DUA AA BB A BO KEYBOARD GROOVES Ue ia lem Ceti Serena ea rae ces Sed (Comping Patterns) Renee Da Ee ome em rts Afro-Cuban Jazz and more. eee at rat ited Sienna neces Paro end etcco @) INTRODUCTION This book will provide you with a solid understanding of the function of both the bass and piano within popular Latin music. tis a collection of ‘tumbaos’ (grooves) that you can assimilate without sitting through recordings where the tumbaos are sometimes obscured by the other instruments. It does not, in any way, replace the educational value of listening and analyzing sound recordings or videos and actually seeing live groups perform this music. This book should be used as a tool for learning the fundamentals ofthe grooves. It should serve as a stepping stone for the musician to create his or her own tumbaos within the characteristics of each style. This book is for those pianists and bassists who have always been intrigued by the complex polyrhythms and syncopated patterns of Latin music. It is also for those who might want to increase their vocabulary of Latin grooves and for those ‘musicians who have had difficulty in finding “one” or just simply “feeling” the “time” in some Latin grooves. The scope of Latin American music stretches from popular, well known styles to less known regional folk music. There are many more rhythms that compose a good portion of the total spectrum. From Buenos Aires to the Caribbean there is a Prism of music that is impossible to fit within this writing, For this study we will be focusing mainly on Latin Afro- Cuban dance music. From the greater Antilles Islands of the Caribbean evolved most of the popular Latin dance music we hear today. From the island country of Cuba we have inherited the vast majority of pop-dance rhythms like Rumba, Cha-cha, Mambo, Songo, Guaracha, Bolero and many more. From Puerto Rico evolved la Plena and la Bomba. In addition, Puerto Rican immigrants in New York elaborated on the Cuban Guaracha and produced a hybrid form called “Salsa”. And from the Dominican Republic the most notable contribution to Latin music is of course, the Merengue.LOS TUMBAOS (The Comping) ‘The most important thing in any pop-dance music is “time”. Likewise in Afro-Cuban music. The most crucial element, other than the Clave* which we will discuss soon, is being very conscious of the time/pulse and knowing at all times where the beat is. Peripheral listening, constant adaptation and accommodating to the sounds of the other instruments very crucial for “locking in” with a real groove. What I mean is an adjustment of the volume, attack and sustain or dec of each note being played i plays with a drum machine or sequencer (which, by the way, is very good practice for acquiring time). relation to what is “happening” around you. Of course, this interaction is limited when ot In playing Afro-Cuban music itis essential that the rhythm section be close together. The section should run like a fine tuned machine. Precision is the key in a music that has so much overlapping of rhythms. One note from any one of its ‘members, that is out of time, will de-tune the “mechanism”. Of course, we're not talking about one note in a whole tur but rather one of the repetitive notes of a pattern that is constantly off. This can also mean an inconsistent time feel or dragging and /or rushing of one or more notes. When playing these styles you will realize some similarities between them. Tempos, rhythmic patterns and chord progressions will give each a different flavor. To the musician /listener who is first exposed to Afro-Cuban music it ma all sound the same. Long term exposure and careful listening will enable him/her to distinguish the differences. Some measures in certain tumbaos™ can be interchanged depending on the clave. The grooves can be embellished and/or edi with discretion by the player as long as he keeps in mind the underlying accents of the respective clave. As mentioned earlier, th “trick” is to keep your “ears” open at all times. Listen to what is going on around you and how it is relating to what yc are doing. If you're critical about your playing