afro-cuban bass grooves

5/17/2018 Afro-Cuban Bass Grooves - slidepdf.com

http://slidepdf.com/reader/full/afro-cuban-bass-grooves-55ab593e23566 1/98



OOVESby Manny Patino and Jorge Moreno

Project Manager: Aaron Stang

Cover Art: Odalis Soto ~hereien. . H A M Mngraver: Andrew ParksMusic Engraving

Technical Editor: Glyn Dryhurst

photo on page 2 courtesy of J.F.Soto

Yamaha Basscourtesy of Jerry Andreas, Yamaha Corporation of America

Special Thanks to Cary and Abel Batista

© 1997 WARNER BROS. PUBLICATIONS

All Rights Reserved

Any duplication, adaptation or arrangement of the compositions

contained in this collection requires the written consent of the Publisher.

No part of this book may be photocopied or reproduced in any way without permission.

Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.



PAGE # C D TR AC K #

Foreword: Latin American Music 6In trod uction 7 1

Los Tumbaos 8

The C lave 9

In tro s a nd E ndin gs 12

T he H istory of P ian o an d B ass Tum baos 14

Cross-Over Groove 16

Example 1 16 2

GOO

uaJlra 18

E xam ple 2 18 3

E xam ple 3 18 4

E xam ple 4 19 5

Son Montuno 20

E xam ple 5 20 6

E xam ple 6 21 7

Example 7 22 8

Cuaguanco 24

E xam ple 8 24 9

E xam ple 9 26 10

Example 10 ~.27 11

Mambo 30

Example 11 30 12Example 12 31 13

Example 13 31 14

Cha-cha-cha 32

Example 14 32 15

Example 15 33 16

Example 16 33 17

Bomba & Plena 34

Example 17 34 18

Example 18 35 19

Merengue 36Example 19 37 20

Example 20 39 21

Example 21 41 22

Example 22 43 23

PAGE # C D TR AC K #

C7 Tumbaos (Descargas) .44Example 23 44 24

Example 24 45 25

Example 25 46 26

Songo 48

Example 26 .48 27

Example 27 51 28

Example 28 53 29

Musica Afro-Cubana 56

Example 29 56 30

Example 30 58 31

Example 31 60 32

Salsa 62

Example 32 63 33

Example 33 65 34

Example 34 67 35

Example 35 69 36

Example 36 71 37

Example 37 72 38

Example 38 74 39

Example 39 75 40

Example 40 76 41Example 41 78 42

Example 42 79 .43

Example 43 80 .44

Example 44 82 .45

Latin Jazz 84

Example 45 84 .46

Example 46 87 47

Example 47 89 48

Example 48 92 .49

Mixing the Styles 94Conclusion 95



4

ACKNOWLEDGEMENTS &DEDICATION

Special Thanks and Dedication From Manny

My deepest thanks and appreciation to:

God for giving me this opportunity and for allowing me to work and learn from great musicians, my wife Alexiys, and

my boys Manny and Ricky for being patient with me through the many hours I sat in my studio and for supporting me

always; I love you all, Ricardo Patino for piano grooves, programming and for your endless support as always; I love

you brother, Jorge Moreno, my other brother, for without his idea this wouldn't have been possible.

My appreciation and gratitude to all those musicians throughout the years that either created these grooves or in one way

or another influenced their evolution. God Bless you all.

I would like to dedicate this work to the memory of my parents Francisco and Adela Patino who gave me life and

gave me their love and support always. I love you mami y papi.

Special Thanks and Dedication From Jorge

I would like to thank:

My parents Magaly and Israel Moreno for always supporting me in all my endeavors, my wife Maritza and my kids

Alex, Amanda and Andrea for giving me their unconditional love and support; to my musical brother Manny Patino, for

always being there for me, without him this book would have never happened; to Rick Patino for his encouragement and

support to this project; to Gustavo Sala for his friendship throughout the years and for the immense talent he put into this

project.

To all the musicians I have worked with and learned from throughout the years; to almighty God for creating this

beautiful universe and allowing me to evolve and grow with it.

This book is dedicated to my children Alex, Amanda and Andrea. They inspire me daily to be a better human being.

Special Thanks From Manny &Jorge to:

Aaron Stang for believing in this project since the very beginning, Jose Arias for taking us to see "El Bol", Raul Artiles for

numerous consultations and support, Alfonso Afonso for percussion and photo touch-ups, Felix Gomez for piano

grooves and for being patient as always, Jackson Fondeur for Merengue piano tumbaos and Merengue history, Jorge

"Arana" Hernandez for Cuba's videos, Sandy Poltarack for suggestions and books, Guillermo "El Bol" Vivar for the

legend and history, Israel "Cachao" Lopez for the legend and for giving us the foundation and the Mambo, Giovanni

Gonzalez for" a 10 maco" tambora and conga, Cesar Betances for double-checking our Merengue grooves, Alfredo

Alvarez for piano tumbaos, Rick Ramirez for photo touch-ups, Osbaldo Cesa for Merengue history and updates,

Francisco "Paquito" Hechavarria for the contagious piano tumbaos, Pablo Grajales for those 'venomous' Colombian



5

tumbaos, Jesus "Gumby" Navedo for the Bomba & Plena percussion, Gilberto Garcia for the Cha-cha grooves, Abel

Pabon for the Bomba, Plena, & Latin Jazz tumbaos, Raul Gallimore for laying the piano grooves for the slap & tap bass,

Mario Marrero for history notes, Johnny Conga "JC" for history notes, Geraldo Pefia for Merengue history notes, Ignacio

Berroa for the history of the Songo, and especially Gustavo "Cubiche" Sala for laying down the cowbells, bongos, and

timbal.

About the Authors

Manny Patino was born in Barranquilla, Colombia South America. His family moved to New York where he was

exposed to a variety of musical styles including, of course, American Pop and Jazz, as well as various types of ethnic

Latin music. He began playing a home-made "marimbula" bass ("box bass" used in early Afro-Cuban and Dominican

music) at the age of eight. He later picked-up drums, electric and upright bass as well as clarinet and saxophone. He

studied music at Miami-Dade Community College, University of Miami, and Florida International University.

Manny has recorded and performed throughout the world accompanying artists in various genres, including: Celia Cruz,

Andy Montanez, Pete "El Conde" Rodriguez, Ismael Miranda, Franky Ruiz, Cheo Feliciano, Willy Chirino, Hansel y

Raul, and Roberto Torres in the Salsa circuit; Nestor Torres, Dave Valentin, Mongo Santamaria, Patato Valdez, Ira

Sullivan, Othello Molineaux, and Roberto Perera in Jazz and Latin Jazz; and Selena, Barrio Boys, Gloria Estefan, Jose Luis

Rodriguez, Raphael, Braulio, Camilo Sesto, Raul Di Blasio, Manoela Torres, Emmanuel, and Ricardo Cocciante in Latin

Pop.

Manny currently works throughout South Florida and teaches Jazz Bass at Miami-Dade Community College. Most

recently, he worked on the published transcriptions for "Cachao's Masterpiece Vol. I".

Jorge Moreno arrived in the United States from Cuba in 1962. He began playing classical guitar at a very young age, a

family tradition started by his great-grandfather in Matanzas, Cuba. In high school he started playing upright bass and

electric bass guitar. At the age of sixteen he started playing local gigs and a year after that he recorded his first album. He

studied music at Miami-Dade Community College and the University of Miami and has studied arranging and

composition under Dr. Carlos Varela.

