2:3 (In verted)
¡g
3
2 X
r
l
1
r-
'~r·
1
. - - -¡
·1
1 As you study t.'1is cor..:ep~ of clave you will ~on realiz.! that there are certain rhythms and melodies that are more "in
1
cla,·e" than othe:-!; me.?...Ling that t."'e "feel" of the clave is more easily recognizable. You will also realize tha• a number of
]
idenhfy the c!Jve of a particular section of a piece, although the remaining rhy thrnic instruments wiiÍ be outlining it their respective tumbos .
'
.
pattems and rr.e!odic i':-agments can "be" in eith.:r J:2 or 2:3 cl<>ve. There are also phrases that do not really outline or
m
Tunes that st.lrt on a given da ve '"hether 3:2 or 2:3 must stay on that clave. There are cases where the mdcx..;ic phrasing of a section is in 2:3 anda subsequent section is in 3:2. In this case there must be at least two beats (one measure in 2/2 time) added to the mt.;Sic oran odd number of measures in 2/2 time added before entering the subsequent secti·J n of the tune (IIlus. 2). In other words, the clave pattem must remain constant throughout.
,
:t .•. .
lllustration 2 Clave 2:3 (C Section)- Clave 3:2 (D Section)
...
•
1\
1
~Cm
..
1
1
r
2
l
,
1
1
(,......_~
Cm
1
r
1
Bb7
·1
C7
_L
r
u
1
3
1
Abmaj7
G7
·~
2
3 1
1'1.
Cm
l
11
..
07
Fm7
-
-
1
2
3
2
-+
_ __¡__ ,
Bb7
¡ 2
1
'
Eb!T'Jj 7
Jgj r
1
1
'
'
1
j
IJ
ere
1
111
-
3
1
1
~
2
r
A bood exercise in determin.ing a clave is to clap the clave pattem both ways (3 :2 or 2:3) and listen to \,·h.ich one feels better w 1th what you're lis tening to. Try to find the beat in the tumbao that emphasizes the first accent of the "2 side" of the clave or the second accent (bombo accent) on the "3 side". In sorne cases the "2 side" is a less busy melodic side.
i
Li ke any other music. in order to reall y understand the nuances that bive each music its characterstics, one must do a lot
..1
of listening and playing. The dynamics and accents are very crucial to obtaining a groove in any music. lt is the tumbaos' ind ividual note accents and dynamics that give it the personalized groove. The same notes played by another player will sound sl ightly different. Through time and practice the grooves will become more natural and you 'll instinctively feel the ac ce nts of the clave withi.n each groove. ·,
< 1
.. J
!!
1
Cinquillo Cinquillo (pronou:1ced "SIN-KEY-YO") ís a one bar rhythmic pattem that is found thrr'ughout Afro-Cubi!n percussi\e and melodic phrases.
r Cinquillo carne ínto existence with Danzon• music in Cuba. This music was created by Miguel Failde-Perez in the province of Matanzas in Cuba. In 1877 he wrote "Las Alturas de Simpson" (The Heights of Simpson) named for the town of Simpson in the hills overlooking Matanzas.
~
J
The Cinquillo pattem is part of a two-bar vamp that is played on the timbales throughout a Danzan. This in tum has filtered down to become an integral part of many other rhythmic pattems. lt is very important for you to remember this pattem when trying to determine the Clave of any rune. This pattem falls
on the "3" side of the Clave .
.J "El Manicero" (The Peanut Vendor)
" .. ' t.)
r----
'
-
......
-
Cinquillo--.....,
-
1 --
Cinquillo--....,
'....,..J
1
,
1
1
~·
;>t--
J
i
1
' 1
r
1
1
1
1
1
DT
r(
\.'otice that the Cinquillos fall on the 2nd and 4th bars of the melody. Of courst! the Cinquillos are not always as obvious as this one is. You will hear many examples of Cinquillos throughout this book.
·~
J
'Duczon: ls the nat10nal dance muslc of Cuba since the late 1800's.
1
'
1 1
JNTROS & ENDINGS
11
J
·lntros and endin~ in Afro-Cuban music are for the most part dependent on the clave: although sometimes rules are broken .11 the ver:•· ~nd of a tune. As a rule of thumb, endings are played on the las! accented note or notes of a phrase or on a do~·m btat. ,.:.m y times onl! part or both sectlons of the clave are played as the ending of a tune (E~ample A) . Endings usually (XCUr either on the last accent (quarter note) or the last two eighth notes of the "3" put of the clave (Example B) . AIL~ugh it is not very corr.monlyused, sorne endings occur on only the first quarter note of either meJ.sure of the cl.n·e . A more commonly used first beat ending is two accented eighth notes (Example C). Sorne endings outline p.ut of the clave (fxample 0), while adding notes in between the accents (Example E). There are a!so endings t!.at partially outline the clave (Example F).
Example A
~~- -r r >
>
~
Example B
>
'
'1e "·
or
11
>
r·
' '
-r
>
:!
r"'
>
JI
t
1
:¡
'
-
>
r- r
or
11
>
!~' '
>
F
>
:1
Example C >
x t
X
>
¡, ---i-
.• '
-
j
Example D
~
:S:
¡
!
i
r·
~
¡
1
Cm x
X
!
!
1
r·
'
Example F
j
~· ~ -
x
'
x
!
t
r
... x
X
x
>
!
:8 i1
>
...
i • •
i¡
8·
>
!
,7
>
>
>
"' p
'
-
>
, , , • •
1
¡
1
'
'
!1
'
Cm
; ;-
•·
1
3b )11
1
1
>
r
¡t
;g
"' '8
Example E
**
e
G7
•·
;¡
>
-=
!
:1
!3
1
1
lntros for rhyth..-n se-:tion players are 'Tea ter\ much tl1e same way as endings. For instance. in a Son Montuno whe~i! :!-.e i.Hüst might begin a tumba o t>y himself for four or eight measures, the rest of the rhythm section will enter on the :.ast
~u.Hter note of the "3" sectic.r. of the clave (Example G) . lntros can vary depending on a possible p·~=-:Ussion bre.1k .:>r a
_
.• :J
melodic pick-up prior to beginning the groo\'e (Sxample H). Sorne intros are simply do·Nn beats. bti: more often ~'-...!n not. of the clave (Example I). .tl11:, intro usually accents.a part .
~
Rhythm
1
_,
~ction .
Example G
~
j
e t
G7
F
r r
l
1
...
r·
D
j . 1
Percussion Break.
~
-El r r
8
' ' 1
r r
1
lntro on downbeat he re.
Example H
l
e
F
1
3
or
F
r r
f
~
'
.J
j
~
~
,8
i
r
t
x~
1
1
:t: j r=-1
F
G7
l
1
,.ry -•
:S:
r·
'V
J p- e r(
ere.
he re.
• -==-¡
lntro on downb<:at he re.
Melodic Pick-up.
Example 1
__¡
intro
8
!!
:¡
., 1 1
1
HISTORY OF PIANO & BASS TU1\t1B.AOS The word "tumbao" is slangfor "tumbar" which means to knock down, to tumble, orto líe down. Tumbao is s~11onym0us
with "guajeo" probably derived from the slang 'aguaje'. Aguaje means to fake something, hence guajeo
("comp" or fake harmonic changes) . .A.nother synonymous word is
"montun~dndo"
:ierived from "montuno"-the vamp
section where an improvised call and response takes place. Thus, the words tumbao (tumbando: doir.g a tumbao), guajeo, and montuno (montuneandcr-doil-.g a montuno} are the Latin versions of groove, comping a groove. or phying
,.,
an accompanying pattem or riff. For simplicity's sake, we will use only the word "tumbaos" when referring to the piano
,·.· .: J\·
or bass grooves. A tumbao is a rhythmic clave-based groove or pattem that is played throughout a tune. It is a rhythmic pattem that should be maintained with little or no variation. The tumbao/groove can be enhanced and/or modified at the beginning of a new section within a tune. Drastic and abrupt rhythmic changes should not be made with.ín a section although. occasionally, a fill can be played within the groove. Unlike piano comping in Jazz, the piano t'.Jmbao in Afro-Cuban Music should ha ve a consisten! unbroken groove once it has been established. The first harmoníc accompaniment tumbaos were performed on the lute (ancestor to the guitar) in the 1700's. The lute
i
_,
was replaced by the tres· in Cuba (a guitar with three sets of two strings placed close together asto be played simultaneously) and the quatro in Puerto Rico (smaller than the tres with five sets of two strings). ln the Merengue of the Dominican Republic the harmonic as well as tJ1e melodic function was performed by an accordion in the "Perico Ripiao" (ancestor to the modem merengue band; a small ensemble made up of guira {metal scraper], tambora {drum with tv.·o heads played horizontally on the percussionist's lap], and accordion).
4
J
The music we are discussing here is, oí course, folk music. Thert'fore, the pianc was n:)t available. The pianv was only used for classical music and to perform Contradances in Ha1t1 and subsequently in Cuba the Contra-Danzas. Danza Habaneras and Danzones in the high so.:iety. The rhythms of Lhe lower c\asses were gradually acceptcd
i:~to
the high
society dances. In the early 1900's piano tumbaos were added to the ::>anzones in Cuba. And, crchestr<'ted ;.\~rer~gt:b wer¿ played between Danzones in cult-,¡ral dances in lhe Dominican Repubiic. At !lus
~me
C\.Olrured music .lná :o lk music
began to mix. Piano tumbaos eventually replaced the tres tumbaos in Cuba and the acwrdion accompamr.:e:-:! ir. the !Jom¡;-,;=ar. Republic. In the modem Merengue the accordion is no longer an integral member ar:d !t is almost ne·.-er use-;¡ 01her than in a historie setting. lr. salsa, the tres is rarely used except in sorne typical "sonoras" as a comp ing instrume:
Through time the piano tumbaos evolved. They have expanded from typ1cal two octave tr:adic ?attems toa
rr..)re
elaborated voicing pattem. The jazz influence on sorne of today's tumbaos is obvious . Of course, the tumbaos still maintain a c!ave-based pattem which is the backbone of the music. The fundamental characteristics of the osnnato pattems still remain . Although, in sorne "Salsa Sensual" or "Salsa Romantica" as it is terrned, the piano will occas io"1al!y play a non-tumbao (freely/ad-lib) accompaníment during the "head" of the tune giving ita ballad-like romannc íeel. The acoustic bass, being of European origins, was not incorporated into Afro-Cuban music until a much later date. The first k.nown instrument to be used to provide a bass sound for this music was cal!ed a "Botija" . lt is a large wine botrle
.1.
--
1
1 1 1 1
IS
r;:J.:ie oí glass or ceramJC which has a wide opening where the cork is placed . They used to blov: :lir wough this openmg !.:'·
:~.:>d u .:e a bas> sound . By adju~ting the an3le of the ir li?S they would get d ifíerent inton.-.bons .
A::vther bass sow1díng instrument Lh..:~t was used ar.d can still be seen in use by sorne peasants 3
15
a "~farimbula ". This is
;.:_:.:are .,.,ooden box with an openj¡1g on one side where thin metal shanks are placed directly ov':!r the openine: and
t!-.e5e are then plucked by the pla ver. The length and thickness of the sh~ determines the notes they produce.
T.-.e first Afro·Cuban music to us~ an established bass ir..strument was the "Danzon". lt used the tuba foral: bass parts in a:1 ensi!mble consisting of violins, ~C'mbone, :onet clarillet, tu~a and timpani. The acoustic bass first emerged around the 1800's, when Danzon had become an acceptable fonn of dance music for the h!gh society and established orchestras began to play it.
In the 1950's the AMPEG musical instrument company based in New 'rork started to produce the first upright electrical bass called "The Baby Bass". The development of this instrument coincided with the "Mambo" dance craze that began in \:¿w York and eventually swept the country, making New York the mecca of Labn music for the next three decades.
1 ·'~~~
The "Baby Bass" was almost instantly adopted by a Jarge number of the Latin bass players living in the New York area at the time. The vast number of albums recorded and hits produced during this era using this particular bass sound, made tt-üs "THE SOU:\D" of the industry.
..
_-1
1:1 the l9iO's sorne very well known bass players such as Bobby Valen ti n and Sal vador Cuevas started us ing the bass '
t
gu tt.::.r. They played and recorded with one of the more famous musical organizations in recent Latin music history "The F:mia All Stars" . This made the bass guitar accessible to la rge audiences and acceptab le to record producers. lt has brought the bass guitar sound to the same leve! of importance as the " Baby Bass" and has opened a wide range of pla:·ing styles and techniques that were not traditionally used in L3tin music befare.
1
,
_j
CROSS-OVER GROOVE Cross·Ü\'Cr is a term used in Latin music to í.."'ldicate an artist and/or stvle of music that is accepted and enjoved bv a
u.S. and world. wide.· The best exampi~ ofthis is Glo-ria Es.teían
vast majority of non-Spanish speaking audie:1ces in the and :he Miami Sound Machinc.
In the early 1970's a num?rr of groups from t.~..e Miami area started incorporatíng a drum set \which is nota traditional instrument in Afro-Cuban d.:mce music), electric bass and guitar to play traditional Cuban music.The industrystarted calling this the Miami sound to differentiate :t from the Salsa New York sound. Gloria Estefan and the Miamí Sound Machi..-1e took this a step further, and by adding American pop music overtones to their music ha ve created a very unique and successful sound. In this next example we ha ve chosen a very common four bar two chord piano vamp (tumbao), but by adding sorne slap-bass tumbaos and drum parts it takes on a whole new feel.
co
CROSS-OVER GROOVE
0
Clave 2:3 Piano Example 1
... • +=
,...,
*F ....... ..