and about music in general you will feel the groove when it “locks”. Clave (Klah-vay): An underlying ostinato rhythmic patter (used in Afro-Cuban) music whereby al ofthe syncopations and accents ofthe overlay _music must be strictly arranged in relation to this ostinato pater (please see "The Clave") “tumbso (toom-ba-o); Groove, or comping a groove; vamping on a groove; usually a repetitive two bar hythmic vamp played by the piano, bss. tres guitar that must be played in relation to the clave (see page "History Synopsis of Tumbaos”),THE CLAVE ‘To Clave’ (Klah-vay) i the most crucial element in Latin Afro-Caribbean Music. The clave is an underlying ostinato rhythmic pattern on which the musicis shythmically based. This pattern is played on two wonclen sticks about one inch in diameter by eight inches in length called by the same name, “claves”. It is also played on a woodblock. It is believed the clave was born out of the 6/8 rhythms of the African tribes and that originally there were many claves that were used by Nigerian and Congolese slaves. Afro-Cuban Musi, Salsa, Merengue and Bossa Novas all have a clave, Much lke 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, or crossed or inverted with the clave pattern, ‘The clave used today is either “rumba /guaguanco clave” or “son clave”. This rhythmic pattern encompasses a total of four beats (two measures in 2/2 time, Illus. 1). Clave 3:2 means three accents followed by two. They can be inverted with the “two-side” ofthe clave at the beginning of the phrase (two accents followed by three). Percussion patterns, piano and ‘ass tumbaos, melodies and any improvised riffs or solos must adhere o these accents Illustration 1 Son Clave 3:2 2 3 Gee10 ‘As you study this concept of clave you will soon realize that there are certain rhythms and melodies that are more “in clave" than others; meaning that the “feel” of the clave is more easily recognizable. You will also realize that a number of patterns and melodic fragments can “be” in either 3:2 or 2:3 clave. There are also phrases that do not really outline or identify the clave of a particular section of a piece, although the remaining rhythmic instruments will be outlining it in their respective tumbaos. ‘Tunes that start on a given clave whether 3:2 or 2:3 must stay on that clave, There are cases where the melodie phrasing of a section isin 2:3 and a subsequent section is in 32. In this case there must be at least two beats (one measure in 2/2 time) added to the music or an odd number of measures in 2/2 time added before entering the subsequent section of the tune (lus. 2). In other words, the clave pattern must remain constant throughout. Illustration 2 Clave 2:3 (C Section) - Clave 3:2 (D Section) Fm7 G7 cm a7 Abmaj7 Bb7 cm c7 Fm7 Bb7 Ebmaj7 Abmaj7 oe, A good exercise in determining a clave is to clap the clave pattern both ways (3:2 or 2:3) and listen to which one feels better with what you're listening 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 some cases the “2 side” isa less busy melodic side. Like any other music, in order to really understand the nuances that give each music its characterstics, one must do a lot of listening and playing, The dynamics and accents are very crucial to obtaining a groove in any music. Itis the tumbaos’ individual note accents and dynamics that give it the personalized groove. The same notes played by another player will sound slightly different. Through time and practice the grooves will become more natural and you'll instinctively feel the accents of the clave within each groove.Cinguillo Cinquillo (pronounced “SIN-KEY-YO") isa one bar rhythmic pattern that is found throughout Afro-Cuban percussive and melodie phrases. —= == Cinquillo came into 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 The Cinquillo pattern is part of a two-bar vamp that is played on the timbales throughout a Danzon. This in turn has filtered down to become an integral part of many other rhythmic patterns. {tis very important for you to remember this pattern when trying to determine the Clave of any tune. Tis pattern falls on the “3” side of