"

OARD GROOVES
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by Manny Patio and Jorge Moreno

=>roect Manager: Aaron Swr.g

Cover Art: Odals Soto
Engraer: Andrew Parks Muste Ens'a-.,ng
"7'echniC<ll Editor : Gl yn Oryhurst
Phc to on page 2 courtesv of 1 F. 5cto
Yamaha Bas s courterv of )erry Andreas , Yamaha Corpo rat :an o .Amer ica
Spec:a l Thanks to. (Jry and .-\bo>l 3a: .; L3

.9 19~ 7 WA RNER BROS PL.BUCAT 0 '-S

Al\ Right.s Reser,ed
Any dupltC<ltion. adapwtion or Mrangem ent o t"e cornpc;tttons
co ntained tr thts coliectton requires the wr.nen cc~;e-,t oi the Publisher.
No part of thts book may be pnotocopied o r rep roduce d r'. any .... ay v.tthout perm1SS1 0 n .
Unauthorized uses are an mfrgemer.: of tht' US. Cup~r . ?n t -'\:t J:<d are pun1sha:::1e by !aw.

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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:owng nc to workand leam from great ~usicans,mywife Alexiys. and
m y boys Manny and Ricky for being patient with me through the many hours I sat in my studo and for supporting me

always: llave you al!, Ricardo Patio for piano grooves, programming and for your endless support <~s always; llove

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you brother, Jorge Moreno, my other brother, for wthout his idea this wouldn't ha ve been possible.

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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 Patio who gave me life and

gave me their !ove and support aiways. 1 love you mam y papi.

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Special Thanks and Dedication From Jorge

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 Patio, for

alwa ys bei.ng there forme, without him this book would ha ve never happened; to Rick Patio for his encouragement ar.d
support to this

~::>roject;

to Gustavo Sala for his frendsh;p tJuoughot the yea rs a11d for thc .immense talent he put into this

prnect
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.
Ths book is dedicated to my children Alex, A.manda and Andrea. They inspire me daily to be a better human being.

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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
"Araa" 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
Aharez 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 rsm

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t\.I~:.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 or the slap & tap bass,

!>.1z._to ~tarrero for history notes, Johnny Conga "JC" for history notes, Geraldo Pea 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.

Al,out tlze Authors

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M.mny Patio 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 pickedup drums, electric and upright bass as well as clarinet and saxophone. He
stu.:iied music at MiamiDade 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 Montaez, Pete "El Conde" Rodrguez, 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~jiion

c!l:~:ric

st..;jed

started by hs great-grandfather in Matanzas, Cuba. In t11gh school he started playing upright bass and

bass gutar. At the age of sixteen he started play;ng local gigs anda year after that he recorded his first album. He
mu~tc

at

~1i3miDade

Commu.nity College ar.d the Un;versity of

Mia:~u

and has studied arranging and

co::-:- cstion 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"

Roriguez, 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".

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CD TRACX

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Fore_;.ord: Latn Amercan Music ............. 6

l:~troductim ............................................ 7 .............. 1

Los Tumba)S ........................................... 8

The Clave................................................ 9
intros and ndings ~ .................. ; ............. 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
Guaguanc ........................................... 24
Examp 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
Msica 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

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 uxm those that ha ve had the most
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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 musc 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 wlh is of Gypsy origin.

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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

(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 polyrhythrs carne the Clave. And of course, like the field-haulers e! ~orth America thc slaves brought
ir.'lprovised singing.
The Aborigines of Latn America were influenced positively and negatvely by both these cultures. In South America
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nc-tes were added to their existing pentatonic sca les, and polyrhyth.ms and percussion were incorporated in the music.
Aerst: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 Spani1 Conqtustadors

'

" '- ~e rmi.nated

Ti1e L'r ted

h1:.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 Latn

b.1nds like Beny \1ore's Orchesrra of Cuba. And Jazz hannonies, R & B and Roer. & Roll beats have always hadan
inr1uence on Latn 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 '-lahvay : An underlying ostl.f\ato rhythmic pattem (U5e<i in Alro-C uban) mu.s ic where:O:t aU of th~ S)-ncopa n on.s and a<eents o f the
o' ~r! .l ' n g m u~'' mu~t be snictly arranged in relation to th15 osnnato panem (please ~ "The C!a v ~ " ).

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INTRODUCTION

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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.

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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 Latn American music stretches from popular, well known styles 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 Latn 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 rhy1.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.

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(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 cnscious 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 acquring time).
In playing Afro-Cuban music it is essential that the rhythm section be close together. The section shoutd run like a fine! y

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:.. t.

tuned machine. Precision is the key in a music that has so much overlapping of rhythms. One note from any ene of its

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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.

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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

all sound the same. Long term exposure and carefullistening will enable him/her to distnguish the differences.

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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" .

ar!h discretion

(a,e (k..idhvay): 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
musc must ~ srncrl~ arranged m relallon to this ostmato pattem (please se-e "The Clave") .

rumbao (toomt>ao) 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").