In addition to working with local artists and bands in Miami, North, South America and Europe, he has recorded

numerous albums and performed with such Latin music artists as Celia Cruz, Johnny Pacheco, Pete "El Conde"

Rodriguez, Charlie Palmieri, Carlos "Patato" Valdez, Jorge Dalto, Roberto Torres, Vicentico Valdez, Hector Lavoe, Spider

Martin, Chary tin, La Lupe, and Andy Harlow.

Recently Jorge worked on the published transcription of "Cachao's Masterpiece Volume I" and for the past ten years has

been directing his own band "Casablanca".



6

FOREWORD: LATIN AMERICAN MUSIC

Latin American Music has experienced enormous influences from various parts of the world. It has a rich diversity in

styles that seem similar yet are conceptually different in their interpretation. Without elaborating too greatly on the effect

of cultures, religions, and customs on the evolution of this music, we will briefly touch upon those that have had the most

obvious influence in its formation.

The earliest and most dominant of these influences came from the European Conquistadors to the New World. From

Europe we inherited the instruments and harmonic functions of classical music along with its cultural dances and song

forms such as the Contra-Danza Francesa (country dance song), the Paso Doble (polka-like song), and the Rumba

Flamenca which is of Gypsy origin.

From Africa we inherited various complex rhythms derived from tribal religious rituals mainly of Nigerian and

Congolese descent. We also acquired a number of percussive instruments, i.e., yembe drum (conga-like 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 us an immense repertoire of

polyrhythms so rich in sound and pitch that harmony and melody almost became secondary. Included in these varied

and diverse polyrhythms came the Claoe". And of course, like the field-haulers of North America the slaves brought

improvised singing.

The Aborigines of Latin America were influenced positively and negatively by both these cultures. In South America

notes were added to their existing pentatonic scales, and polyrhythms and percussion were incorporated in the music.

Adversely, some indigenous musical instruments, mantras, chants and rituals were abolished by the imposed doctrines

and philosophies of the Roman Catholic Church. Inthe Caribbean, unlike South America,the Spanish Conquistadors

exterminated all the inhabitants. This genocide made the music of Cuba and other Antilles Islands strictly an Afro-

European hybrid.

The United States also influenced the development of Latin music. Its influence has been more prominent in this century

with the advent of phonograph recordings, radio and television. The Big Band Era had a tremendous impact on Latin

bands like Beny More's Orchestra of Cuba. And Jazz harmonies, R &B and Rock &Roll beats have always had an

influence on Latin Music.

In summary, Latin American Music implies many things. It is music born of a Euro-Afro-American union enormously

rich in rhythms and colors. The spectrum of musical frequencies range from a poly-rhythmic percussion ensemble, or

comparsa, to an eloquent melodic Tango or harmonically rich Samba. It is music that was created by the intertwining of

cultures and religions that continues to evolve in itself.

'Pronounced klah-vay: An underlying ostinato rhythmic pattern (used in Afro-Cuban) music whereby all of the syncopations and accents of the

overlaying music must be strictly arranged in relation to this ostinato pattern (please see "The Clave").



7

CD

(0 INTRODUCTION

This book will provide you with a solid understanding of the function of both the bass and piano within popular Latin

music. It is a collection of 'tumbaos' (grooves) that you can assimilate without sitting through recordings where the

tumbaos are sometimes obscured by the other instruments. Itdoes 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 of the grooves. Itshould 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 theDominican Republic the most notable contribution to Latin music is of course, the Merengue.



8

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 is

very crucial for "locking in" with a real groove. What I mean is an adjustment of the volume, attack and sustain or decay

of each note being played in relation to what is "happening" around you. Of course, this interaction is limited when one

plays with a drum machine or sequencer (which, by the way, is very good practice for acquiring time).

In playing Afro-Cuban music it is essential that the rhythm section be close together. The section should run like a finelytuned machine. Precision is the key in a music that has so much overlapping of rhythms. One note from anyone 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 tune,

but rather one of the repetitive notes of a pattern that is constantly off. This can also mean an inconsistent time feel or a

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 may

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 d ep en din g on th e cla ve. T he g ro oves can b e em bellished a nd /o r ed ited

w ith discretion by the player as long as he keeps in m ind the underlying accents of the respective clave. As mentioned earlier, the

"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 you

are doing. Ifyou'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 pattern (used in Afro-Cuban) music whereby all of the syncopations and accents of the overlayingmusic must be strictly arranged in relation to this ostinato pattern (please see "The Clave").

**tumbao (toom-ba-o): Groove, or comping a groove; vamping on a groove; usually a repeti tive two bar rhythmic vamp played by the piano, bass, or

tres guitar that must be played in relation to the clave (see page "History Synopsis of Tumbaos"),



9

THE CLAVE

'La Clave' (klah-vay) is the most crucial element in Latin Afro-Caribbean Music. The clave is an underlying ostinato

rhythmic pattern on which the music is rhythmically based. This pattern is played on two wooden sticks about one inchindiameter by eight inches in length called by the same name, "claves".1t is also played on a woodblock. Itis 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 Music, Salsa, Merengue and Bossa Novas all have a clave. Much like Jazz and Rock in which two and four

are the strong beats, clave is the underlying accent in these musics. They must be composed and performed with the

clave in mind. Afro-Cuban composers naturally write with an internalized knowledge of the clave. A musician, singer, or

writer well versed in this idiom automatically hears and feels if a melodic phrase or rhythmic pattern is "cruzado"

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" of the clave at the beginning of the phrase (two accents followed by three). Percussion patterns, piano and

bass tumbaos, melodies and any improvised riffs or solos must adhere to these accents.

Illustration 1

Son Clave 3:2

3

D - - r r I ' r2

r I I

Rumba/Guaguanco Clave 3:2

4 Q ! r ·3 2

D" " " " r o

DI , r r

,I I

Son Clave 2:3 (Inverted)

2

r r3

D " " " " r r I I

Rumba/Guaguanco Clave 2:3 (Inverted)2

r r3

D" " " " r o D I I



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 melodic phrasing o

a section is in2:3 and a 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 music or an odd number of measures in 2/2 time added before entering the subsequent section of the tune

(Illus. 2). In other words, the clave pattern must remain constant throughout.

Illustration 2

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

le i Cm Fm7 G7 Cm

"I .. . I .. . .

I .tJ r I I

2 3 2 3.

I. . . .

I I I r I I I I I r I I

G7 Ab maj? B~7 Cm C7~ I I

I .~ r I I

2 3 2

I · .I I I r I I I I

1 m Fm7 B~7 E~maj7 Abrnaj?etc

~ I I . . . . . . I .. . I I

t .~ I - ., . . _ _

I-';~

3 2 3 2·I · . .

I r I I I I I r I I I I

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" is a 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.



11

Cinquillo

Cinquillo (pronounced "SIN-KEY-YO") is a one bar rhythmic pattern that is found throughout Afro-Cuban percussive

and melodic phrases.

r r r I I

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 tum hasfiltered down to become an integral part of many other rhythmic patterns.

Itis very important for you to remember this pattern when trying to determine the Clave of any tune. This pattern falls

on the "3" side of the Clave.