the Clave. “El Manicero” (The Peanut Vendor) —— Cinguillo — ‘—— Cinguitlo —, Notice that the Cinquillos fall on the 2nd and 4th bars of the melody. Of course the Cinquillos are not always as obvious as this one is. You will hear many examples of Cinguillos throughout this book, *Danzon: Is the national dance music of Cuba since the late 1800sINTROS & ENDINGS Intros and endings in Afro-Cuban music are for the most part dependent on the clave; although sometimes rules are broken at the very end of a tune. As a rule of thumb, endings are played on the last accented note or notes of a phrase or on a down beat. Many times one part or both sections of the clave are played as the ending of a tune (Example A). Endings usually occur either on the last accent (quarter note) or the last two eighth notes of the “3” part of the clave (Example B). Although it is not very commonly used, some endings occur on only the first quarter note of either measure of the clave. A more commonly used first beat ending is two accented eighth notes (Example C), Some endings outline part of the clave (Example D), while adding notes in between the accents (Example E). There are also endings that partially outline the clave (Example F) Example A Example B Example C Example D Example E cm Bb cmIntros for rhythm section players are treated much the same way as endings. For instance, in a Son Montuno where the pianist might begin a tumbao by himself for four or eight measures, the rest of the rhythm section will enter on the last quarter note of the “3” section of the clave (Example G). Intros can vary depending on a possible percussion break or a melodic pick-up prior to beginning the groove (Example H). Some intros are simply down beats, but more often than not, the intro usually accents a part of the clave (Example I). Example G c F G7 F c F G7 F Exai Intro on Int on ae downbeat downbeat Percussion Break. here. Melodic Pick-up here, or Example I etc14 HISTORY OF PIANO & BASS TUMBAOS ‘The word “tumbao” is slang for “tumbar” which means to knock down, to tumble, or to lie down. Tumbao is, synonymous with “guajeo” probably derived from the slang ‘aguaje’. Aguaje means to fake something, hence guajeo (‘comp” or fake harmonic changes). Another synonymous word is “montuneando” derived from “montuno”—the vamp section where an improvised call and response takes place. Thus, the words tumbao (tumbando: doing a tumbao), ‘guajeo, and montuno (montuneando—doing a montuno) are the Latin versions of groove, comping a groove, or playing, ‘an accompanying pattern or riff. For simplicity’s sake, we will use only the word “tumbaos” when referring to the piano or bass grooves, A tumbao is a rhythmic clave-based groove or pattern that is played throughout a tune. It is a rhythmic pattern that should be maintained with little or no variation. The tumbao/ groove can be enhanced and /or modified at the beginning of anew section within a tune. Drastic and abrupt rhythmic changes should not be made within a section although, ‘occasionally, a fill can be played within the groove. Unlike piano comping in Jazz, the piano tumbao in Afro-Cuban ‘Music should have a consistent unbroken groove once it has been established. ‘The first harmonic accompaniment tumbaos were performed on the lute (ancestor to the guitar) in the 1700's. The lute ‘was replaced by the tres in Cuba (a guitar with three sets of two strings placed close together as to be played simultaneously) and the quatro in Puerto Rico (smaller than the tres with five sets of two strings). In the Merengue of the Dominican Republic the harmonic as well as the melodic function was performed by an accordion in the “Perico Ripiao” {ancestor to the modern merengue band; a small ensemble made up of guira [metal scraper], tambora [drum with two heads played horizontally on the percussionist’s lap], and accordion). ‘The music we are discussing here is, of course, folk music. Therefore, the piano was not available. The piano was only used for classical music and to perform Contradances in Haiti and subsequently in Cuba the Contra-Danzas, Danza Habaneras and Danzones in the high