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THE CLAVE
' La Cla ve' (klah-va:) is the most cruc ial element in Lar;n Afro-Caribbean Music The el

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...veIS ,n underlying ostinato
rhythm1c pattem on wmch the mus1~ IS rhythm1cally based . Tius pattem is played on two wood
. ks
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"
"
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

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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 pattm 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

3
x.-.x

Rumba/GuJgu:;. nco Cla ve 3:2

~e

'2

3
'8

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r---

:r: -

_=:)__

Son Cla ve 2:3 (Inve:-ted)

2
x

Rumba/Guagu3nco Clave 2:3 (In verted)

2
X

r-

'~r

. - - -

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As you study t.'1is cor..:ep~ of clave you will ~on realiz.! that there are certain rhythms and melodies that are more "in

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 wii be outlining it
their respective tumbos .

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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

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 sectiJ n of the tune
(IIlus. 2). In other words, the clave pattem must remain constant throughout.

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lllustration 2
Clave 2:3 (C Section)- Clave 3:2 (D Section)

...

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..

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Cm

Bb7

C7

_L

Abmaj7

G7

3
1

1'1.

Cm

11

..

07

Fm7

-+

_ ____ ,

Bb7

'

Eb!T'Jj 7

Jgj
r

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ere

111

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.

Li ke any other music. in order to reall y understand the nuances that bive each music its characterstics, one must do a lot

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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.
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Cinquillo
Cinquillo (pronou:1ced "SIN-KEY-YO") s a one bar rhythmic pattem that is found thrr'ughout Afro-Cubi!n percussi\e
and melodic phrases.

r
Cinquillo carne nto 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 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 .

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"El Manicero" (The Peanut Vendor)

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r----

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......

Cinquillo--.....,

1 --

Cinquillo--....,

'....,..J

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\.'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.

'Duczon: ls the nat10nal dance muslc of Cuba since the late 1800's.

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JNTROS & ENDINGS

11

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.ne . 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

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Example B

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Example C
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Example D

:S:

Cm
x

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Example F

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Example E

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!3

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.Hst 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 doNn beats. bti: more often ~'-...!n not.
of the clave (Example I).
.tl11:, intro usually accents.a part
.

Rhythm

_,

~ction .

Example G

e
t

G7

r r

...

j
. 1

Percussion Break.

-El r r

' '
1

r r

lntro on
downbeat
he re.

Example H

or

r r

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,8

x~

:t: j r=-1

G7

,.ry -

:S:

'V

J p- e r(

ere.

he re.

-==-

lntro on
downb<:at
he re.

Melodic Pick-up.

Example 1

__

intro

!!

.,
1
1

HISTORY OF PIANO & BASS TU1\t1B.AOS

The word "tumbao" is slangfor "tumbar" which means to knock down, to tumble, orto le 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.n 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 harmonc 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 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).

The music we are discussing here is, o 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 .ln :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:<t a long with
the piano.

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) accompanment during the "head" of the tune giving ita ballad-like romannc eel.
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

IS

r;:J.:ie o 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 iferent inton.-.bons .

A::vther bass sow1dng 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 openj1g 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 AfroCuban 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-s "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
'

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.

_j

CROSS-OVER GROOVE
Cross\'Cr is a term used in Latin music to .."'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.tean

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 incorporatng 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 Miam 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

Clave 2:3
Piano Example 1

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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

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

Clave 2:3
Piono Example 2

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19

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GUAJIRA

(l;, ve 2:3
Pian ') Example 3

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co

Clave 2:3
Piano Fxample

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50~7

_\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 pronce of Oriente.
The \,ord SON derives from the Spanish '' on"': s.."-'!'\!~.:!$ - -..:hcr, are poe::-.s set to muste and ~101\:TI,;NO from the
wbrd "Montaa" \\'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.

' ...

Dueto the development of railroads ar.d otherior:-::,.cf ?ublc 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.

~ :-.1os!

mportant band that porularized "SON" was .a "Trio

Son Montuno was originally played in an enseC':'lbl<!' .::nsistng o a guitar, a tres and cla\'e.

.!

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

Clave 2:3
Piano Example 5

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F6

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C7

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l.. V

SON MOJ\TTUNO

Clave 2:3
Piano Example 6

G7

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SON MONTUNO

CD

Clave 2:3
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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