"El Manicero" (The P eanu t V endo r)

" . w -I I . - . . . . I I

I . . , . . . . . . - r I 1 , . . . . . 0 1 r

.t

. . .I I I r I I I I I r I I

...---- Cinquillo ----, ...---- Cinquillo ---,

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 Cinquillos throughout

this book.

"Danzon: Is the national dance music of Cuba since the late 1800's.



12

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 oron 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

f~r'> >

f> > > > >

D

. . .r r I I r o

D" " " "

r r I t r r tr

Example B

f'~>

f> >

r oD

. . .r r I I r o

D" " " " "

r E2J -r

Example C

f> >

t r r t I r oD

" " "

r r I E 2 J t -

ExampleDG7 C

f> >

t r r t I r o D

. . .

r r I t r r t I r o D

. . .

r rExampleE

Cm B~ em

f> >

t r rt I r o

D" '"

r r I r ~ C 1 ' ' ' ' ' ' ' t r r -

Example F

f> > > > >

r oD

. . .

r r I t r r t I r oD

. . .r r l1D r o r t



13

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).

Rhythm

ExampleGsection

introC F G7 F C F G7 F here.

4 t r r t I r · D

. . .r r I t r r t I r · D

. . .r r ' - " 1

ExampleH Intro on Intro on

downbeat downbeat

Percussion Break. here. Melodic Pick-up. here.

4 D r D. . .EJ r I r I I 4 ) J

D. . .

c : r r I r I Ir 't

Example I

r r etc.



14

HISTORY O,FPIANO & 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. Itis 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 a new 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 modem 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

were played between Danzones in cultural dances in the Dominican Republic. At this time cultured music and folk musi

began to mix.

Piano tumbaos eventually replaced the tres tumbaos in Cuba and the accordion accompaniment in the Dominican

Republic. In the modem Merengue the accordion is no longer an integral member and it is 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 it is termed, the piano will occasionally

playa non-tumbao (freely/ad-lib) accompaniment during the "head" of the tune giving it a ballad-like romantic feel.

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 of the shanks determines the notes they produce.

The first Afro-Cuban music to use an established bass instrument was the "Danzon". Itused 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. Ithas

brought the bass guitar sound to the same level of importance as the "Baby Bass" and has opened a wide range ofplaying styles and techniques that were not traditionally used in Latin music before.



16

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 incorporating a 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.

Inthis 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.

CD

oClave 2:3

Bass Example 1 (Slap)

*Played on a 5 string bass with high C string

CROSS-OVER GROOVE

T=Thumb

P=Pop

S = Slide to next note

_,I Piano Intro 6 ~ T,,

I

- - - - - - - - - - -: - - . . .I:

Em D7p p p p

~ f- T T f- T T ~ T T ~ T T

r I r - I r I r I

T ft ft . . . . . .i 00 00

~ ~ ., ~ ., , ." ., ,. " .,tI ", . . . ", . . . 00 ,00,

r-oO ,00,

r-oO

Em

.~

;p p p

~ T T T T f- T T f- ~ T T

r I r r II

rI

~I

T ., ., n n n

i,

"00 00

~ I~ ~ I~,. ,_

tI ' ' ' , ., . . ,,,," " , . . . .,

" " ". . . .



17

p

~

D7

T T T T

p

~ T T T

r I r I r I r I

T . . _ - " " -,

., . . , - 'ts '" . . , , , . . ~, - --

Emp P,,-... p p

p p

~~ . . ~

~~ ~ T T . . T S T T T f = 1 = f = T f- T

· - -r I I I r r I

ft 1ft ft ft

T . . . . _ft - ,-, - -i. -~

"". .

''''' '" . . ., 10t . . . . . .ts . . vr» _ " , .,

-

p pD7

p p

~ ~ T T ~ T T ~ T T. , . _

T T

··r I r I r I r I

T ft ft., .,

i - -~ I"ft_

., l"ft

'" ''''' '" ''''' '"s " , ., '" . . - ,- , . . - ,- , . . " I-

Emp p p P

."I ~ T T ~ T T ~ T T ~ T T T

r I r r I I r I&>4j.; ~ ~.> >

T . . . . ft ft II

i. - II~ '''''

. .'''''

,. . . ,.,. ., ,.,. IIts ' ' ' ' . . "

,- , v \ " , . . ,

'" ., ,.,. . . . . ft '" II

\ ' &>/; :-, {J 'J;



18

GUAJlRA

The Guajira style evolved from Cuban country music. The word Guajira literally means "peasant farmer." Guajira can

be traced to a form of Spanish music that goes back to medieval times called "Troubadour" music. Itwas played by

singer/poets of the era on a lute or guitar and was sung by rhyming words improvised as they went along.

This form of music was introduced in Cuba by the Spanish colonists that settled the island. Itwas later adapted by

Cuban peasant farmers who called it "punto guajiro" (Note the similarity in the words.) and it is still widely played in

Cuba.

Guajira was originally played in an ensemble consisting of a guitar and a tres (A Cuban guitar that is similar in sound

to a lute.), with minor percussion such as clave, guiro (scraper) and maracas.

The original chord progression of the "Punto Guajiro" is I-IV-V-V in 2/4 time. But this evolved in the Guajira to a

chord progession of I-IV-V-IV-I in a 2:3 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 to listen to more examples of Guajira we recommend recordings by Joseito Fernandez, Beny More, La

Sonora Matancera.

CD

C DClave 2:3

Bass Example 2

GUAJlRA

c F G7 F c F G7 F Play 3 times

,.,t.. - -- I I . .. .. .- r - r - -

T I • A P P

'" '" '" . . '1A .. I' .. . . . .

'". . . . . . . . . . . . . .

'". . . . . . . . •I

B . . .. • I - - - . . p • - - . .A p I

v v v v . . -

C F G7 F C F G7 F C

r-/. -- I I- , . . . . . .

r r - > >

T A P P A A po po IA . . . . - '"

. . . . . . . . . . . . . .'" - - - . . . . . . I

B - - - . . . . . - - - - - I

CD GUAJlRA0Clave 2:3

Bass Example 3 CD7 G7 F C D7 G7 F Play 3 times

r-/ l- •

-I l- •

-I r I r

A A

T II' po p . . po P A •IA II' ,.. . .

'" '" - . . . . . . . . ,., . .'" '"

.. .. . . . . . . •Its II

\-1 - . . . . - - v-r . . . . . . . . . .I



19

C D7 G7 F C D7 G7 F C~ I l • - I ~ • -

I r I r > >

A A

I .~ ~

" " '"

I IA ,., . . " "

., ., .,

'" '" . . . . " "., ., .,

. . . . I IB ,-, . .

., ., . . .,

. . v v . . I.J

CD

oClave 2:3

Bass Example 4

~

GUAJlRA

.'

B~m C7 Bb m

.....-t l

I I • . , - ". . .

A . . . . .- '-I . .,

Piano IntraFm

TA

Fm Bb m C7 B~m Fm B~m C7 B b m

r-/

---"'I I

v·' I ..,_.,.' I · · v". . A . . . . ,. ' .. . . . . . ,. '

tt, . . . . .