~ ~·
..
...y-, ... i
J
t: A.·
v
,...4.
...
")
¡
lbE
•
JL
(:
... ....
... ....
(!:.
l
vp
E=
t
,..
4t~ ;) ;t'
h
2
r
4
JI..,.--__~-
r-
r-
JI...
JL
r
"3"
; ~- ~~,. ... r
:
~
lll..
.
•.._ +=• ...
'17
r2 "1
1
:.... ... ~1* l
i2
.. t:
~
Q.•
+-
... ....
E '-] z
~
11..."
i:rrr•
11..."'
..__ ,__.. ""
r-
11... ,_
~
... ...
11...,-._,11...
r-
,.......__Em
....
\fPC --· r-----v-fV± ' · 4? •
~
,_._,07
Jl
+-
;
..
....- ,......._..... •1'•
7 ¡7
JI_" 11...
.,.
...
¡--
~
¡
JI..·
._
... '"'
r- JI.. .
...
rl
~
-,.
2
.-.
L __. _ ... ,~-
~
~-~ - ---·- ·
~-
,--- -
f - - 1
'
' W•)
)
J
•
-
)
\
~
-
.
,.
- ~"
•)m
P\ ~·/
~\ ~
• 3
·n•
m.
.1nt
-p-r,.
•
-,.
..
~·
_\
)
•
~·/ -n~
~nt•
"
l~
tllt lit•
--
-
"
'-)- -
-~
~
• •
\\
t~ " )
~~
fiiB
-
-
~
~
rrr, --
r?r
~.- ..,. · ~
í~ ---
TTTl
,.
)
-·
)
~
-¡,.
-m-,. ..,.
• •
)
)
\
- ~
\o
ea ssw-- w·
)
1
- ~n•
-~
.
'
hlt
llll'
k# e-
~
"'
~~
w+·
'1
" lt
~
• · cyri"
-n• pn-.
~"" ~l)
(!_
..
(!_
]
w~-~
~
~
..
;
•
tl
-:·
r")
-·4-_,.
1,,
r
·=r
6
1
)m
o._¡
1• -¡~'
\"
1
-~
-r •
r~
llll'
nr-• )
,.
Htf~ ~
!:t• _·
3
rt•)
m .
1
~.
~
)
• 1'
1
" tlr"
l - ·¡1
)
)
"
rn
~
"
1
)
.
i
lit
• • "
'~
)
)
iBH-t-.
11
M'".
-
n
)
r"
" )
• "
lllll
.l
11. )
-
-J
1
1
l l)
GUAJIRA The Guajira style e\'olved from Cuban cour.rrv mus:c. The word Guajira literally means "peasant farmer ," Guajira can be traced toa form of Spanish music that goesback to medien\ times called "Troubadour'' music. It ~·as played by sif\ger 1poets of the era on a !u te or guitar and was sung by rhyming words improvised as they went along . This form of musiL was i.1troduced !n Cuba by the ~panish colonists that settled the island. It was la ter adapted by Cuban peasant farmers who called it "punto guajirc-" (Note the similarity in the words.) and it is still widely pl.lyed in Cub a. Gua jira was originally played in an ensemble consisting of a guitar anda tres (A Cuban guitar that is similar in sound toa lute.), with minor percussion such as clave, guiro (scraper) and maracas. The original chord progression of the "Punto Guajiro" i::; 1-IV-V-V in 2/4 time. But this evolved in the Guajira toa
1
j
chord progession of 1-IV-V-IV-I in a 2:3 clave pattem. The examples here are in the format adapted by d¡:¡nce bands, where the piano plays vamps similar to those pla yed by the guitar and the tres.
lf you wish to listen to more examples of Guajira we recommend recordings by Joseito Femandez, Beny More. La Sonora Matancera.
co
GUAJIRA
0
Clave 2:3 Piono Example 2
e
~~
G
F
,
~~' i-
·~
e
j
:"' F
,. :11. 1
1 ¡
1
s:·.
:rr~
..
F
G tlfl
~ r
¡
,. Play 3 r:m es
>
F
li É 1
r
r 1' r+&
..
1
L
M 1
>
E-+"
e
t1
Frl
F
1
,.J
•
...
>
•
,. •
•
e-~
G
e
F
•
F
F
G >
> 1
.J
~
e >
>
- .. 1
1
>
>
-
,
--
1 1 8
19
eo
GUAJIRA
(l;,¡ ve 2:3 Pian ') Example 3
e
..
D
"
(
) u
1
1
1
1
G
1
'
_._.
(.
•
!'-
#-
·-
..
e
F
1
<
J
., >
1
\
-..--.,
~~
J
G
•
:
>
..:==Irr rrr EE
....
l•
1
F PI4.1\' 3 t imes
t:-
1
1
j
..;)
.
D
.,... >
r--....
1
, ...'
:1 e
D
" ~
l
1
}
1
L
fl-
•
e
F
D
.. >
co
1
1
1
1
t
1
•
Clave 2:3 Piano Fxample
.1 1
l4.
e7 '
1 ~f-
""' •
B~m
Fm
-•
tJ
Ir-+ . .
~t. '
>
:
1
>
>
i >!
....... >
GUAJIRA
0
r+!
>
.....J
..
e
F •t
-t-:-
...
*
G
.
>
J
•
1
..
G
..
~
-
--
r-
t!f}
- .::---
•
~
n-
•
J/1._
-..,.--L---
..~
e7 B~m t: :;m 411 ~ : :m .,. ~ '
1
,.,....
11-
1
..
' '
1.2 ' ·
f!:.
..
--- :--.,
~
..-
.. r-
-r___.__
~
•
11.
Fm >
>
>
>
50~7
1
_\JONTUNO
SON M01\:TIJl\:O or"SON" .is a very popu!J.: ;,;.., ~:~ ~i ,::.;·:.~n C:a;;ce mu~1c :hat originated primarily in the mountainous proúnce of Oriente. The \,·ord SON derives from the Spanish '' on"': · ·s.."-'!'\!~.:!$ - -..:hícr, are poe::-.s set to muste and ~101\:TI,;NO from the wbrd "Montaña" \\'hich means mountain. Son "km-:..xo or "So:-.gs from the ~1ountains" v.·ere played by the peasant farmers of these regions since the 1800's.
J
' .•·..·
Dueto the development of railroads ar.d other·ior:-:·:,.cf ?ublíc fransportation in Cuba during th¿ 1920's this muo;,c ,,·as exposed to the bigger markets in the majar cit·..:.':·. Matamoros" led by Miguel Matamoros.
l
i
~ :-.1os!
ímportant band that porularized "SON" was .a "Trio
Son Montuno was originally played in an enseC':'lbl
.!
The usual cla\'e pattern of the Son Montuno is ~;.3. l:-1.:t: depcnding on the melody it can also be a 3:2 pattern. Son Montuno was first adapted by dance 1:-ands in th! I92D's played with an ensemble of guitar, tres, cl,we and adding bongos, bass and a trumpet. Later with its gro..-..:·ms ¡:opularity piano. congas and brass were added . If you wish to listen to more examples ofSon 1\t·..)nturc v.·e reco:-:-.mend :-ecordings by Trio Matamoro.Ignacio Pineiro y El Septeto Nacional and La Sonora Matancera. co
SON 1\10NTUNO
0
Clave 2:3 Piano Example 5
J
r
>.. .
x
X
1
/tt;w 1
8)
F6
Bb
C7
. ...
A.
"
l.--.
-
F6
~
A."""' A.
- ,
...
Bb
-
'-
.._...-....._
Al.
•
..
-----._,... J/1..
._...-...._
A.
• •
' 8. C7
f3,
C7
...
,
..
•
Bb
F6
1
.111.
•
_._
...
..
,....,.._
A.
>
>
>
>
l.. V
0
SON MOJ\TTUNO
Clave 2:3 Piano Example 6
e
F
G7
e
F
F
G7
F
• ... -- ;¿ :~: • • : ! • • +r ....... ·--!fi~· V ...--.....;... - ~'-"""'L
IL"""'A..
A..
1
' e -
...
J
F
C.
"
•
tJ
..
:. il!
.,.,. e
,..._
V il!
-
•
~'-•
t=
... ... ::...
...
...
,_
ii..."L r-
•
r~
~- -
,_
.-.
--
:..r-
•1• e ::::
~~
~
1
•í• .,-
_.
( J
1
-t -
G7
-
:
.._
1
...
-t!'o
e
~(!:.
1'- ,.--.... ,_
1
$
...
--
)
'
r-
.
F
G7 ,_,-,A... 1
:J.
1
L'"'ll..:._ +- r-
.
... ._
...
S
t=
-~
. e
,.--....
-
._ ... +=
r-
---C7
~
•
il!
F
... ... ::... ._ ! •v ::• ...' ... , ~ S• il!
~
V
A.."ll..
+-
t-
:::
ii F____i _
:•
.,-
il!
,1
,...
F
¿ '
11.
e
F
•
•il!
,
·;~ ~:;;;
.
S.~
r-
il!
.íl.. _........_,_
(
~
-
S
--•
... ... ...
~
t--.
...._~
F Plm .: :, ,_ ... • • • • •• •
,..._
\.._.;..
•• •
A...
• •
í/
1
!
y
·
¡¿;• ~
F
JI. ,.-..._il...
•
...
1
.f--. T.-
4 ....... ,...
t-i-
...,...... :...
... ... ,..._
r
1
...
J/1..
,_ ...F
r
V
... (!:.'"'::. ~
~
~
¡t---~
/'\
1
1
G7
F
... ...
•
1
!
-.... .,.....!
•
F
il!
e
'
1 1 0 .,
.. , , ... .............. "''' "" - ... - .· ...•.. ·· ---------···-·• '
SON MONTUNO
CD
Clave 2:3 Piapo Example 7
l .)
,.-.__
1'1
1
1
l
,
1
(
'
~
1
. .
)
.
1
-
'
F 1\
1
t)
Bb
C7
Bb
F
B)
1"'\
lt)
1
1
1
•
1
~:
!'- . •
~
r
...
...-- ..
~- r-.~
1
1
1
1
1
1
...
!'-·
~
e}::¡
•
1
Bb
C7
,.,
~
'
(~.:::
\! t)
(
... e_
5,-..j-
'
il
Dm7 "~
1
; 1)
·~
'l
-
-
- p-
~
:
·
..
1...-J
.
j-
•
~ ~..
r-
8
1
'
l l_
l
r:-.
1 A
•-
-o-~ ·
.Gl_
¡;_
- F
.1.
e.""'
,
',_.
1_
,.--..,
.
A7 !""
#
B~7
C7
G7
:.,. . . _ !"-
~f ..
..........
/11}
..
· -~
'
,...._
\l
j
.f!ll
J
1
Em7 (b 5) ti,.--..,,
....--
r
¿¡
-
g;,
F
:S:
Bb
.1.
r.-.-1
.. • • ._
. t:
_¡._
..
•
.....-. -
.:..)
1 !1
,
--
Bb
C7
F
fl 7
~
: -t)
-
-1
1
S s-"""'s-
1 ~T..
_!_
1
.J
B~
C7
Bb
" "
1
•
r
1
1
...
•
1
J
~--- "'s
•
$
t-"""'J
~
'"'1
j
~
" 1
1
.J ]
Bb
F
Em7(b5)
.J ;=-~:
1\
• tJ
·~
......
1
¡
...
1
j
.¡a.,-,!'-
~
1\
f
•
'
V
.
Gl3
._,...-.-..._ t=
-
""'l!:
€ '.;
ojf-
... ...
~
_ ~
\.....--
•
•""'• !'-
Dm9
... ""'....
.......
'
/>7
t
:S:
•(
~
~
. 1
•(
1
1
'
1
l
l
-1
j
Csus7
""" 1
-~
...
;
,.: L...L-~
.
,
C7/Bb
...t= """' --::· ~
-
'
Bb
F
~
. ..
C7
Bb
Plav 4 rimes
,
•
Bb
F
,
l~
t ·'
( Variarions norrranscribed)
1
.. . '
Bb
C7
Bb
F
-~ .,
'
1 e)
!. . __
_
_..1
r--j i
.._,....... '"!
1
e
M
!
!
•
.... : . _
Em7( b5) 1\ lt) 1 1
1"\.IL
! ·~~· ~ '--
...
•
--f
Dm9
A7
r o.¡
,-,.
....
+-
---
• "" •
,_
111..,--..,.IL
:S:
.
... ... =&
~-
7"r
/ ·\
t
~
C7fBb
Csus7
Gl3
"""' ...-
•._ ""'
_,-..
... .-~
f:
•
~
r' ...
+=<
,_ 'r
F >
>
.IL
._
~
~ -
~ ~
1
. .. .
25
1 1
...
. ..
Bm7(b5)
~
bs";
.
j~
1111
1
•
IL
... ...--... ..
;~
..,
Dq-; 1
•
~~1:
=,
..,
~-~; r o F ~ ... ~ . .. ._ : 1
~.....-)
F
'
t
e"'
7!:
IL
::.... G
.....
~ J~ : ..a'
'
' =, d~ ¿ ...
1
p· .; r ,-,? RíE J ªªº' ~
J
=e
1
(
1
!"-
•
1
J
;q: F ~
•
:
;
:
·
.-...1
§ .
~
.
r
...
i
g¡j ...
,.-...,
. r
-=· :;
•
1
~
1
•
1
,.-...,1
!"-
~
...--.