Clave Guaguanco 2:3

Piano Example 8
(V ariations not transcribed)
Conga

~~~~~~12~~i~~~~~~~~~~~~~~~~~~~~~~~

11

!!
Am7

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t1

GUAGLlANCO
CD

@
Clave Guaguanco 2:3
Piano Example 9
(Varialions not transcri bed)

Conga

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Clave Gual!uanco

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Piano Ex::~mple 10
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"

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<m dance music at th.? time.
The Lo pez brothers created a vamp that was u sed as a bridge ora movement v.:ithin a Danzon and called it \ b~bo. Other Danzon bands of the era picked up on this and started to incorpora te this new part in their Danzon

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 Rodrguez,
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 o the song, it may al;;o be
played in 3:2 clave.

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 Rodrguez.

MAMBO

co

@
Clave 2:3
Piano Example l l
(9

(~

,.

(9(;,5)

- o

Csus9
1

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C7

C9

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Play
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times

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1

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1

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MAMBO

@
C!J.e :U
p1;.no ExJmple 12
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MAMBO

@
Cbve 2:3
Piano Example 13
G7

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1..
1

CHA-CHA-CHA
As the crea:o~ :J 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 styles 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.

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-<ha-C::a world-wide hits as "Calculadora", "El Bodeguero", " Los Tamalitos de Oiga " cmd "La
Enganadora" just to::~une a few they are unquestionably the Kings uf the Cha-cha-cha.

!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 .

CHA-CHA-CHA

eo

@
Clave 2:3

Piano Example 14
Gm L

C9!G

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CHA-CHA-CHA

co

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2:3
Piano Example 15

(]J\;.'!

C7

Gm7

C7

Gm7

. -.1

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C7

Gm7

Fmaj7

Fmajl3

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-t

C7

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Fmaj 13

PI ay .J lzmes
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CHA-CHA-CHA

CD

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07>
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(lJ \c 2:3

.)

Pi:mo Example 16
A

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1

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1
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1

BOMBA & PLENA

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

Merengue-like pattem with roots and fifths on the downbeats.

BOMBA

eo

@
Clave 3:2
Piano Example 17
B~

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PLENA

co

@
C!Jve 2:3
Pi~no

Exam Pe
1 18

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Am

MERENGUE

1-

!-.;erengue (merenge)- Asweet delicate candy made with whipped egg~whites and sugar. Ppelar 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 (cylndri:al metal scraper), tambora (two-headed drum played horizontally on the player's lap), anda
diatonic button accordon. 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 Domircan 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.-~ .

The primJry pattem of the

l
j

~ass

was and still is rc:ots :md fifths playe 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.

!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<<! page H " Hstory of P1ano dnd Bass Tumbaos"

.)'

1 : :-:-:~:.-;:

1
MERENGUE

1
1

CD

Implied 3:2 Clave

Piano Exarnple 19

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co

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Piano Examplc 20

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co

@
Implied 3:2 Clave
Piano Example 21

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co

@
Jmplied 3:2 Clave
. . Piano Example 22
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Play 4 time$

____:,_

C7TUMBAO

co

@
Clave 2:3
Piano Example 25

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Bass pick -up

J J

Soli etc.

.,

'

!'-

J.-

'

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..,
'

-~

C9
.11

'l

-"'

Gm

A.
--t/1

$11W

fl-

(!:.

C9
e

A..
di

J:l_

Pia y 7 rimes

.JL-:....

t ...r

Gm

IL

_._ Jl -

,: r----g
~

"'

C9

A.

,.

'

7=1

o.

fl-

1
~=--

il.2.3.
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A.

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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 ths 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 ~ ~ F~~ j
...
., ....
!:~
: l ;- !
1

,..,

,.

F
,-.{

1>

(f?it==---#

ll~

.-

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G7

~==
1

:r

....

ft.

f2.

, . , - , .,

'C

ti ,.-.._

....

:
:
m t
., i r"
5 ~
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v
~

r-

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:r J~
1

..,

...

,---.,

.,.

ill

jlf

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.=~
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't . .. .. i
:

-6-

lll.

-t

1>

.M

...

SI.. ,-....

,"4

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$:-

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~}f r F F3

~Jr r

...
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ll

.....

:~

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ti ~ ::
-

47

..

,.....

'

;z

'

Jlt,..... J/1_

::;;

e-r ez

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~=
1

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)
1

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J/1_,...--....J/1_

t.

2
~

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r'

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1
1

r ..

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g f

1M

F r-2

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.......

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.
1

...

...

..

11.2.3.

..

...-..

G7

IL

A.

~-

fl..

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-1
-
..-..

r'

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,;

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14.

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.. ...
F

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)~

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G7
,...,JIL
111

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.

.J

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'

..

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>

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e

~,

.. .

>;- ~

'

'
'f

SONGO

co
-'

@
C! Jve :2 :3
Pi:mo Example :27

Bb

--

1
l

;1A.

'

fl

~-

J/1_

11' - 10.

..,

JI.

1/1.

..

A-

A.

..
'-

+,

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L

!1
1

11-

,.,

.,

-~

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e
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...

!
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 Latn
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 :SCcton 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 ntroduced 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

_}_

..

Gm7/C

Gm7/C

C7
~

r"""-1 _!"""'1

fl

k,;
11

~
f

.._.

11

s-

. .

L.+-

;}-7

'-'

___

... e
.___.

_.._ __

-
....--.;!li--

'--'

CD

"

Play 7 rimes

C7

r---o

!!oj

~..:?;;;;;,

i:

~~~ .,

Gm7/C

""'

o = ,.

1~

C7

....

"lfL_~

~
!"J

i
!

"+ -:~

'1

>

_._

'

11

C7TUMBAO

@
j

--

-..-

.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 ;

J 5

* -

~:

. ,

O 11 tIC.

.i

Gm(mJj7)/C

'"'

"\

"'::4L !

::.-

1 1

SO]\JGO

eo

1:3
Piano Exarr,i)le 28

(!;:ve

Eb

Bb7

1
.

!----

:J

Eb sus7

Eb7

Jf

..

--

!'-

F7/C

..

Jf

_,.... r--

.._

1:-..

1't ...-. ..

..L

bl'-

Ab

Eb

... ""'...

..

...
(

Ab

F7/C

~
j

Bb7

E;,

Eb7

1'-

.._ ..