,'I"I

Fm B~m C7 B~m Fm B~m C7 B~m.-I

-- l

v'" I

..,_.,'" I I

• · vT ft ft

A . . , . "B ,., - , - , ., . . ,., .,

~"I

\ ",

'"

Fm B~m C7 B b m Fm Bb r n C7 B~m Fm.-I - -

II

v·' I .,

.,_.,'"

I ~ ~

T . . I IA A . . ,.,. . . . . A . . . . ,. ' I IB

, . . 'v , . . ~ , v 'v , I I,', .,



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 theword "Montana" 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 2:3, 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, tres, clave and adding

bongos, bass and a trumpet. Later with its growing popularity piano, congas and brass were added.

Ifyou 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.

SON MONTUNOCD

oClave 2:3

Bass Example 5

Clave

I I I r I I I I I r I

TA -

1 1 . -7. 1 1 8 .F B~ C7 B~ F B~ C7 B~ C B~ F

.-/ • 1'"\.~~~.

• 1'"\• • 1'"\•~~~.

• 1'"\•r:". .

.1'"\ •

-., I: ,I:' . . ft . .. ,.., . . ,.,., . .

T I•1t' - - ,-, - ., ,. " - ,-, ., •11-' ft ft I

A . . ,-, - 'v , - •II - - III I II I



21

CD

0)Clave 2:3

Bass Example 6

C

SON MONTUNO

F G7 F c F G7 F_ , . . . . - ~ I . . . . - ~.. ..

-

~ . . . . . ~ . . .,- '"

~ ,~, ~'" - '"

~ ,., . .'"I", - - ,- , - - '" ,"', - - ,- , - - . .

B -

c F G7 F c F G7 FPI 4(

~ . . . . l i l t .I ~ ~ l i l t .

ay tmes- - I

··

. . . . ., . . . . .,T . . I.., . . . . . . I.., ~ . . •II

A ,"', - ,-, - '" ,"', - ,-, - '"•II

S ,-, - ,- , - II

c F G7 F c F

~ ~ . . - ~ . . . . ..-··

~ ~ . . . ~ ~I• - - '" . . ,~, . .

'" - - '" . .A I!• , ., - - ,- , - - '"

,. " -I ,-, ,.

G7 F c F G7 F_,/ ~ I . . ~ - , . _

I

··

. . . . . . .T ,~, ~

'" '"~ I.., . . . .

A ,-, - - '" ''''' - - ,-, - '"tI - , - , -

1.

C

2 .

_,/ ~ . . - , . _ . . . . - ~ . . . . . . .··

. . . . ., ~ ~ . . .- '"

. . ,., . . . . •II - - '"~ ,., . .

'"II

A I"" - ., . . -II I.. - - ,- , - - '" '" II

S '''' - II,-, - " II

F G7 F c F G7 F c



22

CD

C DClave 2:3

Bass Example 7

SON MONTUNO

3F . _ ~ B b

- I- ."".

C7_,.>« -

.. ..

T I• .v 'v '" ,ft 1ft 1ft '"

A ft •• ''''' av

F . _ . _ B b C7 B b F B b Edim Am

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

I

In In

T.v IV

a 1ft a ..n

A""

v 'v \ IV In 'v v . . ,., - . . . '"" 1ft I.. 1ft.v .~

tI \',.,

1.C7

12. 1 3 .Dm Gm B b C7 B b C7 B b

F C7 B b F C7

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

_ , . . " " . ~ ~ . " " . _,.,-.....#-#- ."".- +- ."". - -.

'"In . . " . ."

T.v .V

ft 1ft 1ft 1ft a ..ft 14ft ...n a

A - , " .4A - . . 'a - 'v\ '- , '" 'v - . .

1: 1 \V, 'v v \- , 'v



23

F B~ Edim Am Dm Om C7 B~

F F B~. - . . .

T . . 1ft 14ft' 4ft .. . . . . 4ft ,ft' . .A ""

. . . . . . . . . . _ . ._ _. . .

F B~ Edim Am Dm Om C7 B~

F B~ F B~.. . . - . - . ..

4ft 1ft

T . . 4ft ,ft' 1ft ... . . . . . . . . . ,ft ,ft' . .

A 'ft., 'ft ft 'ft,

.,_ _,-, -

F B~ Edim Am Dm Om C7 B~ F



24

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 theguaguanco clave.

Ifyou wish to listen to other examples of Guaguanco we recommend recordings by Los Papines, Los Munequitos de

Matanzas and Patatos y Totico.

CD

oClave Guaguanco 2:3

Bass Example 8

All variations not transcribed

~ Conga

GUAGUANCO

Guaguanco Clave

) ~ }I") . » , ) ) t etc.

Basspick-up

I I I I etc. I

A

II . -

Am7 D7/A Gmaj7

. . . ~ ~ f: . 1 1 1 - 'I R . . '

. . ~. t 'F= tr f- - .---. . ~ ~ = ~ . . . . . . . .

·· .I I

~ 'A,. . . .

• • ,~ . . " . _ . _A • • , . . . . , . . . ., . - . . . . .II •

. _ -, , . . . .14ft\"-,

Bm7(~5) E7 Am7

~I"\~~ ~ - - ~ ~1 1 1 - ' ' : 1 1 1 -

f:.,1"\_.If_

r-~

r-

- . - - . . f- r- ~ .

·.

· "*

.~T , .. . ~ . . ~A I.", , , , , , . ,. ' . . A '

. _ , - .~ \' ~, ,. " "II " = r . - ~ \ =r

". _ \._,

. . . . . _ -



25

D7/A Gmaj7 Bm7(~5)

E7 Am7 D7/A Gmaj7

Bm7(~5) E7 Am7

~'"'A-~ ~~~ ~

, . _ . , . . : , . _

f ! : ._I 1""\ . 1 1 0r-

F Tr-.~. r- r- ..-._. ..

I I

--'"-A --'"-A

T . . . . .~ 4A f4 A\ LA

A 14t\ •ft . . . ,. .. . _ .~I \ ' ~ '

. , . . .ftIII

., , _ . . _ . . _ _ . . _ . . _ \

. . . . . . _ .- . -

D7/A Gmaj7 Bm7(~5)

Gmaj7



26

CD

@Clave Guaguanco 2:3

Bass Example 9

_,/ Conga

GUAGUANCO

Guaguanco Clave

) ~ } ~ ) ~ } 'tBass

pick-up

1 l , . . . . . J I I I etc. I

A . ..B

_,/Gm Gm(maj7) Gm7 C7 Am

I I_ " _ " ' " ' _

- - - - I I -

'" '" '". . . . .

A v v .. . v w . . ,. ' . .tI - '-I '"'-I v

Am(maj7) Am7 D7 Gm Gm(maj7)_,/

_ " _r-._

I I I I - ,_..,,- I

. . . . I" . . .A . . ,.., .. . I •

v ~B ,. ., ,- - I . . ,., -

~\VI v \VI

1 1 . -4.Gm7 C7 Am Am(maj7) Am7

_,/I I _ " _ " ' " ' _ _ " _ " ' " ' _

I

-I I

. . . . . . . . . . . .A v v . . ,. . . . . .. .B '-I . . . ,~, -

- . . . v \-,

5.

_,/D7 Am7 D7

~"

_ - . . _

I I I I

T •II.. . . . . . ,. ., II

A ,. ., ~ •II .. . ,~, vII

B \VI - II - '-I II



27

CD

@Clave Guaguanco 2:3

Bass Example 10

~ Conga

GUAGUANCO

Guaguanco Clave

) ~ 1 ' / " \ ) ~ ) t )) 1 etc.