¡=
IL
_..,
..,
1
z;1 E
GEl
.
..,
1
!
'
FrF~
v
...
1
¿ •! ~ F e F ~JE ' 11 ... ... -.
Gmaj7
~-~
!
... ----? =tJ
.....-..
r J!
' pg:
....
..y
IL . .
!
1
,-..
!f
,; =
-.. ""'
-=· Z•
• •'
•
D7/A
.....-..
..,
.. ;~~; 1
•
;
Am7
...
•
:
E7
... ==¿
J_t
2:
Bm7 (~5)
•
. ...J
)\ ~
:
'
~~~- ~ ~
)~ i
:~
1
j
_..-..._.__
_z::._
•
il!
,
t!J,-.,!'
:
~
,.
f=
1
=, n~
IL
07/A
;
(
~-----
..--..
.
... ... 1!!}: ~o 7 E
i
1 1
.
• •
: ¿:~¡ 11
1
r
•
...
y
. 1
=
~
:
--~~ :: : 1 .
i
,;
•
=¿
r
,...,
•
' ' !
J¡
... :
A.
t
•
l
:
1
•
• r-
•
.•
... • 1
1
Gm :~j7
,-...
•
A
1
•""'
~
1
2
... ...2
il! 1
'
1
d,
~- .., '
1!
~
¡
-:=r=
_......,
'1
•
1
¡
__._
-
1
, .• ,••..
1
1
~
,• - " ,
· · ~·. ·
' ' .. .,
..... ... .. ·. __ ._,. •v· ·.··
GUAG.1L4.J.VCO Guaguanco is astyle ofmusic that originated in the CubiH1'. p:-.;n:nc:e cf .MC~:.lnzas. During colonial times this par: of Cuba was the principal agricultura! region, thus it was hcnnt' :~ he I.arges! :siave population on the island. This created
a special mixture of Africanrhythms ·a nd Spanish folk musk: (:izme::.co). Guaguanco was original! y played with an arra y of conga cil:ul'!'smc! claves creating a rhythm pattem for cal! and response type melodies. Also
'l
small conga 1rum apr .oxi:n-..otely'iix to eig.;..t inches wide called a quinto is used for
fill-i.n solos throughout. This ensemble was la ter adapted by dance bands in the thir:t1e> md forties with richer melodies and arrangements and was exposed to larger audiences throughout Cuba. 31
The examples that are presented here are in the dance bant!! style
"··
Notice that guaguancos are played with the conga drum amd thebass emp!,asizing a counterpoint against the .guaguan-:o clave. lf you wish to listen to other examples of Guaguanco we re.>;:omrre:~d recordings by Los Papines, Los Munequitos de
Matanzas and Patatas y Totico.
GUAGliALVCO
CD
0
Clave Guaguanco 2:3 Piano Example 8 (V ariations not transcribed) Conga
~~~~~~·12~~i~~~~~~~~~~~~~~~~~~~~~~~
r
•/
11
!! Am7
'
... .. .,..
...,.....
,......_
/
•
.:;
Gmaj7
07/A
~:
...l
,.-..,
~
D
f
1 ~ ¡ ... v :t2:t
'
1
~4~
'
Jr
: .: ;:; ;,~ ~
~
... 1
111 1
..........
(
;
!
~
• ·• íi'
111
'
g·,
e v:·p e 1
•
!
1
o--1
• 1
,-..
H t1
1
1
GUAGLlANCO CD
@ Clave Guaguanco 2:3 Piano Example 9 (Varialions not transcri bed)
-
Conga
-
-...,
1
jtJ 1
Clave Gual!uanco
-
/
1
/.,_..,_/
•/
'1
-
1--t~·
i
t)
1
..
¡'
Gm
•
.· í
1
i...... :
/ J
j2
GmCmaj7)
)=v • ~
·_1'i
. ._¡ ~ 1
i
Cl
Gm7
¡'~ ::• . i
F =
.
~
..
. ~
~
" ~rr 1 --~- .
"
!! 1
1
t 1-zf: ·
!'- ••
.~
r
...u """'·•
rfr r
~
1
11
? .)
..
Am(maj7)
Am
1, .
!
,..--. 1~ •
1
1
~
•
,......-
§6 .
--
r
1 1
it:r=,......
:\m7
1
GUAGUANCO
CD
@
,
Cl~ve
GuJgu:1nco 2:3 Piano Ex::~mple 10 (Vari:Hions not transcribed)
._]
-
Cvnga
-
·rlf
.,
~it
-x
tJ
1'
,¡
•
.~.·'
j
}~
.
1
/'"'/
/
"'
Am7
•
~
1~". tJ
1
\. (
r--~ : .
..
1
Clave Gt:aguanco
j
~
-... ...
V
.
...
•
V
V
T
T
t-
;«.
,-.,
• 1
~
-... ._
Gm:tjl3
Bm9
-y V
V
...
,
, -+-:t. "'
/
D7/A
'
!
Gm:tj7
...
,
/
"'
'
.,..-.
'
--
"'
. 11 1
/¡
......
.,
"'
•
..
1
l
1
._
1 '
s~
E9(b5)
,--.. , ._
b "'._ 1
·JM J'
Ab 7( b9)/ A
Am7
~
~~
.....
•""•
.];i.f'
D7(~9.b5)
!
.,
4!
1
.
':r*
e
"'
... -"'""' ... 1
111
1 .,. 1 : 111
j
Bm9 R
t:l
....
"
1
•
"f
'&>
E9(b5)
~""..
~
_, ~
1
Gm
07
Gm(maj7¡
...::::..-
.
1
1
'
.
,..-....
.
----.---.- ~-.--~~'=--1= -~
S,.
. •
"'
t/1
:
,..,
-- ;:.- '•
t/1
1
. -..;
..
J
..
Am
C7
Grn7
,..-..--~
r\
1
-~
'
•
1
.
•
1 '
..
1
'
-
1
'-'
. ..
......
--
1 1:. -4. 07
Am7
:::1) ---. ..
3 = ~,,
!
•
''
·~·)
1
..
~
., ';
'
'f!
t:=:T--i ._,
l
$
'
i 5. A m7 ....../f-.:::_.
-t""......--7 , t)
~
1
1
! i 1
·•): ,..,_, ~
-
•
-
..
~ 1:1
~
1
~
S: -
07 ........... 1
~
t/1
~
..
1-...J
.._,....,._
....
-
.
Gm
,.-...,
• t/1
¡
1
.....
e
1
"' --. -----. --=i
. ....... ..... --.. ~...,,..~--------------•aaa&&!I.UIIIZI!IWIII'I.!MUJI!I!'JIIIIIUII&U-·CI!Itln.,..B'I_ _ _ _ Q
1 1
Am9
¡
.L
r- ~~ •• r
.L
• •
~:;:~
¡
.,
,
~"'
,. .
~
:
$~
..
••
~ 1
5• •••
j
~~: - ~
:
•
fl'-
F~ '
.. .. gc:z· e
r~
flt.
' '
'!f
1
1
01
1
¿t~
7
!Y
O
"f
G:Tl:iJ7
(k l t) )
,;;...--1p.'"'e. j Qo~
1
(E
r,.,,#&
T~
1
..
D 13(~9,/A
Arn9
.L
~ ¡
' $~ .. 1
(
í
.11.. ti} 1
r-~r ~ :t• ¡
(
~
1
t:
.L
'!f
$
~
!
......
....
F
.. ?1.•
~
fl'!
~ ::-
f
"'z¡ J• · ; • 1
i
.a..'"'Jtt. J!t 1
~oli!
1
l'..r---J!t..
•
i
~
(
1
•
n
$•
i
-__
;: ;
1
~
• •
•
._ ::.L,...L
:.-..
R.
Ji. r--- ./L. '
J1l..
S
f-
:::;
0!3(~9¡/A
Am9
.
._"..
.. :r.
S ...,
...
i • -.....,.-.
)
•
JI.."' JI..
l,:z.,.
,. ., ("' :•:=:::¡
J±=
S•1
1
¡
E7
A.'"'.L
~
•( 1 1 ¡~
~o~ f'
t
)
)
r
11..'"'
• f'
:::.J . • !
!
~~ ¡
S
r
1
=·
A
"
l
...
2
..
, • • • ~r,.
lr:~
:
t
r
l
=·r
'>
)
GmaJ .L
IC"
....
?
1
._,-.
¡
1
A../"'11.. ' .-!· !
n
JIL""L
,.7•
1 1 1
F-;
.L
Bm7
::j
1
'.,
!-.1
-~
.._,..._
·~· :=;,.,• "
.L
r---
11..., ~
' .
?
,
1 ••
'
1
,• 1
)$
• ¿
.•
11...'"'11... 11...
•
JI..
• •
... ..._ a.. • • • ;? 1 4
"
1
1
MAiYIBO \Vhen theworc \1a;;-,!:;>o is mentione¿ thP firstnarr.e that comes to r.1ind is the famous Perez Prado and his or.:~~:ra. But Mambo has a n:y rich heriL:Ige in Cuba. ,The first M.ambo ·.-.·ritten ..:..·as done by hvo brothers, Orestes and Israel "Cachao" Lopez. in the early 1930's. At :..,e time ·
)
they were playing piano and bass in }ose Arcano's band "Arcanos y S'JS Estrellas" in Ha vana. This band strictly pl.lyed DANZON music wr.ich was the m'Jst popular form of Cub
a rrangements. Later in the 1940's Perez Prado. who was a piano player with Danzan bands in Cuba. used this sty le to comrox and arrange his music. In 1949 Perez Prado's recordL.'"lg of Mambo #S became a hit in New York. This started one of the biggest dance c:azes to hit the United States and the whole world. After this, Mambo music was greatly enhanced and developed by such artists as Machito. Tito P~Jente. Tito Rodríguez, Desi Amaz (of the Lucy and Desi show) tona me a few. The examples contained here are played in 2:3 clave, although depending on the melody oí the song, it may al;;o be played in 3:2 clave.
j
.
lf you wisl-: to listen to other ex.amples of Mambo we recommend recordings from Perez Prado y su Orquesta, \lachito
y sus Afro-Cubans, T ito Puente and Tito Rodríguez.
MAMBO
co
@ Clave 2:3 Piano Example l l (9
(~
v
,.
(9(;,5)
-
- •o•
•
i
Csus9 1
!
:
• '
1
J
•
C7
C9
,J
•
1
•
(ll-
•
plli7
• 1
1
1
1
1
1
1 1
1
111..
...11.. ~
1
1 ~·
1111
~
JL
D
__._ 111..
1
-- . . 1
< III!J
(7
Csus9
•
11
'
•
~
:
'
•
·1
111..
1
1
\
F
F6
~~
~
~.;
i
1___ ___¡_ '
F
Fmaj7 1
1
1
r
'
1
1
Fmaj7 1
~
1
F6 1
1
Play Fmaj7
~
!
•
...
1 1
1
--1
times
F6
-;---,
1
~~
1
1 1
... .
'
.. ..
¡u 1
•
..
1
1
.
1
....
-
' .P.._
--
1 1
eo
MAMBO
@ C!J·.e :U p1;.¡no ExJmple 12 Crn/C
~ r
-
~
'
1
L
JI..
•
1
1
!
111
L
~
"
..
•
!_¡::.~
t-.
"'
j
1
"'
i
1
·¡
1
1
JI..
1
1
,_
•
i
Y'
1
'"-
•
.{'-
1
• ¡¡ • • • • • • ! 1
1
f'l
1
F6 í
1
1
o.
••
'-V
f l
1
t\
~
l
1
.. .....
""
...
~
1
...
•
"'""'
1
•
¡
F
1.rM
!
V
...
1 1
•
i
!
1
'
··-.·-. ·-
'
r
co
.. •..• .. •
¡
'
•
'
•
"'
P/a\' 6 times
1
~
'
fl
• ---=
Fmaj7 1
·'
•
r
f.
1
C7
'"'
Fmaj7
1
Gm7/C
'
F
( IV
..
1
1
t)
Gm(maj7)/C . ,....,.
..
,,....
MAMBO
@ Cbve 2:3 Piano Example 13 G7
~~--A' ¡u (j;rg=·~~
,¡)•
7
j'
•
;J
e
j'
•
'
:;dJ
'
sl
&.1
41
2
r-
C6
r"-~-~,
ª
¡t -
:; 1
"
1
"
--..
1
¿~;
-e-
1
>=í'lj''j'
:t 8.
·~~
J.
l.
~~~
lt) !
..
~-~- ..- , ' ;::L=.
-
..
r
-
• j
r
1.. 1
CHA-CHA-CHA As the crea:o~ :JÍ tht!o;::..:sic Enrique Jorrin himseli says: " 1 named this music Chil-cha-cha beca use that was the sc ·.ll'ld 1 heard comir.g ::-om t:t! !eet of the dancers da!1cing on those smooth Spanish tiles in Havana's dance halls. " Cha-cha-cha
!S
alwa ::; ?layed in 4/-1 time with an t.:nsemble consisting of a rhythm section of ?iano. bass, conga,
timbales, gui:0 (scra;:e:-) together with string section of violins, cello anda Oute. Though it is in 4/4 tr!'!e it must be played with a bourcy :!/4 feel.
_j
Since Mr. Jorri:r.
hi~lf
was a pianist, more so than in other sty·les that are in this book, the piano vamps in Cha-cha·
cha dicta te the feel tcJt.he rest of the instruments. lt is important to keep this in mind when practicing the examples.