society. The rhythms of the lower classes were gradually accepted into the high society dances. In the early 1900's piano tumbaos were added to the Danzones in Cuba. And, orchestrated Merengues time cultured music and folk music were played between Danzones in cultural dances in the Dominican Republic. At began to mix. Piano tumbaos eventually replaced the tres tumbaos in Cuba and the accordion accompaniment in the Dominican Republic. In the modern Merengue the accordion is no longer an integral member and itis almost never used other than in a historic setting, In salsa, the tres is rarely used except in some typical “sonoras” as a comping instrument along with the piano. Through time the piano tumbaos evolved. They have expanded from typical two octave triadic patterns to a more elaborated voicing pattern. The jazz influence on some of today’s tumbaos is obvious. OF course, the tumbaos still ‘maintain a clave-based pattern which is the backbone of the music. The fundamental characteristics of the ostinato patterns still remain. Although, in some “Salsa Sensual” or “Salsa Romantica” as itis termed, the piano will occasionally play a non-tumbao (freely /ad-lib) accompaniment during the “head” of the tune giving it a ballad-like romantic fel. ‘The acoustic bass, being of European origins, was not incorporated into Afro-Cuban music until a much later date. The first known instrument to be used to provide a bass sound for this music was called a “Botija”. Itis a large wine bottle15 made of glass or ceramic which has a wide opening where the cork is placed. They used to blow air through this opening to produce a bass sound. By adjusting the angle of their lips they would get different intonations. Another bass sounding instrument that was used and can still be seen in use by some peasants is a “Marimbula”, This is a square wooden box with an opening on one side where thin metal shanks are placed directly over the opening and these are then plucked by the player. The length and thickness ofthe shanks determines the notes they produce. ‘The first Afro-Cuban music to use an established bass instrument was the “Danzon"”. It used the tuba for all bass parts in an ensemble consisting of violins, trombone, comet, clarinet, tuba and timpani, The acoustic bass first emerged around the 1800's, when Danzon had become an acceptable form of dance music for the high society and established orchestras began to play it In the 1950’s the AMPEG musical instrument company based in New York 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 New York and eventually swept the country, making New York the mecca of Latin music for the next three decades. ‘The “Baby Bass” was almost instantly adopted by a large 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 this “THE SOUND” of the industry. In the 1970's some very well known bass players such as Bobby Valentin and Salvador Cuevas started using the bass guitar. They played and recorded with one of the more famous musical organizations in recent Latin music history “The Fania All Stars”. This made the bass guitar accessible to large audiences and acceptable to record producers. It has brought the bass guitar sound to the same level of importance as the “Baby Bass” and has opened a wide range of playing styles and techniques that were not traditionally used in Latin music before.CROSS-OVER GROOVE Cross-Over is a term used in Latin music to indicate an artist and /or style of music that is accepted and enjoyed by a vast majority of non-Spanish speaking audiences in the U.S. and world wide. The best example of this is Gloria Estefan and the Miami Sound Machine. In the early 1970's a number of groups from the Miami area started incorporati 1g 8 drum set (which is not a traditional instrument in Afro-Cuban dance music), electric bass and guitar to play traditional Cuban music. The industry started calling this the Miami sound to differentiate it from the Salsa New York sound. Gloria Estefan and the Miami Sound Machine took this a step further, and by adding American pop music overtones to their music have created a very unique and successful