Basspick-up

I I I etc.I

A . .B 1

~Am7 D7/A _ , - . . , . _

- I I I I

• • . . . . . . ., .A • •

, . . . . ,., . ._I S • ~~ _ift ~-,

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

~

Gmaj7 Gmaj13 Bm9 E9(bs)

~

-..._.....- l' r r I r I

n

T . . -A - II! ~~ . . . . 1'7\

B '" ,." . ."

. .'"'" - - " I

v\011 '"

v ,\"

~

Am7 A~7(~9)/A D7(~5,~9)

_ ._ - . .

- I I I I

T . . . -""~ . . . .A

, . , .-"'-

,., ~B . . ,., . - ,-, -

. . . , _ \.

,./

Gmaj9 Bm9 E9(~5)

~

- r r I r I r

n. .'" -

A '" -""_ ,_



- -"'-

28

~Am9 D13(b9)/A, _ " " " ' _

_ , _ " " " '

- I I I I

. . . . . . . . . . JA 1 r: : I r : : ' r: :

B r: : I" " - ,-, -- ' ' ' '

_,IGmaj7 Bm7 E7

1"'l

r r I r I r

n

<:_ r: :.. .

A - - . , ."

. . . ~B

" ''''., . ~ _ = ~_L"'I\

. . . •1

,-, " ,

r-/Am9 D13(b9)/A_ _ , _ " " " ' _ " " " ' _

•- I I I I

T . . . . . . I 1A . . .

'" I"" '"'"

I." - ' ' ' , "" ' ' ' '

r-/Gmaj7 Bm7 E7

- -'l.

r r /

r I

r

. . .r: :

'". . . •II

A. . . . . . . , .

". . . ~ '/J

B _ ., / I _ ~ '- ., _t:! . . . 17'

. ,II. . . ,-, . . . - ,

" r

_,IAm9 D13(b9)/A Gmaj7

" " " ' " " " 'r

- I I I -T . . . . . . IIA

.'"

I . , . , IIB I . , . , " ' ' ' ' " 11,.



Jorge M oreno w ith Casab lanca B and playing the Ampeg "B ab y B ass"



30

MAMBO

When the word Mambo is mentioned the first name that comes to mind is the famous Perez Prado and his orchestra.

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 timthey were playing piano and bass in Jose Arcano's band IIArcanos y sus Estrellas" in Havana. This band strictly played

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 1940's Perez Prado, who was a piano player with Danzon bands in Cuba, used this style to compose and

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 crazes t

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 Rodriguez,

Desi Amaz (of the Lucy and Desi show) to name a few.

The examples contained here are played in 2:3 clave, although depending on the melody of the song, it may also be

played in 3:2 clave.

Ifyou wish to listen to other examples of Mambo we recommend recordings from Perez Prado y su Orquesta, Machito

y sus Afro-Cubans, Tito Puente and Tito Rodriguez.

CD

@Clave 2:3

Bass Example 11

C9

MAMBO

C9(~5)1 # " I

Csus9 C71 # "

C9 C9(~5)-~ _[ _

Csus9 C7~ _[ _

'"~ ~

'"'" '"

'"'"

'"'"

'"'" . . '" . . . '" . . '" . .B

. . . . . . . . . . .

Play 8 times

F Fmaj7 F6 Fmaj7 F Fmaj7 F6 Fmaj7 F6.,/ 1 # " J 1 # " I 1 # " _l ~ J

J

T '" . . '" . . '" . . o LJ '"A

. . . . . . . . .. oil '"

B. . .

'" II



31

CD

@Clave 2:3

Bass Example 12

GmlC

."I I

MAMBO

Gm(maj7)/C

. , .",-...

. , ..Gm7/C

I I

C7

. , . " ' - " ' . , . .

T _ . . . . . l-un

A In . - In In . - In . .B . - . - n In . - . -

F

1 6 .

Fmaj7 F

MAMBOCD

@Clave 2:3

Bass Example 13

G7 C6~ I

r I r I - r I r I

T . . ., ., ., .,A II!: - . . . . . . . . . . . .

ft. .

B . . . . . . - . . - . . - -. . . . . --

I

1. -7.I

1 8 .. , . _I I I I

T ., - '11 - - IIA .. - _ '" " •II" . . II

II - - - II- II



32

CHA-CHA-eHA

As the creator of this music Enrique [orrin himself says: "I named this music Cha-cha-cha because that was the sound I

heard coming from the feet of the dancers dancing on those smooth Spanish tiles in Havana's dance halls."

Cha-cha-cha is always played in 4/4 time with an ensemble consisting of a rhythm section of piano, bass, conga,

timbales, guiro (scraper) together with string section of violins, cello and a flute.

Though it is 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. Itis 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 been

its most innovative contributor.

With such Cha-cha-cha world-wide hits as "Ca1culadora", "EI Bodeguero", "Los Tamalitos de Olga" and "La

Enganadora" just to name a few they are unquestionably the Kings of the Cha-cha-cha.

Ifyou wish to listen to other examples of Cha-cha-cha we recommend recordings of La Orquesta Aragon, Jose Fajardo

y sus Estrellas and Enrique Jorrin.

eHA-eHA-eHACD

@Clave 2:3

Bass Example 14

Gmll C9/G Gmll C9/G~ . . I

. , . . , . . . I. , . . , . . . I

. , . . , . . . I. , . . , ...

-..,j

- - - --..,j

. . . . ~ . . . . . . . . . . . . . . . . . .T

'"- - - '"

- -'" '". . . . . . . . . . . . . . . - . .

_Il. . . . . .

Gmll C9/G Gmll C9/G Play 4 times Gmll

~

. .I .,..,.

. . I " ' ' ' ' ".

_l _., .., .

. . I " ' ' ' '.~ -.,j -.,j ~

. . . . . .'"

. . . . . . . . . .'" ' " ' "

!_ - ~ . . . . . . . . . . . . . . . . . . . . . . . . . · '1 .. ' I. . •II II



A - - - II

33

CD

@Clave 2:3

Bass Example 15

Gm7 C7

CHA-CHA-CHA

Gm7 C7 Fmaj7 Fmaj 13 Fmaj7 Fmaj13~l , .

I ~~ ~ I ~~ ~ .~*" ~ ~1'"_

.. . . . . . _ . . . . . , . . . . . , . . . . . ,

'" .' " ~ ~ ~ ~ e:

T'"

v v - '"v v -

'"v v -

'"v v .,

A v . . v . . v . . v . .B

Gm7 C7 Gm7 C7 Fmaj7 Fmaj 13 Fmaj7

Play 4 times

Fmaj13~ • I ~~ ~ I ~~ ,.

I ~~ ,.I ~~

·. . . . . , . . . . . , . . . . . . , . . . . . . ,

'" '" '" '" ' " ' " '" '" '" '" '" '"~ v ., v

'"v v v . . v ., v . . v v

v •

A.,

'" '" ' " ' "·l

Bv v v v

Gm7 C7 Gm7 C7 Fmaj7

~ • I .~ 1* -,.

1* - *"

- - - -" '"p ~ ~ ~

T'"

., ., - '" - .,

'"A . . . . v . . v

B. . . . . . ,

CD

CHA-CHA-CHA@Clave 2:3

Bass Example 16

,_/.