..:-...

.. ,-......

:...

!'-

u~mi.,.,J~~b~~~~@l~~~(~~;~~~

) ) i

- ,1=1 w---"~~=~-

lfu:~
1
't.;

il ~~
,
j

(~
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. '

:.jj

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1\

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rr
.....

/""'.

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...

p,':;. -. 5

fjj

:_

-...,;

F7/C

.,

llfl

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111

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/4.
!!>

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. .._ .._

..._

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E:, 7

Eb

ESsus7
....

9-

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)~

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--

,...

Ab
/""'.

.!!t.

.._ t_

.. ..

E;;c:s7

bl

Bb 7

~.:_.._

.._

'

A.

..

..

/""'.

r'
,......

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 lke bligato sect10ns that usually segue into a more standard tumbao . Lke 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

112.

1.-11.
F
fl

Gm

F#dim/C

Gm

;; ;;

,.

..

IV

_1!:_

'

. _,.

co

(~
Cla1.:e 2:3
Piano Example 30

!'!

1~

--..-

'*

'

,_,.... 1'

_S_

p. 1!1..~~--

_.......;...
D-

1 ..

~- f-~

. ..

::

r
~,..

--=

Dm

C~dim

C7

Dm

J/1..

'-

-{

i tJ
1

--~):
' /

..
:

!',.-t.:-A-f!1

~~-----

9-r-

"

. . . ..

::

,_

i
1

Jl.

,...;....
i

r-~ ~

12.

: l.-11.

Bb

..

,.
1

r-.

illfl_

11

~-

Dm

C~dim

C7

Pt.

4.~

"'-

..

"""
'

..

""

~-

F
> >
r

1
1

""'!ft

t
1

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,....
11

>

>l

1
1 @

MUSICA AFRO-CUBANA

co

Clave 3:2

Pia'no Exarnple 31

Em
'

C~lm

.. .....

..-..

" ..

11 ..

.. .. ..

....... ~

..

... .. -- ~~

!!"-

~~:

_j

!-

~ ~-

r-._,.
fT

...

.::

.. ..
'

,....

,_

~-.

e#dim

. ... --- t---.,.

---

r-

'
~~

-~ ~ ~

1.

l al

<

D#dim

D7

.. i

r- * ~-

..

e=

..

~~~

ll.r".

'1IF

1
!
'
1 ".--

__ j

D7

'

1(~7#
i

,...._Jit..

D#dim
dP
1

...+-1

~1

r==c

Em

Em

4'1

.. .. ..

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:!

11

E ~ f!:

.f

~
1

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...._

1'
.1

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:

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-8

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$,
j
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Em

Em/A

c-ff-r ~

lv
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1

...

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r".

..

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F

Em/A
>

..

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(!:.

>

>

>

= 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" Rodrguez, 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

:nN

'if

~
~

! : ;...,; =

..

Eb

,.,

l.- 5.

Bbm7,...,.

....
--- .
-.

.,_b~~-

''
7

...

5;

'r

~~

::::

,...

\y
1 .

.~\,
1
1

-~

7~

:6.
Eb

l
;

tJ

n1

.,~) '! '

1
1

...

1!1..

...
,

..L

'

SALSA

CD

Clave 2:3

Piano Example 33
Dm9

G 13(b9 )

1\

t)

_1

.v

Cmaj9

' -r-

~'

A9

Em7

11

}~

L J

!1 i

!
.'

Dm9

Gl3(b9)

11.

1
) ._

,.._

!1

,~~:
__

I.L

..

..

, ___

..,

6/'

L J

r--._

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t-P i

11

9-

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...

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1L

,.

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~...l....J

'"'

'

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-----~

Cmaj9

' '

A9

Em7

'(

P!av 3 rimes

~~~~~~Q~,~~~~~~~~~~~~~~~~
---~:-~~~~~~~~~~~~~~

1~

- - - - -

1!1..

Cmaj7

Dm9

,...,.

1\

-}
,......_

.
1

,.

.. ..
1

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1

'

./" r-. .,
(

>

.......

,.,. "

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--

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(

1
1

SALS .4.

co

@
Clave 2:3
Piano Example 3-+

l'J

Dm13

1\

~ -~

1
.i]

..

,..,

.. '
.,

)';

,,
!

,-..

11

!'-- '!'-

....

1..

.JL"i'f'-

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A7 ; b9l

\~

~
'J~
r . EV r

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1
1

'

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r-

31C

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:.

ti

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.. ---=-.

IJ

l -:

F--*

-L

zw; : "

"

;. . : 5 tin ttS Dr.-t 13

. ~ .....=:A---.-~~-==
-~ 1.==-~:----~
<r=:.....__
9~
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-,

Eml l

-.. .. ..

Cmaj 13

, t.)

: :p : 8

*/'" r--_.

.-

1\

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..

,-

f*-

*,

'l
~-

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,.,
.J

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(~ ~#

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CmJj 13

Gl3

'p.

..

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'(

1*

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1

"r

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"'' '!- ..: .

- - ~--

:: : .

Variation!>

'~

r,

Am7( b5)

. . .