1
Although Enrique Jcr.rin was the creator of this music, the great Cuban Charanga band "La Orquesta Aragon" has been its most innovative cmtributor. With such Cha-
1
!f you wish to listen 1J other examples of Cha-cha-cha we recommend recordings of la Orquesta Aragon, )ose Filjardo y sus Estrellas and E:::ique Jorrin .
q
CHA-CHA-CHA
eo
@ Clave 2:3
Piano Example 14 Gm L
C9!G
.. ~;
' __j
·1
Gmll
*F -
1 1
!_t
•
t
•• ¡
... 1
i
_l
•
...
i (
l 1
!
1
C91G
----¡ C91G
•
•
·t.)
•
1
• !
1
s-
•
'------'-
ti
• •
Gmll
e-
7
!;
---
Gmll
C9/G
,-..('
1
¿ -:
" •
. ..
•
• ( s-
• 1
'1
...
sr
PI u\· .J rimes
... • ... 7 ...
v
• ... •
Gm 11 ti
~-
-
1
_.S:_
'
--
:·::.: 1
· · :" · - . :::::: ::::: .~· ~:-. · ,~ · .
:.:. ·.. ....
33
CHA-CHA-CHA
co
/~
\!_V
1
2:3 Piano Example 15
(]J\;.'!
C7
Gm7
1
C7
Gm7
. -.1
'
C7
Gm7
,
r
Fmaj7
Fmajl3
1
1
1
• •
~
C7
r
r
-t
~
~
~
,
r
r
r
C7
Gm7
1
1
~~
~
'j
,
2
'
)
'
Fmaj7
Fmaj 13
1
1
PI ay .J lzmes .
-.~
~-
-~
-- ~
Fmaj7 1
1
1
...
!
•
•
1
1
,,
'
r
¡~'.;
d
!
•
• • • •, •
fl
Fmaji3
j_ .... ,
1
Gm7
1
. .:,
r
C7
Gm7
1
Frnaj7
•
1
1
1
1
¡
r·
Fmajl3
1
1
1
.
Fmaj7
• • • • • • •
t-
~-
r
~
CHA-CHA-CHA
CD
....
07> , __,1
-~
(lJ \c 2:3
.)
Pi:mo Example 16 A
IL
!'-
!J.•
r
r'
r
1
Dl3
Am9 .p. FL
Dl3
Am9
1
JffL
!'-
JI..
JI_•
'(
r
r
1
S
$
$
s:
11.
$
s:
.... ... #
S
l$ S
! E7
Gm::~jl3
..-t ,_...
lt.
¡ tJ
1
A.
1
JI_
r'
JI_
'(
L • •• -:
1
lt.
.,
•
. Arn9 Play 4 11mes . lt.
JI_•
A..·
•
... ' 1
c.: 1
1
1
••
~
f
r
r'
-•-
,B-
••
1
t-:
:___,_~
i
l 1= 1
..
z¿
y
:·
1 1 1
BOMBA & PLENA
1
Bomba & Plena__...;. Folk music from Puerto Rico. The~t! grooves are folk styles that emphasue rhythm more than harmony. Although, they may include a "cuatro" (a small guitar native of Puerto Rico similar to the Cuban "tres") as a harmoruc accompaniinent to the singing. The following musical examples illustrate how these styles would be incorporated in a salsa arrangement. Bomba: The Bomba is traditionally played on three wide barre! drums similar to the conga drums, guiro (scraper), and cencerro (cowbell). Each barre! drum has its own rhythmic pattem. The "requinto" (high pitched dmm) improvises o ver the ostinato pattem the other h\·o drums maintain. Tht: ostinato pattems are one me asure in lmgth and do not outline the clave. The piano "comps" a groove in either a 3:2 or 2:3 clave and the bass plays a basic ·>yncopated pattem that mayor may not define the clave. Bombas are usually played by salsa ensembles as interludes Clr as specific sections in a tune. Plena: The Plena originated in Ponce, Puerto Rico. lt is traditionally played on tunable panderetas (tambourine-like
~
drums without the rattles), guiro, and accordion. The piano outli..nes either clave (2:3 or 3:2) while the bass plays a basic
J
Merengue-like pattem with roots and fifths on the downbeats.
BOMBA
eo
@ Clave 3:2 Piano Example 17 B~
F
B
C7
1'1
;)
_i!
j
V
t
..
1
\ ~i.+
. )
1
~~
(
=
7
V
1
«-
•
l
r'
)
~
~
7
..
F
~ ...
t
:
,......,
B
ll
S ~
1
1
• --.
$
#.-
C7 '
) -.:r
1
1
!='---7 ~ • -= r ! ~ :¿::YD
7
~
""""'""
~
..
i Bb
F
b~
¡i
,.
(
1
r'
y
11!'
....
l ~
•
1
.b~
Bb
8
1
1
•
e~
r
-y
'y
$
4
&-
y
1
S
•
..,
..
C7
r'
-
S.
SS:
V S:
Se.
•
.., . . .... 1 ......
1.2 .
1
.F
1 1
3. F
¡
j
PLENA
co
@ C!Jve 2:3 Pi~·no
Exam Pe 1 18
J
.....J
t
..J
Am
MERENGUE
1-· ·
!-.;erengue (merenge)- Asweet delicate candy made with whipped egg~whites and sugar. Pópelar dance rhythm native of the Dominican Republic. The merengue evo!ved from the "perico ripiao"; early folk music that is still played today. "Perico ripiao" was originally played on a guira (cylíndri:al metal scraper), tambora (two-headed drum played horizontally on the player's lap), anda · diatonic button accordíon. The marimbula bass• and aito sax were added la ter to enh.:mce the existing ensemble. Of course, this folk music could not be played in society dances where only contra-danzas, danzones, paso dobles and \...·altzes were played . It was not until the 19-tO's that the "perico ripiao", now evolved into merengue, entered the
,
__ \
ballroom. Jt was obviously influenced by the big bands in the U .S. A large hom section was added, the piano replaced the accordion, and the upright bass replaced the marimbula. Yet, the es5ential ingredients of the guira and tambora remained. There are basically three forms of Merengue: l. "Merengue Tradicional" which can be played "a media" half of the accents in the tambora pattem, or "corrido" the complete pattem.
2. "Merengue Pambiche"- a slower, easier to dance Merengue. The term comes from the independence war of
¡ .)
the Domirúcan Republic from Spain. The Merengue bands would play slower merengues for the Palm Beach, Florida soldiers stationed in that country. They would play these "Merengues a lo Palm Beach"; hence the word "pam-biche".
.~
3. "Merengue a Jo maco"- the most recent innovation to the tambora merengue pattern. A more simpliiied pattem than the \1erengue Tradicional and Merengue Pamb1che. lt is a one measure pattem that Joes not outline the clave like the others do. In the early merengues the ?iano would "comp" sustaineC: chcrds during tne "body" (A & B sections) of the tune and \,·ould segue into a syncopa:zd tumbao in the m;;ntuno (\·amp) section. Th~ sustained chord::. at tl)e begir.ning of the piece were gradually replaced by syncopated tumbaos throughout the whole tu:1e. Eventually the syncopated h.:mbaos then evolved from 1denticalleft and right pattems toa more contrap\.tntal pattem between the
ha.-~ó .
¡
j
The primJry pattem of the
l¡ j
~ass
was and still is rc:ots :md fifths playeá on down beats. The slower PJmbic!le \lerengue
bass also uses roots and fiftr.s but are usually syncopated. The popular
~1erengue
has various fills, gltssandos, and
nuances added by the arranger or the player to embellish and spice-up the groove. Sorne of these embellishments
}
'
included melodic lines in unison with the hom section and staccato, root note down-beats to aid in locking tightly \,·ith the bass drum (relatively nev• to the ensemble) and the rhythm section in general. \:ote: Although the clave is not played in the nterengues, it is nonetheless implied in the grooves.
J
!f you wish to listen to other examples of merengue we recommend recordings of Johnny Ventura, Wilfrido Vargas. Los
Hermanos Rosano, Bony Cepeda, Cuco Valoy, Ramon Orlando, Juan Luis Guerra, \1ily & Jocelin y Los Vecinos, J. Esteban y La Patrulla 15, Fer.1ando Villalona.
'S<
.)'
1 : ·:-:-:··~:.-;: ·
1 MERENGUE
]
1 1
CD
@
J
i
Implied 3:2 Clave Piano Exarnple 19
e •
1'1
tJ
... 1
1
•,....
J
(
...
•
•
-,
1
~
•
~
...
1\
Em7 1
"''
1
..,
•,--
..
•
..,
..
1
•
1
.. .
•
'
l. - 7.
fmaj7
G7
1
i'
-·
-~
!
.J
1~ 8.
G7
• ~'T--:..-
.'
r¡
1
V 1
1
•
1 ,. .L'
~
-
•
..
llll
!
,
..
-
•
1\
(
1
... .. ..
,..,
e 1 '
(
(
1
1
1
' JI_
..
•
'
MERENGUE co
0
..
:1 1
lmplied 3:2 Clave Piano Examplc 20
1
,.,
•
•
ltJ
1
1
1
..
1
j
..
8~6 1
.
•
F9/C
•
•
r
' ¡
1
!L
1
1
•
f'-
i
1
1
1
•
f'-
1
1
1
1
•
f'-
1
1
1
-
l
1
..
.. .. -•
-
~r:.
.
,. .
'
.
'
,.,
1
•
•
(
1~
1
1
1
•
f!:.
.
•
Bb6
• 1
1
}
•
1
1
.
<
1r•: .
•
•
f!:.
1
f'-
•
ll
1
1
1
•
f'-
•
J
__!_
1
1
1
•
A..
A..
'
rJ
F9/ C
~= 1
t)'-
.•
• -
g
·- r
1
1
j
11
.. r-
..
...
Bb6
•
A
-A-..,)
-
.' 1
1
.. ..
1
1
1
..
1
1
..
f!:.
1
f!:. .'
-·
1
1
•
f'-
J
==-1
1
•
l
~
..
'
...
F91C
.·~ ... )
~
-"!
B1t il
....-,.
•
! 1
~ FF
• • • • •
ti f tJ r 1
• •
--·
-:
n !
Bb6
~¡'·~~
--
,
: t~
.11
:
....
r
e
1
,
·-•
\
i
:
"f
;lt
---#-
.. .....-.. •
Bb6
1'1
1
..
-
1 )
1
t)
... ...-
J
1
PJIC ,,....,
j
1
'
,
y
1
-
lbF, .
1
~
...~
-
g
1!
_;;:
...
r
..._;_J
\
....
•
--
1
!
!1
'12
¡"'
i
r.! ¡
~
J l
1
.
F9/C 11
)·V le j
,,.....
1
• ¡
1
•
...
#
- ...
...
r
.. 1
--
- ...
...
... D.C.
Bb
& Segue
1
-
11
.. d._
1 .
~
i
• '1
1
\
L
....
Bb6
~
_J
...
•
',
1
• =---=j
'
i
!
.__.
1
...
..... ... ... ... ·2 • ....... r~
~
r:•
_.
•
.....
)~ ' i u -v-;r:-
...
F9/C
•
... __.
o
.
1
.,1"\ 1
-Q.-.<
7 °1
1
~¡
;;....
1
~
:
o¡
'
MERENGliE
1
co
@ Implied 3:2 Clave Piano Example 21
~.
'~
F
CIG
~ 1 (;--s= ~ I_J ~~~.~~~~~~~~~~~~~~~~~~~~~~~·~~~·~·~~~~~~~~~ t: V V ,;¡·
.
1
~
1
..
1
..
1
. ..
~..
J
,--.....
•
j -~
" 1
1
)
1
<
.
(
F
~ :
.
V
. ~
~
1
"'
.
•
ClG
(~ ' :
ll,~ ~
1
~
¡
..
.-
•
.. ...
.. ---._..
1 1
... t-
..
•,1 i 1
F
- ~--- -----~~-
11
1
•""'
q
1
·· · · · ·· · · ···- . .. . ..--··--~·~·~·m~---~=-·----ZI!'II!i.·- ---.
F
' ":' . •·
~
. .··· · -·
.
CIG !!--
;t.!
·· · ·· ;;¡·
1
S1
l
¡
1
1
• 1
1
1
-r-= -
!'
(\
1
..J
. .
D. C. 2 times & seg11e
F
1
CIG
í\
~· . 1!..
F
~Al,_
ls
-:
~ -
9 .... 1 1
,,:7 .o;==..
'
~
""
~
.......1
s=rr
'
.,.F y =!
1
1 ~
1
...!
u-
...
:
r
..
~-
=,i=·~ l 1 1
.,. .,.
~
-
~
# ,_ ~
~,
:
;
i
1
1 1
1
J'ri
...
..
<: et~ 1 1
7
¡
... !. t
'
1
..
:;=~ r
... ...
=4
..¡;;
r
t
CIG
..l
~
F 1
1
... ...
... ...
,.-
""
S
~
1
MERENGUE co
@ Jmplied 3:2 Clave . . Piano Example 22 Rhythm intro
-_-:---=-jj
j
..
Gm 1
,
'.
1 ...
}
1
) 1
....
•· 1
1
•
r
1
•·
..
1
1
1
->
1 •
·
r
1
•
.,
~
¡ ~-
~
11 1
~: 1
1
!
S
i
1
1
.,
1
~ r F r· ·~
~~
•
l
~
1
7
D
r
f t
~
!
...
¡
f0
?·
.. t: S
E
~
rr
;
1
1
l
ii
1
IF ;;' ~
1
1' 1
('
1
m'A
)~
...
1
Gm
(~!): r 9
. ...