Am9 ~ ~ ~ D13 ~I". ~~

Am9 • ~ ~ D13 ~ _ 1 " . - ~fL- -

I I I I

. . . . . . .. , .. , .,ft ft ft

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

A .,'"

.., ~B

v -

Gmaj13 E7 Play 4 times Am9-" . . . ~~ . . . ~~ . . . fLfL f : L 1"\ ~~ .-.

··- I . . . . I . . . . I I

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

~ . . . . •II .., I



34

BOMBA & PLENA

Bomba &Plena - Folk music from Puerto Rico. These grooves are folk styles that emphasize rhythm more than

harmony. Although, they may include a "cuatro" (a small guitar native of Puerto Rico similar to the Cuban "tres") asa harmonic accompaniment 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 barrel drums similar to the conga drums, guiro (scraper), and

cencerro (cowbell). Each barrel drum has its own rhythmic pattern. The "requinto" (high pitched drum) improvises

over the ostinato pattern the other two drums maintain. The ostinato patterns are one measure in length 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 syncopated pattern

that mayor may not define the clave. Bombas are usually played by salsa ensembles as interludes or as specific

sections in a tune.

Plena: The Plena originated in Ponce, Puerto Rico. Itis traditionally played on tunable panderetas (tambourine-like

drums without the rattles), guiro, and accordion. The piano outlines either clave (2:3 or 3:2) while the bass plays a basic

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

BOMBACD

@Clave 3:2

Bass Example 17


F B~ B C7.-I - a I'!~ #" I I

I r

. . . . . A

'" '". . . . . . . ~ . . . . . . .A - - . . . . . .B - - -



35

F B~ B C7_ , _ - - _ 1 1 ' - .' • b., • 1 1 ' - ' I I

I I

-'" .~ _ . ' . _ '" . . . . A. .~

" "

. . - - - - -. , .

- . .A

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

1.2.

F B~ B C7_ , _ ~ _1 1 ' - ~ b~ 1 1 ' - ' I I

I I

. . . . . , . . .T . . . . . . . . . . . . ' I IA

- . . . . " " -, I I

iii

- - -I I

3 .

F B~ B C C F_ ,1"\ #- •• • b., .~' I 1.. .....-t

I I

. . . . ~ . . . . . . . .T . . - - - - - - . . . . . . . . I IA . . . . ~ . . .. _

." I I

iii

- - - - I I- . . _

CD

@Clave 2:3

Bass Example 18

Am

PLENA

E7IB

I I I I

A . . . . . .iii

" " " " . . . . .- . . _ - . . .

.-IAm E7IB Repeat ad lib & fade out

I I I I

• I IA . . . . . . ., • I Iiii . . . . . . . . . I I



36

MERENGUE

Merengue (merenge) - A sweet delicate candy made with whipped egg-whites and sugar. Popular dance rhythm native

of the Dominican Republic.

The merengue evolved from the "perico ripiao"; early folk music that is still played today. "Perico ripiao" was originally

played on a guira (cylindrical metal scraper), tambora (two-headed drum played horizontally on the player's lap), and a

diatonic button accordion. The marimbula bass" and alto sax were added later to enhance the existing ensemble.

Of course, this folk music could not be played in society dances where only contra-danzas, danzones, paso dobles and

waltzes were played. Itwas not until the 1940's that the "perico ripiao", now evolved into merengue, entered the

ballroom. Itwas 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 essential ingredients of the guira and tambora

remained.

There are basically three forms of Merengue:

1. "Merengue Tradicional" which can be played "a media" half of the accents in the tambora pattern, or

"corrido" the complete pattern.

2. "Merengue Pambiche" - a slower, easier to dance Merengue. The term comes from the independence war of

the Dominican 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 10 Palm Beach"; hence the

word "pam-biche".

3. "Merengue a 10 maco" - the most recent innovation to the tambora merengue pattern. A more simplified

pattern than the Merengue Tradicional and Merengue Pambiche. Itis a one measure pattern that does not

outline the clave like the others do.

In the early merengues the piano would "comp" sustained chords during the "body" (A &B sections) of the tune and

would segue into a syncopated tumbao in the montuno (vamp) section. The sustained chords at the beginning of the

piece were gradually replaced by syncopated tumbaos throughout the whole tune. Eventually the syncopated tumbaos

then evolved from identical left and right patterns to a more contrapuntal pattern between the hands.

The primary pattern of the bass was and still is roots and fifths played on down beats. The slower Pambiche Merengue

bass also uses roots and fifths but are usually syncopated. The popular Merengue has various fills, glissandos, and

nuances added by the arranger or the player to embellish and spice-up the groove. Some of these embellishments

included melodic lines in unison with the hom section and staccato, root note down-beats to aid in locking tightly with

the bass drum (relatively new to the ensemble) and the rhythm section in general.

Note: Although the clave is not played in the merengues, it is nonetheless implied in the grooves.

Ifyou wish to listen to other examples of merengue we recommend recordings of Johnny Ventura, Wilfrido Vargas, Los

Hermanos Rosario, Bony Cepeda, Cuco Valoy, Ramon Orlando, Juan Luis Guerra, Mily &Jocelin y Los Vecinos, J.

Esteban y La Patrulla 15, Fernando Villalona.

'see page 14: "History of Piano and Bass Tumbaos"



37

MERENGUECD

@Implied 3:2 Clave

Bass Example 19

CI

Em7I

- I I

TA

B. . . . . . . . . . - . .. . . .

Fmaj7 G7 Play 4 times~ 1 _ I

I I

T . . ., . •II

A . .'"

.. . . ~ .,. •II

s . . . . . . . . II

C1

Em71

I I

A '" . .B .. - -

~Fmaj7 G7

~ fL I

I

. , .'"

. . . -. . . . . .'"

~A

.. . . .,. .. . .B

. . . .



38

_,IC Em7

J •

I I

"T ., . . . . . .A . . . . . -8_ .,. . .

~ Fmaj7 G7

., ., .,. . . .A . . . . . .

1

CI

Em7I

- I I

T I"A II'., ., - . . -B Ii ...

. .. . .

. . - -

Fmaj7 G7 CI_I

I I

T .. . . . ,II IA

'". . . . . .

p 'II ... IB

. . . - . . .II - I



39

MERENGUED

@Implied 3:2 Clave

Bass Example 20

B~6

• •

F9/C#-

,__

. . . . . ,. . . .IVVT I· .... , . . . ... . '11

IVV

I' - - .. "1.. ... ..v- V ' I

B~6_ .

F9/C#-

•

"f t . . . . . . . . .~I• . . .v . . IV . . . .

IV ... . . - "1A I• . . V . . . . IV . . . . IV . . "1II I - II

. . . . . . .

B~6

•

Bb69/C

I I

... .T . . '" . ... . .A . . ~ . . . . . . . -...V. . . . . .

F9/CI

B~6 F9/CI I II

T . . . . . .. . .A . . . . . . . . . . . . . .. . . . . . . . . -II - - T . . . .- -

B~6 Bb69/CI I

T . . . ..A . - . . . .- . .. . .



40

F9/CI

Bb6 F9/CI I II I

T . .A . . . . . . . . . . .

- - - - "

Bb6 F9/CI I

T I• . . . . . . ·I· .. . . . . - . . - ·

II I

Bb6 F9/CI

Bb6_[ _

. . . . .