1'\

D7(b5.b9)

Gm9

C9

D:-,:,s,:,g

~ .'7i7()5)

'

Gm9

--r--

; t.}

C9
7
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

t)

07()5)9)

Gm9

C9

!t)
1

l l.
.:..m7(!:> 5)

(=&;?;;
1

D7 ( b5.b9}
7

A m7 (b5)

Gm9

) u

l~n

-'

Gm9
1'1

.t.)

-:r

C9

i 2.
Am7(b5)

D7 (b5.b9 l Gm9

D7(b5.b9)

'

--... .....

- .

56

SALSA
C::l

@
Clave 2:3
Piano Example 36
(V arialions not transcribed)
Dm7

,..
1
).' t)

,..
....
Q}

b.11.. F9

IL Cmaj7

. ...

-- ......

'(

Bm7(b5)

~~

: ~b.

-.

.-,

:L

~~

!"-

ti--

..

'

Am7

G9

... ~~-~~~ ...

...
-

... ... ...

r-

...
11

D91E

Dm7

09

...

--~

,......

~ ::: h

. .

J{IL

"'

\.....J

...

F9

Cmaj7
.11..

...

...

~ .~

.~~~

...

~F

'

'

Bm / t ~ 5)

E7(C,9,b5)

,...,

~~i- !
! t)

A[

'
1

E7nlt

G9!B
1111

F\3

r V

'

'lfl.) 1""\

f3

... , ..

i e

')A.

--

"

G7alt
1

~Sv : t

11>-

CmaJ 13

Dm7

09/E

Am7

A..

.l.-

A7 (b5.b9)

'!

:_ .

.11..

;-

Em7(b5)

Am9 . 13

~ -.~~

.11..

,J:

brm

J !

..2 :::;

* ,

':'

11-

~~!!:+=

. . !!:-

.. +=;:::

P'

.... .
1
.

57
G7(b9+5)

l)r..9 . 13

f:

~ .

.. ">!!:. t....
::::::

"

..

(D)

Am9

... ....

1\
7

..

tJ

1'

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1

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h.

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e:.

''

.,._,.

:: ;::: h~

+-

'

.. .....
.. ..
&

Jlll

Jlll

D9

:f!:.

._

Cmaj7
~

Am7fD

!'-

.;-----...;;;j

..

G9

... ...+- t .

..

E7(b9.b5)

Bm7(b5)

..

Dm7

!>$
:~
;;;

E7alt

~111

G9!B

::

D9fE

..
..
,, = r p r tr
r-.

':

F9

_.-....

';.,

>*'

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.. .

Cmajl3

...

--

G9
~

.,

...

::

- r ...
L

A..

ll.

t::

,;

Bm7(b5)

F9

CrnJJ7

E7(b9,b5)

'

~;;=.

u -

'

~
,.....

+=

1
1

11..

11..

. .. .
.. .. .. ..
D9fE

Am7

')A.

,......,

,_

1
,

~~

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bA.

.. e t= .
L

~:.

..

Cmajl3

G7alt

Drn7

1
L
,_

1'-

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Fl3
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..

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e~ ..

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r'
1

O*

t=

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ti

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>
1

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t-

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SALSA

,.

Cl:!\'e 2:3
P1ano Example 37
Bm7

r\._o

..

E7
...~-

--

l 1

.!

_j

..

Am7

.~

,.

'

)1

~---4

"

__,

D7

".

'

lt)

'

....

....

... :

11

Pla v 6

IJ

.._ ,

.....

.'
r

..

Gmaj9

rim~s

1
1

1
1

S_ALS.A

CD

Clave 2:3
Piano Example 38
(Variations nottranscribed)

-i ,

Arn9

@~ )<e ~ G'

. a

s:t

'b

_)

x&

D7(b 13 .#9)

~ ~
~7~[}=

....
Jfl..

..

f;:_";::.A.
~

Am9

Cl3
.J

--

JIL

'

"$" ~

..?.!
JIL

..
JIL

tf7

..

1
1

Gm<1

Cl3(# 11)

..

r"

.:....

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Am9

~-~

~":.$1
1"'..S

-1

~=;.

D(b l3J9)

OAL

:::::;:::a:

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....

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J

,..

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..

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(l

j7 ;..

'

..

Gm9
fo

_P'_

tJ

.....,.,

...
F

b...
t-

....,...

C7(b9)

Am9

'

b....

--

~r

:...

... ....

C7

~':.S 'T',S.

!f

?1

....

lo

\:"<

;.

1
1

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-,

t)

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.,. '

11~- -. ~
~

"f

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Gm9

C13

...

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.----.

\ ~---';;s=
j

...

...

D(b 13J9)

!)e1

bA.

F'

b:s

D(b 13.~9)
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'
-

53

.eL

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Grn9

j .,
J

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f~

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13. Am9
1!11

,~,,~,~ 1

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.,.
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b,s

D(b 13.#9)

')L

A.

.,.

._

:,.

....

....

-;:;-

Gm9

.. _.

r----

1
1
j

SALSA
Ex<.rr.ple 39
(V :::.:iations n Jl lranscribed)
Pl:ir::)

Eb7

Dm6
11

Dm6

...

'

t)

Eb7
.._

1\

..

Eb9

...

..

r+:

.J

:1.

..,

\...-.

..

.....