07/A
•
1
"1
1
rr
f
: 1
i
1
!
[j
1
j
Gm
~ '
J ~
ti_
1
•·
.•
1
'1
K
i.J
~-
•
'
1
...
07
,
..
1
• 1
1
1
• 1
..
1
'
t=d
.. 1
T
T
1 1
-!3
Gm
#:_ ,· · Ll
1
n .
.
~~ ~
·· ~
(
1
L-
...
... .. ... ...
1
Y"
07
•
'
'
1
..
•
1
1
.. .
1
•·
J
1
1
i
j 1
1
1
..
07/A
••
._
••
•
1
-· 1
Gm 11
rim e J
1
~.
f
PlaY
..
1
..
. ... J ...
-s
ri"'L.":
-t.J
r
1
i
...
~:
-•
1
'
~j
f
1
1
1
•
• r
1
1
1
r
1
1
'l Gm 1
"'
1
••
!'
;; i : .
'
1
t • r---r
1
1
1
....
07 /A
.1J.
1
_
.
j
l.
1
1
.
..
'
f
r
1
1
1
,
...
· Y-
-
1
....
•
1
1
-----.::-.--1
..,
Gm ~
1
1
'
1
..
1'
17
1
'
~
l
1
~~ -
\ :~
(
y
¡--
....
~
!' 1
-k !' '
!
1
1 1 ¡~~ :¡
ce¡
Gm7/C
1
Gm
Gm(m;-¡J7)/C
#tr ; ¡: ._,
1
~;~~
i
.
(~Y;!
f
C9
Gm7/C
~;f
V
t)
f -"
.....,
. 1
tz.
e
Gm
~
\
'1 """
_J
'
':'
1
V
7
!
...
•
, ,
S==
Gm
?.0, S •
•
i
p
•
...
Grn(nuj7)/C
S . ::• ._¡
1
i
V
..
Gm7/C
IJ.. ! ---. ¡
•·
I....:.J
C9
'í i; e D r D 1~ t:: V 1V
.. '""'J l
1
#
~--
::•
Gm(maj7)/C
-• • 1
"'""'·
~----
S
........,¡
1
-
'1
Grn7/C
i
1
',
..
' -+-
•
Gm!C
•
•
o-
V
1
1
1
1
i
•
• '
C9
Play 4 time$
1
_¡___:,_
,
C7TUMBAO
co
@ Clave 2:3 Piano Example 25 ·
Gm
"
..,
lit) l ..
o
'
Bass pick -up
J J
Soli etc.
!
1
.,
•
1
'
!'-
J.-
t
¡
'
_._
:
.., '
-~
C9 .11
'l
1
-"'
~
Gm
A. --t/1
$11W
1
Q
1
fl-
(!:.
C9 e
A.. di
J:l_
-
Pia y 7 rimes
.
.JL-:....
t ...r
Gm
IL
_._ Jl -
•
,: r----±g É ~
1
1
"'
C9
A.
,.
'
!
7=1
-
_¡
o.
fl-
1 ~=--
il.2.3. C9
-~
A.
"
!f-
-t. C9
_p_f!:_
¿l 1
1 1
SONGO Songo- style created and made popular by Los Van Van of Cuba. Juan Fonnel (bassist) formcd the group Los \'an Van in 1970. Along with drummer"Blasito", Forme! attempted to merge "Son" with American music. When drummer ".Biasito" ldt the band, Josc' Luis Quintana "Changuita" (conguero, timbalero, and drummer) joined as the new drummer, he de\'eloped and elaborated on thc style. The result of this endeavor of Los Van Van was named So_ngo. The songo "groove" is made by the combination of pattems in the rhythm section. Note that the overall feel of the rhythm section is different. The examples included here are a basic idea of a groove that is much freer and "ad-lib". This groove incorporales a trap set along withoata drums, chekeres, and/or the standard congas, bongos an¿ timbales. The d rummer that introduced thís groove in the U.S. is Ignacio Berrea (drummer for many years with Dizzy Gillespie). He recorded this groove for the first time in the U .S. with Batacumbele of Puerto Rico. (For a more in depth study of the groove sec Ignacio's video "Mastering The Art Of Afro-Cuban Drumming" available from WARl'-!ER BROS. PUBLICATIONS.)
SONGO CD
®
Clave 3:2 Piano Example 26
e
~~e e ~ ~ F~~ j ... ., .... §!:¡~ : l ;- ! 1
,..,
,.
e
F ,-.{¡
1>
(f?it==---#
•
ll~
.-
J
o
...!
r
i
G7
~== 1
j
:r
....
•
0
f
•
ft.
f2.
¿ •
D
, . , - , .,
1
=
'C
ti ,.-.._
p
....
p
¡: : m t ., i r" 5 ¡~ -T::J v ~·
r-
~
J'.
.. :r J~ 1
..,
-
...
,---.,
F
.,.
ill
¡
jlf
..
~ !
=
~
... ... .·=~ ,-...,
't . .. .. i :
1
-6-
lll.
-t
1>
!
¡
.M
r•
,
L
...
•
SI.. ,-....
,"4
!ttP
¡
J/1..
$:-
...
•
• """1
•
!
e
~}f r F F3
•
1
~Jr r
... !
ll
.....
• •
:~
¡
...
1
!
•
1
¡
1 ti ~ ::· -
47
..
D
,.....
~
'
¡;z
¡
'
1
1
Jlt,..... J/1_
::;;
e-r ez
'~,
1
~=· 1
~ 1~ ~
r
) 1
..• 3•..
G7 J/1_,...--....J/1_
•
Q
t.
)
2 ~
..
1
F
L
r'
. ..• =y.. ,.-....
r-
1 1
1
r ..
1
--....
''}Jfl._
Jll_
¡·g f
1M
1
F r-2
•
!
,.,.....
• !
.. ¡
'
t
jJ
e
,.,
,.,.-.....,
.......
~
1!
D
1
1
. 1
1
1
...
•
...
1
1
..
11.2.3.
..
...-..
G7
IL
-
A.
~-
~
f
1
.
fl..
_j
..
1
-1 -¡ ..-..
r'
1
!i-...-..11.
,;•
•
'
14.
.. .. ... .. ... F
,.,
)~
1
!
..
G7 ,...,JIL 111
V
(_
'
:¡
1
.. ,. .
.J
•
... ..
F
... '
1
..
...
>
y
...
. e
~,
r
.. .
V
1
>;- ~
1
'
T
' 'f
1
SONGO
co -'
@ C! Jve :2 :3 Pi:mo Example :27
e
Bb
--
1 l
J
F
;1A.
'
fíl
~-
r
j
J/1_
~
··í±i
11' - 10.
G
•
}
..,
~
.
¡ ~
!
• 1
•
JI.
~
1
1/1.
¡
..
A-
A.
.. '-
+,
"" L
!1 1
11-
j
,.,
.,
,
-~·
1
e·
'
e ___,
...
! 1 1
1 ;J
C7TUMBAO Ci tum'Jacs is an open-endeJ \a m? matnly used today :;,; improvisational jam sessions, oras they are called in Latín music "DESCARGAS". ,\ny 7th chord can be used, but the !':"lOS! commonly ust-.: are C7 and 07 chords. Onginally these vamps were used
:zn thc "montuno" se~-:ion of the Oanzon style songs in Cuba. Danzon music, being a
descendant of the European Contra-Danse, had very str:.:ctured arrangements which did not allow musicians very much room for improvisation . A new :SCctíon was addet! to the Danzan to allow the lead instrument, being the flute in this ensemble, to improvise. Thus a ith chord was ch:-!;~'::l for its dynamic sound and versatility. TheC7 tumbaos when u sed in thts ·context are ah..·~ys p2yed in 2:3 clave. Note: The 7th chord tumbaos were first íntroduced to rnass audiences in the famous 1950's series of DESCARGAS recordings by bassist Israel "Cacha.o" Lopez. These co
recc,~di..r,gs
are still available world wide.
C7TUMBAO
@ Clave 2:3 Piano Example 23
Intro Conga
,.,
,
tJ
_}_
..
1
Gm7/C
Gm7/C
C7 ~
r"""-1 _!"""'1
fl
k,; 11
~ f
1
~
.._.
11
•
s-
. .
L.+-
•
;}-7
'-'
_¡__
... ·e .___.
_.._ __
~
-· • ....--.;!li--
¡
~
'--'
r
CD
~
~
,
"
Play 7 rimes
C7
r---o
!!oj
~..:?;;;;;,
~
i:
•i
7
J
t
~~~ .,
~
Gm7/C
•
~
• ""'•
o = ,.
1~
C7
~
....
"lfL_~
•
!
~ !"J
,
i !
"+ -:~
r
'1
•
J
-
>
_._
1
!
~
'
r
.
11
C7TUMBAO
@ j
t
--
-..-
1
.J
•
==;
Ci
Gm7/C
__._
··r~~~
~ r'-
. '
Bass pick~up 1
C!J.vc 2:3 Pi:mo Example 2.¡
Gm/C
~- i!- . - pick-up~ 1 1
•
Bass
§FBe ;·
1
J 5
* -
~:
. ,
O 11 tIC.
-
.i
1
Gm(mJj7)/C
'"'
"\
"'::4L !
::.-
1 1
1
1
1
SO]\JGO
eo
1 ®
1:3 Piano Exarr,i)le 28
(!;:¡ve
]
Eb
Bb7
1 .
!----
~
:J
Eb sus7
Eb7
r
Jf
..
--
(
!'-
F7/C
..
Jf
_,.... r--
•
.._
1:-..
1't ...-. ..
•
..L
~
bl'-
$
Ab
•
1
~
Eb
... ""'...
1
..
... (
(
*
S
Ab
F7/C
•
r
~ j
Bb7
E;,
Eb7
1'-
.._ ..
..:-...
.. ,-......
:...
!'-
uª~mi.,.,J~~b~~~~@l~~ª~(~~;~~~§
) )¡ i
-· ,1=1 w---"~~=~-·
lfu:~ 1 't.;
,¡
4
il í~~· ,¡ j
(~ -
. '
1
J
o
r
:.jj
•z
~
..
1\
'
rré .....
l
/""'.
:
.•
-...
V
1
.. r:.
r
...
p,':;. -.· 5
•
¡fjj
:_
¡
-...,;
(
F7/C
.,
llfl
• '-...1
1
v
.._
Bb7
(
(
•
111
!!-
r
~
/4. !!>
' .. .4.
. .._ .._
..._
~.
.Jil
E:, 7
•
Eb
ESsus7 ....
9-
•
?
1
A
'·
¡ )~
s
H
::.Iné S
1
--
,...
Ab /""'.
•
.!!t.
.._ t_ •
r
!
.. ..
E;;c:s7
bl
Bb 7
.
~.:_.._
• .._
'
A.
r
S
..
..
/""'.
r' ,......
1
1
MUSICA AFRO-CUBANA .~ Jthough. the great majority of the grooves in this book are Afro-Cuban, this sechon includes one of the many grooves
thJt have been played by groups like N.G. La B:mda. Adalberto y su son. and Orquesta Reve' among; others. Sorne of th<' bass anJ piano examples are more líke übligato sect10ns that usually segue into a more standard tumbao . Líke the rnajority of the groups in Cuba, a trap set is also used. And, like the Songo, parts could be and usually are more ad lib. :'.mong many other intemationally known Cuban groups are: lrakere, Afro-Cuba, and Rumbavana.
MUSICA AFRO-CUBANA
co
@ Clave 2:3 Piano Example 29
Gm
l"t
1
112.
1.-11. F fl
·~
Gm
F#dim/C
Gm
;; ;;
1
,.
..
IV
1
1
1
L
_1!:_
w
J
••
-
'
L
. _,.
co
(~ Cla1.:e 2:3 Piano Example 30
-
!'!
1~
u
B
F
--..-
~
1
'*
'
,_,.... 1'
1
_S_
p. 1!1..·~~--·
_.......;... D-
1 ..
•-
~- f-~
. ..
:: ·
r ~,..
--=
-
Dm
C~dim
C7
B
Dm
J/1..
.
'-
·-{
i tJ 1
1
--~): ' /
J
•
.. :
!',.-t.:-A-f!1
~~-----
9-r-
"
. . . ..
:: ·
,_
-
i 1
Jl.
,...;.... i
r-~ ~
¡ 12.
: l.-11.
Bb
F
_¡
..
,. 1
.
r-.
illfl_
11
~-
Dm
C~dim
C7
Pt.
4.~
"'-
..
""" '
..
""
.
~-
F > > r
l
1
:
1 1
1
.
""'!ft
t 1
'
,.... 11
••
>
>l
1 1 @
MUSICA AFRO-CUBANA
co
1
Clave 3:2
Pia'no Exarnple 31
u
1
Em '
1
C~lím
r
.. .....
..-..
" ..
e
•
11 ..
.. .. ..
....... ~
..
•
... .. -- ~~
!!"-
~
F
e
~
~~:
_j
~
•
!-
~ ~-
~
r-._,. fT
• • ...
.::
.. .. '
1
,....
,_
~-.
e#dim
-
. ... --- t---.,.
---
r-
i
' ~~
)
-~ ~ ~
•
l
1.
l al
<
D#dim
D7
~
• • • .. i
r- * ~-
..
e=
•
•
..
~~~
ll.r".
A
~
'1IF
1 ! ' 1 ".--
__ j
D7
'
.
8
!
)¡
1(~7# i
,...._Jit..
1
D#dim dP 1
...+-1
~·1
r==c
Em
Em
e
r
4'1
0
~
•
§
.. .. ..
r
..