-T . . . .A _ " -II - -

F9/CI

Bb6 F9/CI I I

T . . . . . . . . . . . . . .A . . . . . . - . - - . . - - . . . . -

Bb6 F9/CI

BbI

~~±-----.-------~~~----~..- - - - - - . - - ~ - a - : - - - - ; - ~ - - - - - - - - ~ : ~ - - - - - - ; - - - - - - - - - - a - = - - - - ; - - - - - - - - - - - - - - - ~ \



41

CD

@Implied 3:2 Clave

Bass Example 21

F

MERENGUE

C/ G

C/ G F

C/ G..... I

Play 3 times

.. I

F C/ GI I I I

T"I.1 1

'1 I

F F

C/ G F C/ G



42

F C/ G F

~I ~ 1 ~I ~ 1 1 I

~ ~ ~. . .. I' .._A - . . - . . - . . - .. - I' - . . - . .- - I

c/o F1 I I .,. I

C/ G~I

~ ~ ~ ~T ~ ~ '11 .. . . - ~ ~ ~ ~A . . ·11 - . . . .

II - -

F1 ~I

C/ G~I

F . 1 • J

J:!.."" J:!_ ""

T . . . . - ~ - ~ - - ~ - . . - . .A - . . - . . - - . . - -

C/ GI .,. I

C/ G

" " '" " " '" ~T ~ - - ~ - . . . . - ~ - ~ - . ~ -. . . . - -

F C/ G F1 1 1 ,

I• . . '11 .. I

A I' - - . . . . "1 - II - - - II I



43

CD

@Implied 3:2 Clave

Bass Example 22

MERENGUE

Rhythm 8 Gm D7/A

I I I I

T I. ., ., .,AB

I· ..,

I

.,

.. ,.. , .,

.. ,

"./Gm D7/A Gm

. ' " ' . - f L

I I I I

T -.,

~ ., .,A

p . .p ~ ., p

-" v

B.. , . . v .. ,

l

_ ,, . " " " ' , . - f L

D7 Gm- - - , . " " " ' , . . f I I - . " " " ' . - f L

I I

., ., .,T . . r A

., ., ., ~ p 1A v -

. .II

~ .. , --v .. , v

.. , ..,

~

"./D7 Play 3 times Gm D7/A

- -I I I I I

. . .,A

., •II ., ., .,A ~ ~ . •II v

..,

II II

p p

~

.. , . . ,1

"./Gm D7/A Gm

-I I I I

TI

I

T ., - ~ ., .,

A ~ ~ --.;T ~ - - . - II

B..,

~ p fI- - . . , - . . ,

f1



44

C7TUMBAO

C7 tumbaos is an open-ended vamp mainly used today for improvisational jam sessions, or as they are called in latin

music "DESCARGAS".

Any 7th chord can be used, but the most commonly used are C7 and D7 chords.

Originally these vamps were used in the "montuno" section of the Danzon style songs in Cuba. Danzon music, being a

descendant of the European Contra-Danse, had very structured arrangements which did not allow musicians very

much room for improvisation. A new section was added to the Danzon to allow the lead instrument, being the flute in

this ensemble, to improvise. Thus a 7th chord was chosen for its dynamic sound and versatility.

The C7 tumbaos when used in this context are always played in 2:3 clave.

Note: The 7th chord tumbaos were first introduced to mass audiences in the famous 1950's series of DESCARGASrecordings by bassist Israel "Cachao" Lopez. These recordings are still available world wide.

CD

@Clave 2:3

Bass Example 23

Intro Conga

C7TUMBAO

~ # . . ~ •.. .

('

1 1('

1 ~ -I 1('

1 1f'

1 II

. . . .T p

>I >I

A _l

II

Gm7/C. , . C7

... I

Gm7/C. , . . . , . C7

... I

Play 7 times. , . .

. . . . . . .T 110 >I J J .. oilA I ° . . ,., - °III I I

Gm7/C C7 Gm7/C C7

~. , .

I. I. , .

• ~ I.

>

. . . . . ..-"'- - I

A . . ,." - _ _ . . _ Ia >I ' v , - II

~



45

CD

@Clave 2:3

Bass Example 24

C7TUMBAO

GmlC

. , .Gm(maj7)/C Gm7/C

I. I

C9

•

GmlC

.. , .

Gm(maj7)/C

~

In _a I0 a _~

A In y

B ,y I .. . "., 'Y ,y .. .

"y

Gm7/C

~ I

C9

~ •GmlC

~

Gm(maj7)/C Gm7/C

l I

C9

• •

T ,ft ,ft . . . .. .A 'ft 1 1n 1n

B ,. ., ,y

a 'a''Y

v ,v/

GmlC

~ . , .

Gm(maj7)/C Gm7/C

I. I

C9 GmlCPlay 4 times

~ . . , .Gm(maj7)/C

n,ft In a o II In

A 1n ",v oil .v

B a la''Y II a

v ,VI v

• •

GmlC

. , .Gm(maj7)/C

~

Gm7/C

I

C9. , .•

GmlC

~

Gm7/C

I

C9

n

T . . . In 1n a IIA

.VIftV V

,vII

8 la' II\V/



46

CD

@Clave 2:3

Bass Example 25

C7TUMBAO

GmlC

1*-

C9I I

GmlC

• 1*- ~

C9l I

Play 4 times

1*- •

1ft " I 0 ~ft" "~ft - .ft " 0II

A 1ft IV V I0 'v 1ft V ~ft - .V ,ft 'v V 0II

1 :1 I '''' ~. .1<> ' ,- II

- ,- , - ,- ,

'..'_"".•

GmlC

••

1 1 . - 3.

C9• ._,"'"''_'1*-

GmlC C9

• l l I

I 0 I~ft\ . . . . . . .. ~/\ '~ft' ~ft ~ft.. °ll'~ft,.ft ./\A I 0 "V , 1ft V 1ft V 1ft V

1ftv 'v ,'V 'v 1ft 'v v oil ,'V .V 1ft 'v

1 :1 I . . ,., ,- II ,-

-,-,-

1 1 . 1 1 2 .GmlC C9 GmlC C9 C9

./ ""1*-' I I .. . - . . . . I I 1*-"'"' l

I I I

I 0 I. 1t' -II ~ p p

AI-

'v,1ft ~ft - L - ' 4ft .ft

, - -II x x :;til I ft

""'v 'v . .

""'v II ,,,, v v v

- . . . ,-, ,. -,

GmlC

""~'

C9 GmlC

1 1 .C9

1 1 2 .C9

1*-"" I

GmlC C7

1*- 1*- Bass Solo1 I ..-..... . I I

. . ,.\T lop p

_ 'v , p

- oil " - -A I - "" v -II "" -1 :1 I - ,-, - II ,-,



47



48

SONGO

Songo - style created and made popular by Los Van Van of Cuba. Juan Formel (bassist) formed the group Los Van

Van in 1970. Along with drummer "Blasito", Formel attempted to merge "Son" with American music. When drummer

"Blasito" left the band, Jose' Luis Quintana "Changuito" (conguero, timbalero, and drummer) joined as the new

drummer, he developed and elaborated on the style. The result of this endeavor of Los Van Van was named Songo.