..,

~b

'

r'

\..-.J

Dm6

i tJ

'

..

,_.

~..

,.,.

~
1

~~--

..

bs

..,

~
.J

E~9

Dm6
1..,

1 .

~~

~Jit'

..
(

-~
,

S==i

\......J
~-

~1 !!"'

' S
1

..

b ..
r'

Dm6
>

1 e!'

~.

t-

'

lo~- ~

1
1

... ~ "'

. .

. .,.,......

.., -~ - , _ .. , ,

' .-. <>~- .

' ... ......... .._.

SALSA
(2:
'-..__/

C!J,e 2:3
Piano Example ~ 1
G

06

.,-...

A7

v
s-

'

06

-.

.~.:

'

S:

.....

t)

A7

!j

G
_l_

" ..

A7

'

. .,

06

. l. J

17

a~

ctL
~"

~-

~ , u;?o::- ,

,.,.--.....

l ~=:

~
i

~r~-...:

..

~(

'1

-::- ~

:!

--

S:

__ J

!?
1

'------
-s:,
(

l 2

T=!

D6

>

_ _ .. 1!!~--

@ r

A7

.-\ "7

' _,

'___,J
>

._:f_
.

:__~

,.,. , .. . .

. - - ---- ----,..

1
1

SALSA

CD

(i:J\ e

2:3

Pt;lno

Examplc

43

Grn

~ ~ ~ ~ ~ ~~ \
~~-- ~~~~~~~
il

"1

... ,_...

''

07(b9
1'

) ..
J

'

1r<

Arn7 ( b5)
.#'

'1

...

'

:;~

07(~9)

_._

..._

... ...

... 1
)

"' _____,

'-'1

S:

...

;.>

.."!*-

~-

...

... .. ._ ...

1
1

___J

...

l 6.

l.- 5.

Eb

S:

Gm7

Eb

C9

Gm7

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

" - !'

...
'

!l 7

..

--~ i

ll

l\
-~

61

SALSA

l,

,.

e:>

Cla.e .3:2
Piano Example 40

Bass
1

...

. ..

,.,

.1

...

Dm7

;J

,.,

1ft.

.;;

"t

~
J

...
--..

G7
1ft.

1\

tJ

....

Em7

!'-

'

::::.. :

11

...

'

..

...

A7

...
l

1..-..J

..

"'

')

...

'1

\.......,

~S

---' l-)

G7

Dln7
1\

}~-
'

..,__
i!l

~,

t,!

~,

t=~

'

"f

Ai

'
,_)

t.:

'1
1

,~

~
,_
~

1
1

::::.}:
....._

.~

4!

f1l

1.-.J

b
i~
r

Jfl.

...

1
1
1

il!!

..

1 6.
Dm7

'1

:~

"1

...

'

eV

-~
"4

,._

G7
A-

tff)

..,.

..

7 e;

' '
...1

..

JL

1
1

Cm::~j9

...

-._

...

-----,

11

~ ,.

io._..J

:S

S6

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

__,_

: t.l

-G

,-+-_li:!:
L

'

A7

_._""'.

1__.1

.1

A7

11.

'

::,~

,.,

-r--t

_!.

'

.J
06

...fl..i!.
(

J tJ

),
1,

...

:.

._

_._

.-

f.

.l

'

:!

,_

A7

_:S:_

!,.....~

'

s-

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'

06

~~?i
~~
,_1

.--;---

f
~-

'-

t-

J'

1-..7--(

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'

A7

A7

.'

S:

>

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(

06

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---
>

1
=

- .s

j;

LJ 1 =;

'

lt

r'

S
1 i-:

--

.. ..

A7(b9)

Am7

S:

.,

V '
t,c.

"

Dm7

.. ... ...
G7

...

A.

'.

. "

,...

JI

......:

~
V

-:

A7(b9)

G7

..

Arn
41

"

S:

1
1

..\ rn 7

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 i.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 frst 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 brotherin-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 t.
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)

--

l:rEJ' -~ ...

'

G7

Dm'

=
Cm7

Cm::j 13
,-..A.

a. s

A.

A.

67

Abmaj7

Adim7

D7(b9)

_lO__

Gmajl3
_lt

-;;.

-.h. ~

t
fM

:
1

'l

..J

,.___;

:i

~ F#m7 ~

_Y

~-

~ _ ~

117 ~,5 ::; ::= : S

le

~ i1

~..

:_:; __

~
~/ ~
!

..

..J

~
~ ' ~ 5~
===!_----?~-=-s;;j?TC
z..-:=
J

fti)

_:.~S

Caug7!~9)

Err:aj7

87

::.Ir
$11

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;s

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'
:

:;.-

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S
S

=~
f';

r
e

:~

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~tr~

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'

..
E
1

,,

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"

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1

Bt7m7

Fm7

.l

Et77

...

lt

A..

'

...

Abmaj7
1'1

fl..

..

...

)
1

...

t-

t-

:...

~ ~

bf:

+-

Bdim7

Cm7
,.,

.,!1-.-(IL,.

cV

!l
IE t.5 ...
. 1

,[

7-b

-- ...

E:

b..a...- ._

w
(

S
,.-

,.

..

'

..

..

,..