. ~
:!
11
•E ~ f!:
.¡f
~ 1
,.-ll
...._
1' .1
~
¡:: :
,_
..
1
-8
J
C
• j
,.. •F
$, j .j
:¡
j
6. Em
Em/A
c-ff-r ~
j
lv -¡:;;¿ ¡ .J
"""
l
~
'
.' 1
r
...
~r".
r".
~
•
..
. .. F
Em/A >
..
.._
(!:.
>
~
>
>
~
1
F
= 4
51
SALSA
Salsa is a name that originated in New York City during the 1970's !o desc:-ibe the sound that had been evoking for a number of decades. lt is a mixture, .: many cultures, but mainly it is A fro-Cuban music, esprcially the "guaracha" (desc endant of the son) with Puerto Rican percussive additions and American Jazz harmonic erU>ancem~·nts . .J
lt wot;ld be imposslble tona me all of the artists and musicians who inf1l4cnced this music. but it would be he!pful for
you to obtain sorne recordings of the following individuals, all of whom made significan! impact on this music: Ray Barreto, Justo Betancort, Wille Colon, Bobby Cruz, Celia Cruz, Larry Harlow, Hecto!' La Voe, Ismael Miranda, ]ohnny Pacheco, Eddie Palmieri, Charlie Palmieri, Richie Ray, Peie "El Conde" Rodríguez, Ismael Quint1na and Bobby \'alentin.
The above mentioned artists primarily performed a hard-driving form of Salsa that was very danceable, but at the j
same time gave the players a lot of room for improvisation. In recent years a form of Salsa called "Salsa Sensual" has become very popular. This form of Salsa still mair.tains the same rhythmic and clave pattems, but the arrangements are built around romantic ballads with the chords and harmonies for a more mellow sound.
-~
Late! y the contributions of Venezuelan, Colombian and Panamanian musicians have given the music a different f1avor. tv1usicians like Osear de Leon from Venezuela andEl Grupo Niche from Columbia have added idiosyncracies m tumbaos. maml.>os and overall song structures, and from Panama Ruben Blades' use of different instrumentation as well as structure has elevate_d the music to newer heights. Not to mention El Gran Combo and La Sonora Poncena from Puerto Rico whose Jazz influenced Papo Luca has given the music a fresh new twist. In the following examples you will hear both of thE>se styles extensively.
SALSA
co
@ Clave 2:3 Pi;mo Example 32 Ab :
.
Abm \
~~
' ) -7
~
1
1
:nN
'if
o
~ ~
! : ;...,; =
i
..
Eb
,.,
l.- 5.
1
Bbm7,...,.
i
!
.... --- . · -.•
.
•
.
.,_b¡~~-
• r
~
'' 7
...
5;
'r
~~
::::
•
,...
\y 1 .
.~\, 1 1
1
1
i
~
1
y
~
-~
7~
:6. Eb
.
l ;
;
1
1
tJ
n1
.,~) '! '
1 1
1
1
...
1!1..
... ,
1
..L
'
1
SALSA
CD
1 ®
Clave 2:3
Piano Example 33 Dm9
G 13(b9 )
1\
(
~
}
L
t)
~
_1
J
1
.v
t
L
J
1
Cmaj9
' -r-
r
~
1
~'
.
1
A9
Em7
11
(
• .
}~
1
1
L
1
1
1
1
L J
!1 i
1
1
1
J
1
V
L
r
~
i
1
1
1
}
! .'
!
Dm9
Gl3(b9)
11.
.
1 ) ._¡
,.._
1
!1
,~~: __
I.L
..
..
1
V
1
~
, _¡__
-
..,
6/'
l
l
L J
r--._
"'"
t-P i ¡
!
1
11
9-
. ~.
!
...
1
'
1L
1
V
,.
•
e
_,.
~
~
~...l....J
•
'"'•
'
1
• .1""\
-----~
1
T
Cmaj9
' '
(
1
:
A9
Em7
'(
.
P!av 3 rimes
~~~~~~Q~,~~~~~~~~~~~~~~~~ ---~:-ª·~~~~~~~~~~~~~~ ¡ü
1~
·- - - - -
1!1..
1
Cmaj7
Dm9
,...,.
1\
¡ -} ,......_
1
. 1
1
•
,.
.. .. 1
'
1
f
1
1
~" •
~
.. 1
V
'
./" r-. ., (
1
•
>
.......
f
,
•
,.,. "•
1
f
~
'
¡
1
•
--
...
•
'
·~ (
1 1
SALS .4.
co
@ Clave 2:3 Piano Example 3-+
l'J
J
Dm13
-
1\
~ -~
1 .i]
1
j
T
..
J
-
,..,
1
¡
.. '• .,
1
1
V
1
)';
,, !
,-..
11
••
*
~
!'-- '!'-
t
-
•
....
1..
r
.JL"i'f'-
__
A7 ; b9l
\~
É ~ 'J~ r . EV r
' !
'
1 1
!
'
.J
(
r- •
31C •
:
(
_¡
._
A
¡:.
ti
'
r
.. ---=-.
!
IJ
1
•
¡
1
•
l -:
1
F--*
-L·
;
zw; : "
l
í"
-
;. .• : 5 tin ttS Dr.-t 13
·. ~ .....=:A---.-~~-== ·-~· 1.==-~:----~
'
:~1
•
-,
Eml l
1
,
•
-
V
1
-.. .. ..
f
Cmaj 13
, t.)
: :p : 8
*/'" r--_.
.-
1\
G13
V
..
,-
~·
f*-
-
*,
:•
1
:¡
'l ~-¡
'-1
¡
--
,., .J
.·~
) : o)
(~ ~#
1
1
*
~
1
V
.'f
CmJj 13
Gl3
'p.
..
V
l
* --¡
#
J
~
* '(
1*
1
.. .. 1
(
"r
';··
1
,
~ ·- ·::
"'' '!- ..: .•
-
· - - ~--
:: : .
Variation!>
'~
r,
Am7( b5)
•. •. .
1'\
D7(b5.b9)
Gm9
C9
D:-,:,s,:,g¡
~ .'7i7()5)
'
Gm9
--r--
7
2
; t.}
C9 7 1
7
7
1
1
1
!
1'1
Am7(b5)
D7(b5,b9)
Gm9
C9
.t._;~7(b5)
Am7(b5)
D7(b5,b9}
Gm9
C9
An7(b5)
Di(b5.b9)
Cim9
C9
1
¡ t)
1
07()5)9)
Gm9
C9
!t) 1
:
l l. .:..m7(!:> 5)
(=&;?;; 1
J
D7 ( b5.b9} 7
t
l
A m7 (b5)
Gm9
1
1
1
7
1
)¡ u
l~n
·-'
Gm9 1'1
1
.t.)
-:r
1
t
J
1
C9
i 2. Am7(b5)
D7 (b5.b9 l Gm9
D7(b5.b9)
1
7
r
7
'
·--·... .....
·······- ··.
1
56
SALSA C::l
@ Clave 2:3 Piano Example 36 (V arialions not transcribed) Dm7
,.. 1 ).' t)
{
,.. .... ¡Q}
b.11.. F9
IL Cmaj7
,
•
~
r
. ...
-- ......
'(
Bm7(b5)
V
f
l
~~ •
: ~b.
-.
.-,
:L
~
1
~~
!"-
ti--
!
1
..
'
Am7
(
G9
... ~~-~~~ ...
}
J
... -
r
... ... ... r-
... 11
D91E
Dm7
09
...
--~
,
¡,......
r
r
r
•
~ ¡::: h•
•
. .
J{IL
~
"'
\.....J
...
F9
Cmaj7 .11..
~
...
...
~ .~
.~~~
...
~F
.
'
1
'
Bm / t ~ 5)
l
E7(C,9,b5)
,...,
~~i- ! ! t)
1
í~
A[
!
.
' 1
,¡
E7nlt
G9!B 1111
r
1
1
1
F\3
r V
'
'lfl.) 1""\
f3
~
... , ..
i e
~
1
')A.
·~
--
"
G7alt 1
~Sv§¡ : t
11>-
1
CmaJ 13
Dm7
09/E
Am7
A..
.l.-
~
A7 (b5.b9)
~
'!
•:
:_ .¡
.11..
;-
Em7(b5)
Am9 . 13
~ -.~~
.11..
t
,J:
1
1
!•
brm
J !
..2 :::;
* ,
1
':'
11-
~
~~!!:+=
=
1
~
. . !!:-
.. +=;:::
P'
.... .· 1 .
57 G7(b9+5)
l)r..9 . 13
1
~
f:
~ .
.. • ">!!:. t.... ::::::
J
"
1
1
..
(D)
Am9
... ....
1\ 7
..
tJ
1'
r
V
V
... •
f!:.. S
~
.rG_:
( ·~-
~ ' 1
A.
.
~ - .,
'---
.b':=
""
h.
•
'
i
7
~
t
F9
-
b
~~
r
;
... ..
:= ~
¡
¡,..
...t:
'
... __..
~
...
""
'
Dm7
e:.
'•'
.,._,.
:: ;:::• h~·
+-
'
.. ..... .. .. &¡¡
Jlll
g
Jlll
D9
:f!:.
\
._
Cmaj7 ~
V
i
-
Am7fD
1
!'-
.;-----...¡;;;jí
..
G9
... ...+- t .
S
..
y
~
1
E7(b9.b5)
Bm7(b5)
..
Dm7
!>$ :~ ;;;¡¡
E7alt
:
•• ~111
• i
t
G9!B
,
!
¡::
r
D9fE
~·
~
.. .. ,, = r p r tr r-.
':
F9
_.-....
'¡;.,
>*'
(r-.t:·
j
.. .
Cmajl3
1
...
y
--
G9 ~
.,
r
...
::
• - r ... L
•
~
;
A..
ll.
t::
~
.
.
-
,;
Bm7(b5)
F9
CrnJJ7
E7(b9,b5)
~·
'
~
~;;=.
u -·
¡
'
~ ,.....
• +=
1 1
,
11..
11..
. .. . .. .. • .. • .. D9fE
Am7
1
')A.
,......,
¡)
,_
1 ,
·~
~~
)~
1
bA.
.. e t= . L
j
~:.
~
1
• r
..
Cmajl3
G7alt
Drn7
r
1 L ,_
1'-
e
•
f
~
..
..
Fl3 J/1..
..
'(
e~ ..
•
'
7
r' 1
O*
•t=
E7alt
G9/B 11.
.~
r'
(
.
Am!D ti
~
'\ > 1
A
!'-
t-
A
/1..
/1..
i-
>
SALSA
,.
Cl:!\'e 2:3 P1ano Example 37 Bm7
J
r\._¡o
..
E7 ...~-
--
~
l 1
.!
_j
..
Am7
.·~
•
J
V
,.
•
• ~
T
•
'
r
V
S
)1
S
S
~---4
"
S
__,
)
r
J
D7
".
.
'
•
lt)
'
~
1
....
....
1
... :
r
11
Pla v 6
IJ
-
r
.._ ,
.....
~
~
.' r
..
Gmaj9
rim~s
1
1 1
1
1 1
•
i
~
·S_ALS.A
CD
0
Clave 2:3 Piano Example 38 (Variations nottranscribed)
-i ,
Arn9
¡@~ )
. •a
s:t
=
'b
1
_)
x&
~
D7(b 13 .#9)
~ ~ ~7~[}=
.... Jfl..
..
f;:_";::.A. ~
Am9
Cl3 .J
f
b
--
JIL
7
'
"$" ~
..?.§! JIL
1
!
.. JIL
tf7
1
..
1 1
Gm<1
.
Cl3(# 11)
..
~
y
V
r"
.:....
~
,
V
1
l
.J
Am9
~-~
~"·:.¡$1 1"'..S
w
-1·
~=;.
~
D(b l3J9)
1
OAL
:::::;:::a:
r
;
.._
.._
..
•t
"'
•
j
'"',-!3
.... • •(
~::· J ¡
,..
r
.
.
...
.L
..
•
_e__
j
.._
J
(l
1
j7• ·;..
'
..
Gm9 fo
_P'_
•
.
tJ
.....,.,¡
F
... F
b... t-
....,...
C7(b9)
Am9
:
e
~
·r
'
b....
--
~r
:
r
:...
~
1
... ....
~
C7
·~':.S 'T',S.
!f
1
~·
?1
....
lo
\:"<
• ¡;.
1 1
r
..J
~~,',
~
'
J
~~¡ _j
.
'
'
.., . -¡ ___ An~9
~
"1
-,
t)
_j
.,. '
11~- -. ~ ~
~
"f
..
Gm9
r
C13
:
f
l
...
!1-
•
l
•
•
.----.
\ ~---';;s= j
...
...
D(b 13J9)
!)e1
bA.
!
F'
1
b:s
D(b 13.~9) ..,
' -
53
1
1
.eL
j
-;;;-
Grn9
• j • ., J
"'1
9
:
-:91
!
e:;
-..J
.._ .,..
A.
'"*" .'
JI'L
-
' .t:;,-..
•
~ 1:
1
A.
..
•
..,
-~
..,¡
:~
' :1
".i
....
CIJ f~
1
_fl ~
.J
--{
¡t.!
:1
J
'
•
(
'(
~
1
~9~
•
!.(
~
,.
13. Am9 1!11
,~,,~,~ 1
'~
.,. ~~
b,s
D(b 13.#9)
1
')L
A.
A
,
r
.,.
._ •
• :,.
....
....
-;:;-
.
Gm9
t
.. _.