sound. In this next example we have chosen a very common four bar two chord piano vamp (tumbao), but by adding some slap-bass tumbaos and drum parts it takes on a whole new feel @) CROSS-OVER GROOVE Clave 2:3 Piano Example 1 Em DIre Te aus =~, mere br t Em A er 2 ~ br oe ~,GUAJIRA ‘The Guajira style evolved from Cuban country music. The word Guajira literally means “peasant farmer.” Guajira ca be traced to a form of Spanish music that goes back to medieval times called “Troubadour” music, It was layed by singer/poets ofthe era on a lute or guitar and was sung by shyming words improvised as they went along, {This form of music was introduced in Cuba by the Spanish colonists that settled the island. It was later adapted by (Cuban peasant farmers who called it “punto guajiro” (Note the simil ty in the words.) and itis still widely played i Guajira was originally played in an ensemble consisting of a guitar and a tres (A Cuban guitar thats similar in soun toa lute.), with minor percussion such as clave, guiro (scraper) and maracas. ‘The original chord progression ofthe “Punto Guajro” is LIV-V-V in 2/4 time, But this evolved in the Guajira toa chord progession of I-IV-V-IV-1 in a 23 clave pattern. ‘The examples here are in the format adapted by dance bands, where the piano plays vamps similar to those played by the guitar and the tres, Ifyou wish fo listen to more examples of Guajira we recommend recordings by Joseito Fernandez, Beny More, La Sonora Matancera, 6) GUAJIRA Clave 2:3 Piano Example 2 c F G F Play 3 times C e@ GUAJIRA Clave 2:3 Piano Example 3 c D G F c D G = F Play 3 times $ GUAJIRA Clave 2:3 Piano Example 4 Fm Bbm cr Bbm20 SON MONTUNO SON MONTUNO or “SON” is a very popular form of Cuban dance music that originated primarily in the mountainous province of Oriente. ‘The word SON derives from the Spanish word “Sonetas” which are poems set to music and MONTUNO from the word “Montafia” which means mountain. Son Montuno or “Songs from the Mountains” were played by the peasant farmers of these regions since the 1800's. Due to the development of railroads and other forms of public transportation in Cuba during the 1920's this music was exposed to the bigger markets in the major cities. The most important band that popularized “SON” was a “Trio Matamoros” led by Miguel Matamoros. ‘Son Montuno was originally played in an ensemble consisting of a guitar, a tres and clave. The usual clave pattern of the Son Montuno is 23, but depending on the melody it can also be a 3:2 pattern. Son Montuno was first adapted by dance bands in the 1920's played with an ensemble of guitar, tes, clave and adding bongos, bass and a trumpet. Later with its growing popularity piano, congas and brass were added. If you wish to listen to more examples of Son Montuno we recommend recordings by Trio Matamoro, Ignacio Pineiro y El Septeto Nacional and La Sonora Matancera. (s) SON MONTUNO Clave 2:3 Piano Example 5SON MONTUNO @ Clave 2:3 Piano Example 6 « Satie eal CHD Wy eK ua! HHH] Sar ss 4 hy We CHP) a well x e | y © o afd alSON MONTUNO Clave 2:3 Piano Example 7 Cc Bb F Bb = 7 Se = ——— _ cS Ae EES fF pae $4 =e ff. Dm7 G7 co BbT F Bb” Ba | | iM? * i iy re ie i ~ ” i > ~ (Variations not transcribed) sus? 7b F Bb 7 Bb % Play 4 times F Bb cq Bb F Bb A . ee et =e acs = Or rf oS - SSS | nx, -p-e # als # se. eee ft poate petit ee EtGUAGUANCO Guaguanco is a style of music that originated in the Cuban province of Matanzas. During colonial times this part of ‘Cuba was the principal agricultural region, thus it was home to the largest slave population on the island. This created a special mixture of African rhythms and Spanish folk music (flamenco). Guaguanco was originally played with an array of conga drums and claves creating a rhythm pattern for call and response type melodies. Also a small conga drum approximately six to eight inches wide called a quinto is used for fill-in solos throughout. This ensemble was later adapted by dance bands in the thirties and forties with richer melodies and arrangements and ‘was exposed to larger audiences throughout Cuba ‘The examples that are presented here are in the dance band style. Notice that guaguancos are played with the conga drum and the bass emphasizing a counterpoint against the guaguanco clave. If you wish to listen to other examples of Guaguanco we recommend recordings by Los Papines, Los Munequitos de Matanzas and Patatos y Totico. 