'1

Eb7

J:

f:
..,

:3 )

;:.,.-......

.-~

---

o =,~:=-S A

Bbm7

G(~ 9. b

----=:::::JC::_
/ ~--t~-~ ~.::;:: 9
--v --

.,.

.11..

""'

...
1

C ( ~9.~

13)

...

f:

...

Fm7

.,.

-;.- -'-=:-

- - - - --- -

f :

1\

---tfl-

v- - - - ~-

.J

i t)

..

Eb sus9
#

. J

...

~-

:i

!'-

1:

Abm:~j9

._

'

Eb9(b 5)
b#

...

-,.

1(

B'm7

.11..

-t-

...

Dbm7
L-t-

lit

t-

......,

) a

..

Db maj7

t!:-

'
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..
,~

Gm9

C9

fL

..

!'-

D7(b5.b9)

.. .. .. ..
V

Gm9

C9

o.

,..

..J

A.

Am7(b5)

..

D7(b5.b9)

..
V

f
A.

A.

'---

Arn7(b5)

Gm9

D7(b !3,b9l

'e:
. , ..
r

~
1

.i

....

: 7~D

C7(~9)

Gmll

__')1

75,--

\Fm

f:

1 .

1\.

p.

13.~9)

f ::_

11-

,j

01~~

. - ->

"'

- ..

C7(~9)

07(b5.b9)

Am7fb5)

11!

~r= l~:

-s-

...

..

.::.<#

'(

..

-+..-~

Gm9

D7rb5.b9)

!!!!!!!!!l

1111.

Am7(b 5)
111/J

111

l:oJ

--

:>4.

.Al!"':.:

r
r

"

..

Gr.1!!
JL

,.1.- -

C9

...

'1

Gm9

D7(b

b..z.

o r oz r

...-

~~u ~ i l~

..

Ami(b5)

~~ ~

~-

l1

9-

!!-

111

1
Stll

C9

A.

JL

: J!

~ :

sJ

-,

G\3 ( ':15 )

.._

!;A.

bi. r 4jr

+-

':-~~~

Cm:1j 13

';A....--.._

-fl.
r-

r &, : . .. . ....
-.-

. t..'

...

,)

)
!

.J

B ~su s9

E ?rn~j9

Abmaj7
.a.
1
4!
)

07)

(Am7b5
A~7(b9

!~

'1

9
J

,11.

--

'1

r~
1

...
:2,-==-

1 ..

'

.,

___...._

~ ti

.,_ ::-.-

~.._L

='

a
s~

~~~-

=a~:

==s-:
t

..

GmJj9

f ~~

..

,_...__

....

r'
1

s.,

...
=

':.a..

S:Sl

LJ

d
11

:4
$~

!1

;
1

/\ }

AmC)fD

F#m9
1'\

813

:.

1"

..

..

I. ~Q

V
~-~

..

...

C(#9.b 13)

..

..,

11

. ~.

..

'

<

(~
, L__ ~~

.r:;.

Db maj7

"

)i '
~~ '
,

r-

'

'!

..
..os

S:

,...

:....:

V
..,

Dbm7

. f'-

'1

..!;~

Bbm9

1
1

;~

-- -. ..
-

,_

"'

r E..-=
-=-
... ~ -+-

7=1

Cm 9

,...

~,.-._ti.

r-

.,

i:

..,

Ab maj9

H.

Jlfl..

i:

Eb (9.b5)

Ebsus9

==:;:w-=:J ~~

r-

DJil

t.J

Bdim7

.~

Bbm7

-....,

t)

.J

..

Fm7
1'1

1 11

..

f-.<'-

1 1 1

-..... ... ... -

IS

Emaj13

..,

p..
!

_ _ _Jit_

SQ
' 1

,....

1111

:,.tl

r5 llJ

d..

A..
t/1

,rl

!
(

'

1
1

Jtg

Ebsusl3

#
r-

$.

'
Eb 13

'-..__J
)
r

...
;

S:

71

L..4. TIN JAZZ

CD

Cldve 2:3
Piano Example 46
Variations not transcribed
Bm7(,5)
E7(b9)

Am7

1~

1
J

t..

..

.......
V

D9

...-..

y-

*
1

,_

.. ...

Dm7
.,....

.. ....
09

Bm7(b5)

E7(b9)

Am7

Bm7(b5)

E7(b9

Arn7

Bm7(b5)

,..-.._

;-:

1"'

.l

Am7

(~

. .... ..

D9

..

b.-.. ..

11..

....

..-.,.

.j-

....

E7(b9)

.....

..

ilf)

*
1

'(

la,

,._._

~.

F9

,-,

f
~"
' '

t-

Bm7(b5)

D~

: kJ

-.....J

Cmaj7

!'-

.----.

E7(b9)

~.

G9

,..

t-

.... ,.._._

,-...__

+-

09

Am7

Drn7

F9

""'

;;;

.... 1 ....

i:}

,,

Brn7(b 5)

09
"'1

... ".111

E7(b9)

..:
;;-r

S
-r-

f
' (

._1
-

1:

..
..

Am!D

,.

L~4.11N

eo

]AZZ

Clave 3:2

Piano Example 47

C6

...

,....,.,.
..
-

_._

"

-~

...

'

$.

- -~

1
1

D*

.J

!
~~ ----

. - :

6.-1'.-

... b

..

-!---

. ... $
...
; ~- ---j

-...:....-

.l....;

>.

i.~

.J

"'
._

..

l.

b,,..

1'1

..

,..-..._

...

.,..~

.--r--

Db/C

.,..

rh. b$
1

D7/C
... ,..

..

Dm7

...

A.

-~

G9

... ~-

.~ .

...

A.

.
@J r :J
::

..-

,
g
g:
=:::~= ~ . F
r ......
F pt
--== ....
1

"f

!:~

r-

..

~--

']

Dm7

t-

r-

... ...

...

+=
r-

A.

!1-

.. - ..
~

Bl.7

..

-. e
7
_...,... ...

G7

A.

r-

...

1ft..

ll.

.a.

1111

-:

--

-.

11..

.. r-

'::__A.._

~_L.~

A..

~ $

.11..

~+-

A.

A.

S:
t:

Cmaj7
Jt..

'1

,_
,...

_ _1

S:
-

'F i

...
(

...

11..
._

g.

r-

!,...

!11-

..,

~~

,_.-....

,-

lit.

..

b.. Jfl.
+r-

A.

b... --~
-

Eb maj7

...

1!.

Fm7
!'-

,)

A.

,_,_

... .....,.,

,.,

A..

t-

...

.,

f:

A..

...
C6

e !

!'-

...F

A. !L~

l-...J

~~ e:~

..~

..

- ..

,..,

..

C6

b11-

...

.,.... ... ...

,.....,_

!'1

J/1

11..

- .,-...\

S
,_

1
'

DI :C

C6

...
_.,.___.

JL

~~---

r'

-;JL

-~-

-- --

~--

--=-

...