•
w
r----
1
1 1 •j
SALSA Ex<.rr.ple 39 (V :::.:iations n Jl lranscribed) Pl:ir::)
Eb7
Dm6 11
1
Dm6
...
'
t)
Eb7 .._
1\
V
..
S
-
Eb9
...
..
1
l
r+:
.J
:1.
•
..,
1
\...-.
1
1
..
.....
..,
~b·
-
~
J
'
r'
\..-.J
Dm6
1
i tJ
'
~
1
1
..
¡,_.
~..
~
r
,.,.
~ 1
~~--
-
V
~
• ..
bs
~
..,
j
J
¡ j
~ .J
¡
j
E~9
Dm6 1..,
1 .
~~
~Jit'
.. (
-~ ,
S==i
\......J ~-
~
S
~1 !!"'
' S 1
1
(
..
b .. r'
~
~·
-
Dm6 >
~
1
1 e!'
V
V
~.
t-
'
~
lo~- ~
•
1 1
... ~ "'
.• •.
. • .,.,......
.., -~ · - · , _• .. , , •
• •·•·•· ' .-. · <>~- ••• ·.
' ... ......... .._.¡
SALSA (2: '-..__/
C!J,e 2:3 Piano Example ~ 1 G
06
.,-...
A7
•
w
v s-
T
•-
-
'
06
S
(
G
1
•
j
.
-.
.~.:
~
V
•
'
~
1
•
¡
T
S:
.....•
e
•
¡ t)
-
1
S
A7
G
• !j
S
;
(
S
S
G _íl_
V
T
" ..
A7
G
·-
S
~ •
1
•
S
'
. .,
06
G
.· l. J
d
~
17
a~
ctL ~"
~-
~ , u;?o::- ,
~
,.,.--.....
l ~=:
·~ i
1
~r~-...:
..
S
~(
1
'1
-¡::- ~
:!
~
--
~
i
S:
__¡• J
!? 1
'------¡¡ -s:,¡ (
~
1
·l 2
T¡=!
G
D6
.
>
_ _ .. 1!!~--
1
1
@ §r
A7
G
.-\ "7
1
' _,
•
:
'___,J >
·._:f_ .
:__~
•• ,.,. , .. . .
. ·- - -··--·- ----,..
1 1
SALSA
CD
e
(i:J\ e
2:3
Pt;lno
Examplc
43
Grn
~ ~ ~ ~ ~ ~~ \ ~~-- ~~~~~~~ il
"1
1
... ,_...
1
··''
07(b9¡ 1'¡
1
,
) .. J
(
.
•
'
1r<
Arn7 ( b5) .#'
'1
,
•
V
1
1
_
...
y
j
'
1
:;~
07(~9)
_._
..._
•
... ...
~
... 1 )
"' _____,
• '-'1
f
¡1
1
1
S
:
S:
...
;.>
!
.."!*-
~-
S
...
... .. ._ ...
S
r
1 1
___J
...
l 6.
l.- 5.
Eb
S:
Gm7
F
Eb
C9
Gm7
F
C9 Gm!C
SALSA CD
@) Cbv c 3: 2 Pian o E .v .ampk -l-l ( Vari:J.rions nor rran scribcd)
G7
Dm7
._ •
)r, .;
(~~-_1
" - !'
1
1
... '
!l 7
~
:
..
;
1
--~ i
ll
t
•¡
l\ -~
61
SALSA
!
l,
,.
e:>
0
Cla·.e .3:2 Piano Example 40
j
1
Bass 1
...
7
. ..
,.,
~
.1
...
Dm7
;J
,.,
7
1
1ft.
.;;
~
j
"t
r
·~ J
... --..
G7 1ft.
1\
•
·~
¡ tJ ¡
·~
~
•....
Em7
!'-
•
'
1
::::.. :
•
f
•
11
...
,
'
r
r
•
•
..
...
A7
... l
•
1..-..J
¡J
•
..
"'
')
t
... • ?
'1
\.......,¡
1
~S
r
r
---' l-)
G7
Dln7 1\
}~- · '
..,__ i!l
*
~,
;
j
t,!
¡~,
~
t=~
'
"f
Ai
' ,_)
t.:
'1 1
1
,~·
~ ,_ ~
1 1
::::.}: ....._
.~
#
4!
.
f1l
1.-.J
1
J
b i~ r
Jfl.
...
1
1 1 1
/
il!!
..
1 6. Dm7
1
1
'1
~
1
:~
"1
J
,
...
'
(
eV
-~ "4
D
,._
ª G7 A-
tff)
,
..,.
..
-·
7 e;
~
1
' ' ...1
7
..
•
JL
~
1
.
1 1
Cm::~j9
...
·~
¡
-._¡
(
...
-----,
11
1
1
r
~ ,.
io._..J
1
:S
#
S6
r
y ¡i
...
Em7 J!l_.
'{
S.
'
... r
.' b -'
SALSA CD
@ Cl;l\e ::U . Piano E:tam ~te 42: This is the same piano pan as Example 41 only with a variation in th t! slap bass part on . the accomp<:r.ying CD. 06
G
__,_
~·
1
1
: t.l
-G
,-+-_li:!: L
'
S
A7
_._""'.
1__.1
•
1
.1
A7
•-
11.
•L
V
'
• .
::¡,~
,.,
-r--t
•
_!.
G
S
1
?
~
• •
S
-
'
S
.J 06
-
...fl..i!. (
J tJ
), 1,
...
:.¡
J
V
._
_._
.-
f.
1
.l
'·
(
:!
,_
G
A7
S
_:S:_
-
,
!,.....~
1
G
S
• '•
-
1
s-
...
,
'
06
G
~~?i ~~ ,_1
•!
.--¡;---
f ~-·
S
(
'-
t-
:
,
1
J'
;
1-..7--(
1
..__
.~_._
~
'
A7
G
A7
.' •
S:
>
.. - ! (
06
G
1
__1_
•
1
¡:
•
1
---• >
1
S
1 • • =·
- .s¡
~·
j;
.· ¡
l
LJ 1 =; ¡
•
• '
lt
r'
V
S 1 i-:
--
.. ..
A7(b9)
Am7
:
S:
•
.,
V ' t,c.
"
~
Dm7
.. ... • ... G7
...
A.
1
'.
V
V
~·
V
~
. "
r
,...
JI
......:
!
~ V
V
•
r
1
• •
1
-
-:
~
A7(b9)
G7
·~
J
..
Arn 41
"
-
1
S:
1
1 1
V
j
..\ rn 7
1
1
• ¡
l V
LATil\l JAZZ
1 ,
Before the wc-:-.:J u:;~ ·:21:.:: v :1s used to describe this music it was called "Afro-Cuban Jazz" oras úi.zzy Gillespie and
othL'r musicia~s a !:.~ ::-.:n!:' rmusingly called it, "CuBop". The first to play this wa~. ~!ario Bauza .the arranger for ]ose .
.
"~1achito"
Gr:::.:>·s ::..a..-:..::
1:1
:1e forties in l\ 1ew York.
·~
..9
:-..1ario Bauza bd ?l:.y ~.:! ,..·rh such big bands as Chick Webb and Cab Calloway when he fírst got to the states from C:.~ba in the 1930's. He':"t' he ::reated "Tanga", the first known composition that used a jazz melody and harmonies with
a Cuban clave te-el.a.""ld rhrt':r.'! section. La ter with his brother·in-law Machito's band ~nd la ter on his own he continued
to compose and rC~..-o~ :1urrerous albums of Latin Jazz. and dance music until his death in 1993: Another important ir~+1::J~during the 1940's was Dizzy Gillespie's composition of "Manteca" whi.:h was composed in conjunction v.-ith O.~no tozo, a Cuban percussionist introduced to Dizzy by Mario Bauza. By his !ove for Afro-Cuban music a.~ operi.y associating himself with this music Dizzy Gi!lespie attTacted many other great Bebop players of the era to ít. lt is imposs ible for us
t;:)
list ril
of the artists in this field, nevertheless we made a condensed list of the following : Mario
Bauza, Machtto y su Or:hesn. Tito Puente, Dizzy Gillespie, Mongo Santamaria, Cal Tjader, Ray Barreto, Grupo lrakere, Poncho Sanchez and G0nzaJ.;r, Rubalcaba.
LATINJAZZ
eo
@ 2:3 Piano Example -lS
(!3\'C
..
Fm7
)~~,'rt;
'
.)
(~,fE.. Dbmaj 7
(~ . _-JTL-~_ ) ·
t1
t)
Z
--
l:rEJ' -~ ...
'
G7
Dm'
= Cm7
Cm::j 13 ,-..A.
•a. s•
A.
A.
!
:
1
1
67
Abmaj7
Adim7
• •
D7(b9)
_lO__
Gmajl3 _lt
r
•
;• ·
-¡;¡;.
~
:
v
-.h.• ~
t fM
•
~
1
: 1
'l
1
..J
1
• ¡
,.___;
:i
J
~ F#m7 ~
_Y
~-
~ _ ~
117 ~,5 ::; ::= : S le
1
~ i1
;
~..
*
.
.
S
:_:; __
j
~ ~/· ~ !
..
;
..J
~
~ ~ ' ~ 5~ ===!_----?·~-=-s;;j?TC z..-:= J
1
.
fti)
_:.~S
º
~
Caug7!~9)
Err:aj7
87
::.Ir $11
¡
..,
!
~
J •
•
=·
1
;s
.. ~
~
~·
' :•
:;.-
..,
~ S S
=~ f';
.
7
1
=·
¡
y
r e
~
:~
__!j
~tr~
S
'
'
.. E 1
,,
::liC:
~
•
•
1
"
1 1
Bt7m7
Fm7
.l
Et77
...
lt
A..
•' •
...
Abmaj7 1'1
1
1
~
fl..
..
...
) 1
...
t-
~
~
t-
¡:...
~ ~
bf:
~
u
~
+-
-
Bdim7
Cm7 ,.,
.,!1-.-(IL,.
1
cV
!l I§E t.5 ... • . 1
,[
7-b
--• ...
7
E:
b..a...- ._
w (
(
S ,.-
,.
1
..
1
·'
1
..
•
..
,..
'1
V
Eb7
•
J:
f: ..,
1
1
7
:3 )
;:.,.-...... • •.-~·
V
1
¡---
o =,~:=-S A
o
Bbm7
1
G(~ 9. b
----=:::::JC::_ / ~--t~-~ ~.::;:: 9 --v -- ·
.,.
.11..
""'
... 1
C ( ~9.~
13)
•
...
(
f:
...
Fm7
.,.
-;.•- -'·-=:-
- - - - -·-- -
f ¡:
1\
1
;
---tfl-
~
v- · ·- - - ~-
.J
i t)
..
Eb sus9 #
(
. J
...
1
j
~-
1
:i
l
··~
(
!'-
•
-
f
•
D
1:
Abm:~j9
~
._
1
'
#
Eb9(b 5) b#
...
·-,.
1(ó
1
B'm7
.11..
-t-
,
...
l
Dbm7 L-t-
,
~
lit
~
t-
,
·......,¡
) a
..
Db maj7
~
t!:-
~
•
*
S
1
' 1
1 1
Si\LSA
ce
@ Cla\e 2:3
Piano Example 35 (Variations not transcribed) Am7(b5)
D7(b5,b9)
Grn9
Am7(b5)
C9
b.. ,~
V
V
f •
1
Gm9
C9
(
r
~
fL
•
..
!'-
•
D7(b5.b9)
.. .. .. .. V
1
•
Gm9
.
C9
o.
¡,..
• • V
..J
1
(
.
A.
Am7(b5)
..
•
•
1
~
•
V
1
D7(b5.b9)
-
:
L
.. V
1
1
f A.
•
A.
•
•
'---
Arn7(b5)
Gm9
D7(b !3,b9l
1
'e: . , .. r
~· 1
1
.i
1
i
$
~ ·
:
• ....
: §7~D
1
1
C7(~9)
Gmll
__')1
·
75,--
~
\Fm
f:
o
7
j
·~
1 .
1\.
1
p.
13.~9)
-
;
1
f ::_
11-
i
,j
01~~
. - ->
"'
- ..
C7(~9)
07(b5.b9)
Am7fb5)
11!
~r= l~:
:
-s-
...
..
~
.::.<#
(
'(
..
-+..-~
•••
Gm9
D7rb5.b9)
!!!!!!!!!l
1111.
:
1
Am7(b 5) 111/J
111
l:oJ
--
¡
~
f
,
!
:
:>4.
Q
;
.Al!"':.:
1
r· r
¡"
..
Gr.1!! J¡L
,.1.- ··-
C9
•
...
'1
i
Gm9
D7(b
b..z.
o r oz r
...-
~~u ~ i l~
J
..
Ami(b5)
~~ ~
~-
l1
9-
!!-
•
.
_
111
¡
(
1 Stll
C9
i
~
;
A.
JL
: J!
~ :
•
1
sJ
·-,
G\3 ( ':15 )
.._
*
$
\
S
•
!;A.
bi. r 4jr
+-
':-~~~
Cm:1j 13
';A....--.._
-fl. r-
r &, : . .. . .... -.-
,
. t..'
...
1
•
¡ ,)
j
) !
.J
B ~su s9
E ?rn~j9
Abmaj7 .a. 1 4! )
r
·;
;
07)
(Am7b5 A~7(b9¡
!~
'1
1
?
9 • J
,11.
*
--
'1
*
r~ 1
... :2,-==-·
1 ..
~
'
.,
~
___...._
~ ti•
.,_ ::-.-
~.._L
=•'
-
1
a· s~·
1
1
~~~-
=a~:
~
==s-: •t
7
..