8 GUAGUANCO ® Clave Guaguanco 2:3 Piano Example 8 (Variations not transcribed) Conga Clave Guaguanco28 Bm7(b5) E7 he ey aos pag be Bm) E7 Play 4 times ®™7 pet heft tee ate eee - 25 = : 4 f SS SSe ee a apf it - o pat == aGUAGUANCO Clave Guaguanco 2:3 Piano Example 9 (Variations not transcribed) Conga hee = SSS. = z Clave Guaguanco | Gm(maj7) Gm7 cr Am Am(maj7) Am7un D7 Gm Gm(maj7) o ae ee 5 Ss Sa eae 2 8ce £ ot | £ heat af te tt BD + ~— to === 1 a © oe =. Gm7 for] Am Am(maj7) Am7 D7 "Am7 D7 Gmse GUAGUANCO Clave Guaguanco 2:3 Piano Example 10 (Variations not transcribed) Conga Clave Guaguanco Am7 DIA Gmaj7 Gmaj13 Bm E9(b5) Am7 AbT(b9VA D1(b9,b5) 5 oe Gmaj9 Bm9 E9(b5) benDI3(b9VA. f_#7 ea eee 272, eee 2° pe ee eee ed — be ot Aastete = ae Stee = =e # Fl — ld —FMAMBO When the word Mambo is mentioned the first name that comes to mind is the famous Perez Prado and his orchestr But Mambo has a very rich heritage in Cuba. The first Mambo written was done by two brothers, Orestes and Israel "Cachao” Lopez, in the early 1930's. At the ti they were playing piano and bass in Jose Arcano’s band “Arcanos y sus Estrellas” in Havana. This band strictly pla DANZON music which was the most popular form of Cuban dance music at the time. ‘The Lopez brothers created a vamp that was used as a bridge or a movement within a Danzon and called it Mambo Other Danzon bands of the era picked up on this and started to incorporate this new part in their Danzon arrangements. Later in the 1940s Perez Prado, who was a piano player with Danzon bands in Cuba, used this style to compose an arrange his music. In 1949 Perez Prado’s recording of Mambo #5 became a hit in New York. This started one of the biggest dance craze hit the United States and the whole world. After this, Mambo music was greatly enhanced and developed by such artists as Machito, Tito Puente, Tito Rodrigu Desi Arnaz (of the Lucy and Desi show) to name a few. The examples contained here are played in 23 clave, although depending on the melody of the song, it may also be played in 3:2 clave. If you wish to listen to other examples of Mambo we recommend recordings from Perez Prado y su Orquesta, Mach yy sus Afro-Cubans, Tito Puente and Tito Rodriguez. : MAMBO ®) Clave 2: Piano Example 11 9 €9(b5) —Csus9 CT co CHS) Csus9 C7 2 * | ee Play 4 times F Fmaj? F6 Fmaj7 F Fiaj7 F6 | Fmaj7 Fo31 Gs) MAMBO Clave 2:3 Piano Example 12 Gmc Gm(maj7/C Gmc cr F Finaj7 Fo Fmaj7 Play 6rimes F Clave 2:3 Piano Example 13 G732 CHA-CHA-CHA [As the creator of this music Enrique Jorrin himself says: “I named this music Cha-cha-cha because that was the sound! heard coming from the feet of the dancers dancing on those smooth Spanish tiles in Havana's dance halls.” CCha-cha-cha is always played in 4/4 time with an ensemble consis ing of a rhythm section of piano, bass, conga, timbales, guiro (scraper) together with string section of violins, cello and a flute. Though in 4/4 time it must be played with a bouncy 2/4 feel. Since Mr. Jorrin himself was a pianist, more so than in other styles that are in this book, the piano vamps in Cha-cha- cha dictate the feel to the rest of the instruments. It is important to keep this in mind when practicing the examples. Although Enrique Jorrin was the creator of this music, the great Cuban Charanga band “La Orquesta Aragon’ has bet its most innovative contributor, With such Cha-cha-cha world-wide hits as “Calculadora”, Enganadora” just to name a few they are unquestionably the Kings of the Cha-cha-cha. El Bodeguero”, “Los Tamalitos de Olga” and “La If you wish to listen to other examples of Cha-cha-cha we recommend recordings of La Orquesta Aragon, Jose Fajant y sus Estrellas and Enrique Jorrin. CHA-CHA-CHA HH] aw weeMUSICA AFRO-CUBANA Clave 2:3 Piano Example 29 Clave 2:3 Piano Example 30 ars Céaim are50 MUSICA AFRO-CUBANA co Clave 3:2 Piano Example 