~~~~-~-~~~~~~~k~d~~-~~~-~

1
1

Dm7/C

Dm6
A.

..
~~-:-~:
- J
)~): ~--~r __ S: .. ..
"1

\~

*
~

,,
'!

r1 1;

. . !

!ft.

(' ' "'

J/1_

!'-

.....

J/1_

#-

'

.,

.
7

1
J/1.,
j

.,

;..,

!.

--

:::.

.......

--:-.

IT

... -

--

J!

,'

7-

-~

G9

. .

-~

=c:::j

- ~

= ...
=
:;: .-=--..-----.-

...
...._
'
..,"-".,
..
'-"'
:....,

jCP

:011

<">

= =

...

--------- - - - - - - - ~

'

. ----==;!
1

CrnJJ7iG
j

.__ \

-~

-.~
....

O mi

'-"

-....;

A7

..

=
1

L
._

Am-:- ,G

Am7

*':::o
ilf

'

""!'!o-

E7

Bm7(b5)

..... ---

-- -

:1

- -~-- -------- ---------------_.-----

LATIN ]AZZ
. l) :
'-....__

1'1.1110

[\:!rnpk 4::',

, \ .!i.!I!,Hh

not trJn scnbcJ l

Rh~

Fr:1

thrn lntro

")JL

'::: ~(~a~-----------9_ =~6-===---------------- --,-~~~~~

___
:-_-~-==-D-;=
--==-~
----- - --- "''*
~

- -- - -

----

)JL

Fm
-.--,

---~

- ~~~-

_ .:_ ,~

...

~: ~=w==
~

B!,m(m.Jj7)

=-

"?=

-:-.~:__ '

1
..

-:

'-~-

..._

11

fJ1

JL::::
1

..._

..
,.
..

.....~-.___-

. .. ..

Fm

1
1

i
1

-'

B',m7

-~-

~------

-~

-r-
r

L
#

fl.'>-------,.-

.1

-=:..?

-#--

. - = ..

,L.

Jll_

--- ---.

::____j

---<

..._

J4_

..
z:
el-

-l

1_

-~

)*

-!

. ..

-----

- -"L : . .

--

- ------------ -----. -- -----'

--- ----

- _ _ _______________

----------- ------==' ----

\*~~
(~,

~-;;

.)

''

''

:i

..

..
~~Q

'

-j

..
=2i?i)

..

....

--#-

a.

r1

tlt

.. ..
L

1-

..

._

==:

..

____ .JI

:..-

____:;:

IL

111

----1

..

...,.

.. ..

-~

::
Q

..

...-----=---"

..

Fm

._

._

- ----

- - - - - _m::: - -

C7
L

J/1.
::__ _ ._ _ JI _ _
- __

_1/1

J/1

..
--r-==T:=

Jfl_

ji

L
-r

rJ

:t
1

.,
:,,t

\:cg=.,_;
~r:r----

-.:=

R~y::-Jm

-~-

23
r

.; :~
.-----f:._

r:'!

1-?I_S::~

.
.:r--::r=:=
1:

'
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.

A ew 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 ih 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 ohn grooves. As me:'.t:oned in

u'le beginnmg. this book should be used as basis or St'Jdying the over-ali concep: of the sryles . 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'.1t1o dt

pa ttJ\oi.!.eart.>-t!J::k. nt>t

..

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l:s! ,~ :.:i ~ . .:e ~ are rcco o.men de d b~ th~ J.L;L\...~crs .

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