GmJj9
1
§f ~~
..
~
i
ª;·
,_...__
....
¡r' 1
i
s.,
... =·
.
~
':.a..
-
S:Sl
LJ
d 11
:4 $~
!1
¡; 1
1
1
/\ }
AmC)fD
1
F#m9 1'\
813
:.
1
1
1"
••
•
..
V
..
I. ~Q
1
V ~-~
.
•
..
~
...
•
~
C(#9.b 13)
..
1
..,
11
. ~.
L
1
..
•
r
J
•
1
(
'
<
(~ , L__ ~~
~
•.r:;.·
Db maj7
"
ª
)i ' ~~ ' ,
r-·
'
'!
.. ..·os
·~
S: ¡
~
•
,...
1
:....:
V ..,
2
.
Dbm7
. f'-
'1
r
..!;~
}
Bbm9
1
1 1
• ;~
••• •
-- -. .. -
j
,_
•
"'
#
~
r• E..-= -=-· ... ~ -+-•
1
~
1
7=1
Cm 9
,...
~,.-._ti.
r-
.,
1
• ·+
i:
1
..,
G
Ab maj9
H.
-
Jlfl..
2
•
1
_¡
;
i:
1
•
i
Eb (9.b5)
Ebsus9
V
==:;:w-=:J ~~
1
-
•
~
r-
DJil
¡ t.J
•
1
Bdim7
·.~
Bbm7
r
-....,¡
t)
.J•
..
Fm7 1'1
1
•. • •
f
f
1
1 • 11
•, • • •
..
f-.<'-
r
1 1 1
-..... •... ... -
IS•
v
1
V
Emaj13
..,
#
(
p.. !
¡_ _ _Jit_
SQ ' 1
1
j
,....
1
l
L
1111
:,.tl
r5 llJ
d..
A.. t/1
1
1
,rl
:
• ! (
'
1 1
¿Jtg
•E
Ebsusl3
# r-
$.
f
' Eb 13
!
'-..__J ) r
;
•... ;
1
l
S:
1
71
L..4. TIN JAZZ
CD
@
¡J
Cldve 2:3 Piano Example 46 Variations not transcribed Bm7(,5) E7(b9)
Am7
1~
1 J
t..
..
....... V
1
D9
...-..
y-¡
S
* 1
S
,_
1
.. ...
Dm7 .,....
*
.. .... 09
Bm7(b5)
E7(b9)
Am7
Bm7(b5)
E7(b9¡
Arn7
-
S
•
1
Bm7(b5)
,..-.._
¡;-:
1"'
.l
Am7
(~
V
1
. .... ..
D9
..
b.-.. ..
~
11..
~
1
....
~
..-.,.
• .j-
....
V
E7(b9)
f
.....
..
ilf)
* 1
'(
la,
1
.
.
,._._
-
1
~.
•
F9
,-,
f ~"• ' '
~
t-
•
Bm7(b5)
D~
: kJ
-.....J
1
Cmaj7
!'-
.----.
E7(b9)
~.
S
G9
,..
t-
l
.... ,.._._
~
,-...__
+-
09
Am7
Drn7
F9
""'
;;;¡
.... 1 ....
[
l
J
-·
i:}
,,
Brn7(b 5)
09 "'1
J
... ".111
E7(b9)
•..:· ;;-r
S -r-
f ' (
._1 -
-
!
-
1:
.. ..
Am!D
·.¡
L
,.
1
1
L~4.11N
eo
@
]AZZ
Clave 3:2
Piano Example 47
j
C6
...
,....,.,. .. -
1
_._
"
·-~
J
1
1
...
~
1
•
•
1
1
•
'
1
S
$.
1
•
J
- -~
1
1
1 1
D*
-
.J
! ~~ ----
;
. - :
6.-1'.-
-
... b
..
-!---
. ... $ ... ; ~- ---j
·r
~
1
-...:....-
.l....;
>.
1
i.~
.J
"' ._¡
..
l.
b,,..
-•
1
1'1
..
,..-..._
...
.,..~
.--r--
•
Db/C
.,..
V
rh. b$ 1
D7/C ... ,..
•
..
Dm7
...
A.
~
-~
G9
... ~-
.~ .
...
A.
¡ ~
. @J r :J ::
..-
r
, g g: =ª:::~= ~ . F r ...... F pt --== .... 1
"f
!:~
r-
1
i
~
..
~--
']
Dm7
t-
•
r-
... ...
...
+= r-
A.
!1-
.. - .. ~
Bl.7
~
~
..
-. e 7 _...,... ...
G7
A.
r-
...
-
1ft..
1
¡
ll.
.a.
•
1111
-:
S
--
-.
1
11..
.. •r-
'::__A.._
~_L.~
A..
~ $
.11..
~
~·+-
A.
A.
.
S: t:
j
t
t
1
)
1
~
Cmaj7 Jt..
~
~
'1
,_ ,...
_ _1
•
S: -
'F i
•
1
... (
~
...
(
11.. ._
~
-
g.
r-
r
!,...
J
r
!11-
L
~
-
•
..,
1
~~
r
~
~
!
,_.-....
~
,-
-
lit.
..
1
b.. Jfl. +r-
A.
• b... --~ -
•
~
~
Eb maj7
...
1!.
1
Fm7 !'-
,)
¡~
A.
,_,_
... .....,.,
,.,
A..
¡t-
...
.,
f:
A..
-
... C6
1
e• !
1
1
!'-
...F
•
L
A. !L~
1
l-...J
1
V
1
~~ e:~
L
..~
..
- ..
,..,
1
..
C6
b11-
•
...
.,.... ... ...
,.....,_
!'1
J/1
•
11..
- .,-...\
S ,_
1 '
DI :C
C6
... • _.,.___.
JL
~~---
r'
1
-;JL
*
-~-
-- --
~--·
--=-
...
~
~~~~-~-~~~~~~~k~d~~-~~~-~
,
1
1 1
J
Dm7/C
Dm6 A.
.. ~~-:-~: ·- J )~): ~--~r __ S: .. .. • "1
\~
.
.
-
* ~
•
,, '!
¡
r1 1;
,¡
1
. . !¡
!ft.
(' ' "'
1
J/1_
!'-
,
.....•
J/1_
.
,
#-
' •¡
l
.,
. 7
1
1
1 J/1., j
1
.,
-
¡;..,
!.
L
--
:::.
D
.......
--:-.
IT
... -
*
--
J!
,'
•
1
7-
-~
G9
. .
-~
=c:::j
- ~
-
= ... =· • :;: .-=--..-----.-• • • ··=¡ • • ... ...._ ' • ..,"-"., .. • '-"' :¡....,
,
jCP
:011
<">
•
,
1
1
=· = •
... •
• •
·--------- - - - - - - - ~
'
-
. ----==;! 1
CrnJJ7iG j
.__ \
-~
· • •-.~ ....
O mi
'-"
•
s•
-....;
A7
..
=· 1
L ._
Am-:- ,G
Am7
*':::o ilf
'
1
""!'!o-
E7
Bm7(b5)
..... ---
-- -
1
-
:1
- -~-- -------- ---------------_.-----
LATIN ]AZZ .¡ l) : '-....__
/
1'1.1110
[\:!rnpk 4::',
, \ .!íi.!I!,Hh
not trJn scnbcJ l
_
Rh~
Fr:1
thrn lntro
~
4
L
")JL
'::: ~(~a~-----------9_ =~6-===---------------- --,-~~~~~ª ___ :-_·-~-==-D-;= --==-~ ----- - ---• "''* ~
- -- - -
----¡
)JL
J
Fm -.--,
---~
¡
!
- ~~~-
1
_ .:_ ,~
¡
...
~
~: ~=w== ~
1
-
B!,m(m.Jj7)
=-·
*
"?=•
-:-.~:__ '
1 ..
-:
J
)
!
·-
)
r
L
1
•
1
'-~-
~
..._
11
fJ1
JL:::: 1
..._
.. ,. .. •
.....~-·.___-
. .. .. •
Fm
L
1 1
j
i 1
-¡'
B',m7
-~-
L
¡ ~------
-~
i
~
L
~
-r- · r
L #
fl.'>-------,.-
.1
1
-=:..?
-#--·
•
. ·- = ..
L
,L.
~
1
!
L
L
Jll_
L
--- ---.
7
1
L
1
::____j
1
---<
J
.
..._
J4_
.. z: el-
-l
1_
-~
)*
-!
•
t
. ..
-----
- -"L ·: . .
,
1
--
=·
- --------··----·· -----. ·-- · -----'
···-
--- ···----
- _ _ _______________
L
-
-----------· ------==' ----
\*~~ (~,
=·
•
s•
~-;;
.)
''
''
:i
..
L
L
=·
.. ~~Q
•
'
-
•
•
-¡j
.. =·2i?i)
2
..
.... •
--#-
¡a.
r1
•
tlt
.. .. L
•
L
.
1-
•
..
._
==:¡
..
____ .JI
:..-
•
____:;:
•
~
IL
L
• #
•
111
----1
..
L
...,.
L
.. ..
-~
:: Q
..
L
i
(
L
...-----=---"·· •
• •
..
Fm
._
L
L
L
._
- ----·
- - - - · - _m::: - -
C7 L
J/1. · ::__ _ ._ _ JI _ _ - __
L
_1/1
J/1
-
.. --r-==T:= •
Jfl_
L
ji
L -r
L
rJ
:t 1
., :,,t
j
\:cg=.,_; ~r:r----
*
-.:=
R~y::-Jm
L
l
•
-~-
23 r
.; ··:~ · .-----f:._
~
u
r:'!
-·
1-?I_S::~ • . .:r--::r=:= 1:
•i
' L
L lfL
# ~
.J
..
23 . ... ._
. .1. ·
~
1 1
MIXING THE STYLES
St\·les in Afro-Cuban
~lus1c
are somet1mes mixed adding \·ar:ety to the mus ;c. This creates a sort of tension
ar~d
rdeJse
.
·¡
\,·ithm a given tune. For example, a tune may start as a Bolero ior sixteen or thirty-rwo m.easures and s<·gue into Salsa.
. .
St:·les are interchanged with discret1on. \\nen done eloquentlv. the change 15 accep:ed naturally by the l!stener. \!any
~
mixes are made as tntTos. interludes, verse or body of a tune, or
}5
an ending secticn within a piece. Four, eight or
sometimes sixteen measures ata time are incorporated and llSually done once or r.,·ice within a section to add sorne spice.
J
A íew common groove mixes include:
l. Salsa with a quas1-Samba sechon and/ or endi:1g
2. Bolero with a quasi-Samba or Bossa No\'a ending
~
3. Salsa with a Bomba section 1 't.
Merengue with a Bolero intTo
5. tv1erengue with the conguero playing Puerto Rican Plena (a mix w1thin lhe stv\e) 6. Bolero that segues into Salsa 7. Salsa w i•h a Guaguanco intTo and/or interlude
8. Salsa with 6/8 bata' drumming inrro and/or interlude 9 . ~ ·1erengue with a Rap section
10. Salsa with otJ.':er unnamed grc,wes created within the rhythm section i.e., caballo
CONCLUSION \\'e hope that..you ha ve en,oyed this study and ha ve been able to use it in develo ping your oh·n grooves. As me:'.t:oned in
u'le beginnmg. this book should be used as basis íor St'Jdying the over-ali concep: of the sry·les . lt is merely a bnef survey of :he t1p of an " ¡ceberg" that conlinues to grow and de\·elop with time. lf vou ·\·e srudied and practiced these examples thorour:;h!y vou shouid by no·.-.· be able to tap the clave to the exarr.p les ar.d ce.:ne a tumbao over a set of changes that f1t tne respec nve cia1. e \\'e rh .:mk you for i:stening .
~
For su ¡;ge s tion.s and/or co m:-r.l'n ts ¡::-ie.Jse E-\la d \L!n.n v r'.1t1ño dt pa ttJ\o·i.!.eart.>-t!J::k. nt>t
..
i
1
ld
·-·· ·····-···-··-- - - - - - - -
lJ"
SLIGGESTED READINGS Ir' > - \.~ u \'.' :5~ te St".Jdy me re In derth ~1:-td srasp so:-ne oi th () n.:h Ct.:h-...::-e \\'h ~~:-¿ Jil ~he s e ;.-;usi(S e·:oh·ed f:om, the foiL.l h in; 1
l:s! ,~· :.:i ~· . .:e ~ are rcco o.men de d b~· th~ J.L;L\...~crs .
.-\rctz. Is;;bei (Relatora de !S Libretos\: An:c ~:c~ !...;:: .•:.< ér. Su .\!:.3<.:~ \1 ·2x.!co: Sis !::• XX! t:ditores & Paris: Lnesco. i9 S:-
r\ c':,l;;ts, Jc_¡fL, St or:-n: The L1::n Tir1gc, P rcss, ¡;:;;~
T.:/.:?!--;~;.:::~~-
Lt:r: .Ar.:: ""::.;n
,\!:~::: :'e
o.-: :1::..·
~lritL~::'
~
F0r an ex.:e!le:·. t cltalogue c f CD's anci vid eo 5 oi old as we!l as new :-eco;-din¡;s C .\: c:c·; '-' ~·
)
1
:::::;: := L= :'::'-'sh Ave. Suite 180 Brooklm, \:Y i 1238 :)18) 693-2966
S:.1:c:; . :-...:e\\· '{ork : Ch..ford L:r::\·ers:t;;
MW
)'OL;
can refer to the DESCARGA