31 c Cédim D7 Dédim === é — +h ae 59 Ge ere ee SS =: o_o ff ote te ete fie ef fe # SF ——SALSA Salsa is a name that originated in New York City during the 1970's to describe the sound that had been evolving for ach number of decades. It is a mixture of many cultures, but mainly it is Afro-Cuban music, especially the "4 (descendant of the son) with Puerto Rican percussive additions and American Jazz harmonic enhancements, Itwould be impossible to name all of the artists and musicians who influenced this music, but it would be helptul for {you to obtain some recordings of the following individuals, all of whom made significant impact on this music Ray Barreto, Justo Betancort, Wille Colon, Bobby Cruz, Celia Cruz, Larry Harlow, Hector La Voe, Ismael Miranda. Johnny Pacheco, Eddie Palmieri, Charlie Palmieri, Richie Ray, Pete “E] Conde Rodriguez, Ismael Quintana and Bobby Valentin The above mentioned artists primarily performed a hard-driving form of Salsa that was very danceable, but at the 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 maintains the same rhythmic and clave patterns, but the arrangements are built around romantic ballads with the chords and harmonies for a more mellow sound. Lately the contributions of Venezuelan, Colombian and Panamanian musicians have given the music a different flavor. Musicians like Oscar de Leon from Venezuela and El Grupo Niche from Columbia have added idiosyneracies in tumbaos, mambos and overall song, structures, and from Panama Ruben Blades’ use of different instrumentation as well as structure has elevated 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 these styles extensively 6 SALSA Clave 2:3 Piano Example 32 Ab AbmSALSA G13b9) G39) Cmaj9 Dm9 Lo G39) eeppeibebfitertet EEE NES re a oPogliertst - , cote Spire tS 2 ee f.SALSASALSA sano Example 35 (Variations not transcribed) Am7(b5) D1(b5,9) Gm9 co Am7(b5) D1b5,b9) cS pea re Gm9 co Am7(b5) D1(b5,9) Gm9 co ie te Am7(b5) DI7(b5,b9) Gmi1 C71H9) Am7(b5) D7(b13,b9) Gil C789) Am7b5) D1b5,b9) Am7(b5) D165.b9) Gm besides bag web 2 pepefetetVariations Am7(b5)D7(b5,b9) Gm9 co Am7(b5) 765.9) Gm9 © 4 fmmbs) NBS) Gm9 co Am7(b5)—D7(b5.b9) G9 ce \@ FFT EET Am7(b5) — D7(b5,b9) — Gm9 © Am7(b5) — D7(b5.b9) G9 ce a a ee Am7(b5) D2b5,b9) Gm9 Co Am7(b5) D1b5,b9) 9 . - ——a = LT G { We Gmo © Am7(b5) D1(b5.59) Gm9co Clave 2:3 Piano Example 36 (Variations not transcribed) Bm7b5)_—E7b9.b5) Cmaj7 BD Bm7(b5) E7(b9,b5) Am7 DYE Dm7 GTaht ce te ke a : ioe | - 5 no 2 Do Cmaj13 FI3. GOB Evalt Am9,13 Em7(bS) A7(b5,59) == 4H 4Dm9,13 GIb9+5) Conaj 3 Fo GorB alt Bm7(b5) E1(b9,b5) Am7/D_ D9 Dm7 co ee =F = pesege irae fleet Cmaj7 oy Bm7(b5) 769,05) Am7 Dore.Piano Example 38 (Variations not transcribed) fF StS Am9 geopctiods __ a ATR = ci Am9 Db 13,89) + se -- 5 —m9 > 13.40 ¥ (| Ea ee eee st = e 2 Nive Se * * wih, Yet. eS a eee it 5 —— = eee aSALSA o Clave 3:2 Piano Example 40 ; or em? ar A pf 2 pea eet ele bee Ee SS Soe = ae i= 5 ee ESALSA % @) Clave 2:3 Piano Example 41 ees Here aes= @ Clave 2:3 Piano Example 42: This is the same piano part as Example 41 only with a variation in the slap bass part on the accompanying CD. G Play 10 times ==SALSA Amq(b5) Clave 3:2 Piano Example 44 (Variations not transcribed) Dm7 oF a=pee ener dy ES losepcb este ete reine ehE $5 pf f = otk =i66 LATIN JAZZ Bofore the word Latin Jazz was used to describe this music it was called “Afro-Cuban Jazz" or as Dizzy Gillespie and CuBop”. The first to play this was Mario Bauza, the arranger for Jose other musicians at the time amusingly called it, “Machito” Grillo’s band in the forties in New York, Matio Bauza had played with such big bands as Chick Webb and Cab Calloway when he first got to the states from Cuba in the 1930's. Here he created “Tanga”, the first known composition that used a jazz melody and harmonies with ‘a Cuban clave feel and rhythm section. Later with his brother-in-law Machito’s band and later on his own he continued to compose and record numerous albums of Latin Jazz and dance music until his death in 1993. Another important influence during the 1940's was Dizzy Gillespie's composition of “Manteca” which was composed in conjunction with Chano Pozo, a Cuban percussionist introduced to Dizzy by Mario Bauza. By his love for ‘Afro-Cuban music and openly associating himself with this music Dizzy Gillespie attracted many other great Bebop players of the era to it. It is impossible for us to lista of the artists in this field, nevertheless we made a condensed list ofthe following: Mario yy Barreto, Grupo Irakere, Bauza, Machito y su Orchesta, Tito Puente, Dizzy Gillespie, Mongo Santamaria, Cal Tjader, Poncho Sanchez and Gonzalo Rubalcaba. ® LATIN JAZZ Clave 2:3 Piano Example 4568 Abmaj7 Dbmaj7 pie) | ptr tte pe ee : Abmaj? _Gi9813) CAB») Fm? mops = aaectfs eet Bbm7 Ebsusd Eb9(b5) Abmiaj® ae ia t, we Un,‘ pie et (ee = epee it PERE = i$Fam BI Emajl3 CHH9.5 13) Fm7 Bbm7 Ebsus? — Eb(9.b5)_Abmaj se ee e Sse f=} fae = £ = aetire ts, Baim? , Bbm9 Ebsus13 Eb13—Abmajy 2eo @) LATIN JAZZ Clave 2:3, Piano Example 46 Variations not transcribed Bm7(>5) EN(b9) Barbs) ss eget = ett ae te be apoyo wee afer Bm7(b5) E7169) Am? by Bmib5) E7169) Amt greases iG Bin7(b5) E7169) (@eetigtLATIN JAZZ AX @) Clave 3:2 Piano Example 47 Ebmaj7 ae 4Example 48 (Variations not transcribed) Rhythm Intro, LATIN JAZZRhythm,6 MIXING THE STYLES Styles in Afro-Cuban Music are sometimes mixed adding variety tothe music. This creates a sort of tension and release within a given tune. For example, a tune may start as a Bolero for sixteen or thirty-two measures and segue into Salsa Styles are interchanged with discretion, When done etoqueatly, the change is accepted naturally by the listener. Mane mixes are made as intros, interludes, verse or body of a tune, or as an ending section within a piece. Four, eight or sometimes sixteen measures ata time are incorporated and ustally done ance ar twice within a section to add some spice |A few common groove mixes include: Salsa with a quasi-Samba section and/or ending, Bolero with a quasi-Samba or Bossa Nova ending Salsa with a Bomba section Merengue with a Bolero intro Merengue with the conguero playing Puerto Rican Plena (a mix within the stvle) Bolero that segues into Salsa Salsa with a Gaguanco intro and /or interlude Salsa with 6/8 bata’ drumming intro and /or interlude ‘Merengue with a Rap section Salsa with other unnamed grooves created within the rhythm section ie., caballo CONCLUSION We hope that you have enjoyed this study and have been able to use i in developing your own grooves, As mentioned i the beginning, this book should be used as basis for studying the overall concept of the styles tis merely a brief survey of the tip ofan “iceberg” that continues to grow and develop with ime. Ifyou ve studied and practiced these examples thoroughly you should by now be able to tap the clave tothe examples anc! create a turban over ase of changes that the respective clave, We thank you for listening For suggestions and /or comments please E-Mail: Manny Patino at [email protected]SUGGESTED READINGS If you wish to study more in depth and grasp some of the rich culture where all these musics evolved from, the following, listed books are recommended by the authors. Aretz, Isabel (Relatora de 15 Libretos): America Latina En Su Musica Mexico: Siglo XXI Editores & Paris: Unesco, 1987 Gerard, Charley w/ Sheller, Marty: Salsa, The Rhythm of Latin Music Crown Point, IN: White Cliffs Media Company, 1989 Mouleon, Rebecca: Salsa Guidebook for Piano & Ensemble Sher Music Co. 1993 he United States, New York: Oxford University Roberts, John Storm: The Latin Tinge, The hmpact of Latior American Music on Press, 1979 Slonimsky, Nicolas: Music of Latin American, New York: Thomas Y. Crowell Company, 1945 For an excellent catalogue of CD’s and videos of old as well as new recordings you can refer to the DESCARGA. Catalogue 328 Flatbush Ave. Suite 180 Brooklyn, NY 11238 (718) 693-2966.Jorge Moreno with Casablanca Band playing the Ampeg “Baby BassCo-author (Manny) with Celia Cruz at Miami’s Bayfront Park, May 1995 Oscar D' Leén Manny Patifio Victor Victor Co-author (Manny) with pianist Paquito Echevarria Co-author (Manny) with Celia Cruz and husband. Pedro on concert tour in Colombia. August 1994