The songo "groove" is made by the combination of patterns 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 incorporates a trap set along with bata drums, chekeres, and/or the standard congas, bongos and

timbales. The drummer that introduced this groove in the U.S. is Ignacio Berroa (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

s~dy of the groove see Ignacio's video "Mastering The Art Of Afro-Cuban Drumming" available from WARNER

BROS. PUBLICATIONS.)

CD SONGO@Clave 3:2

Bass Example 26

._/C D G7

~,-._~F

I_ . _ ~.

r

-I

~. . . ~ . . . . . ~ J~ ~ . . - -

A . . . - - . . ."" - \- , - . .

1:1

C D G7 F C._/

I I I

r I I r I

ft ~T . . .

"". . . . .

"" , " " , '". . ." ,." - . . . ~

A u'" - v . . ~ . v \V, - - \- , . . - - ""II \- , v

~

D G7 F C D~

- -I

-

# I I

I r I I

. . . ~T . . . . . . . ,.,

"". . . . ,., - - . . .

'". . . . . ~

A IP

V v \- , . . ."'" - - "" , " " , -

II \- , v v \- ,



49

./G7 F

LL~_

C D G7~~ .I I -

r - I I I

~

-A

T " ' ' ' '"A_

'" ,"', . ; ' i ' ; : : :

. .." A

. .." , . " , ~ r'

A \VI v v \VI

_ v _ v

. . - vr' 'r "

~ v \VI

tI

~F C D G7 F

~ I I - I ~ I

r - I I

. . r' ... r'

V . . . r' A - . . ,., . . ,. '

A - '" ''''' - - ." , . " , - ,- - ,-,'"v \-1 v \-1 -

C D G7 F C~ I I - - I -~ I I I

r I r

. . . . .T ~ . . . . ~ A ft 'ft . . .A ,., - v

'"v \VI v - ,-,

'","', - v

'"Bv v \VI v

D G7 F C D~ - I ~ I I -

I r I I

ft . .A , " " , .s: , " ' , . . A ft I,.. ft . . A . . . .

A r' - \VI - ,VI

'"Lft ~ , .,

1 :1V

IVV ,- ,

~

G7 F C D G7~ ~ I ~ I I - - I

r

- I I

. . ,. . ., .

T , . " ,'"

~'" - ,. . . . . . .,. , . , . ,

'"A

'"A \VI V V

'" -"3 - ~ ,., - \VI V V

• V \VI V \-1



50

F C D G7 F~ -~ I 1 L J . . . . . . _11-

L

r I

n ~ ft . . .,. ., - - . . . ~ A_ . . . ~ .lI::3. ~ A . . . , . . " -A ,- , . . ,., - - . . . ~

, - '-I - - , - , . . .B '" _ I \ " ~ '" '"

. .

~C D G7 F C

I - I 1 1 * - I I I1 O c " 1 > . _ ·

r I I r

ft

'"T . . . . ~ . . . . ,.., .. . A ft 'ft - - ft . .A ,. ., - - '"

,~, - ,-, - 'v , . . ,. .,. . .

B _ ''''/ . . '-I . . '-I -

~D G7

~""~F C D

- - 1 1 * - I I -,~. ~- ~~

I r

-I I

. . ft .. .A ., . ~ ,~, ~ . . . _

<= - . . ~A .. . '" '-I - - . . . ,. ., - - ~ ,~, -13 I

. . '-I - , - ,

G7 F C D G7..,,/ I 1 1 * - I I - - I

r I I

. . . .. .,~\ ~ A < > . ,. . . . . _l_ . . . . .. . ,., .. . A . .

A '- I - - ,- , . . . ,. ., ~ ~I . . . .B - ' - I -

F C D G7 F C~ 1 1 - I I - - _l_ . . . . . . . 11- ' I. .

I I I

n . . n .. ., . . , . . . .

ft . .. . . ~ ,~, ~ A . . . 1..

A, v ,

_ . . . , < > . .. . . . ,. ., ~ . . '-I - - '-I . . .

13 - , - , - ,- . .



51

CD

@Clave 2:3

Bass Example 27

SONGO

c B~ F G

B~ F G

~CI

B~

~.F

:.._'...L.

GI

I

I

r I .,_...

1-

r I

'ft'C.

. .: : a : ~~~l

c. ,.. .

~

'" To/

v

,. v~

\

,-~01

'-Il

F G

~C B~

u;;y.

. . . . . . . , F

....L.

G

~

I. . . . . . . ,

~

I

r I

.--".

'--'" I

"'1

_'[

ft. . --v

. . . . A 'ft'C. -

B_

. .01

V v

\ 'I- -

.v

I ~ ft

~\'/

ftv

,- . . . -\VI

01 ..



52

c Bb lD F G cr-/ - I I ~.. .

r I . . ",--"," - "'--'" r ~ I

T"

~ p . . -A ''''\ - - - - 4 - ,-, -

4 4

" "ft

.,. ., ."

,,,\ -B ' v , . 0 0

'4

'"-'<fi. - - ,-,

, " - ,-,

.-IB b F G I B C Bb lD

I I ~ I

I .._..... - - - I I r I ..,-/

"ft

",,,,

ft

A n'"

. . ,,,,'" ''''' '"

,-,4 -

B '" - - - ,-," " - ,- , v .

,0 ,

F G I B C B b Fr- !_ I I I

,-/.'

- - ~I

- I

. .. . _ . . . .

. . .T

"~

"A n

'". . ,., . .

'" ''''\ - - - '4\ - ". . ft

B" - v - ,-, " - v ,-, , - v -,

G I B c B b F G I B.-I . . I ~ I

- - V - I - I I ..._..,..' - -v-

""

V

" "A ,ra\ " '" " " " "B v-r ... . . . - - ,-, - ,

'4 - ,-,'" -

V , V

c B b F G I B Cr-/ ~ ~ I I I

~ r I . . . . . _ . . , . . .". . - ft

" "II

A . . - 4'"

. . . . 'ft\ .. . ."

. . . II

B ~-, - '",- , . . V

II,



53

CD

@Clave 2:3

Bass Example 28


SONGO

Eb Ab F/C B b 7

" l i t - ~ . ~ . •

Eb 7 Eb sus7

. ' " " ' . ~• ~.

I I I

. .T . . . .

"''' - - . . ,., . . . . -A - - - , v , v . . v

Eb Ab F7/C B b 7 Eb 7 Eb sus?_,/

• • _.-....._ . "IIt-~ .-...... • • • ~

I I I

~ ~ . .T . . '" ~ ,. ., . . . .

ft 'ft ft ftV

A I> - v - ,-, - '-I - D I> 'I>, -tI

v - v ,- ,

Eb Ab F7/C B b 7 Eb 7 Eb sus?

_,/ • • _.-....._. " l i t - ~ . . . - . . . . . . • . , , - . . . . . ~

I I I

~ '" . .T ft ~ ,"', . . . . ft 1ft ft ftV

A '" - - sz: ~B

v - - . - 1

Eb Ab F7/C B b 7 Eb 7 Ebsus7

~ • • _.-....._. " l i t - ~ .-...... • . , , - . . . . . ~

I I I

~ ~ "T " '''''

. . . . . . ,., . . . .A I> - '-I ' v , v . . '" I"" -B

v . . . ' v ,

~



54

E~ A~ F I C B~7 E~7 Ebsus?_ ,• ~ ~ 1 f I # " .~ . • .-. ~

I I I

. . . . . .T I 0 J:: . . II:! .'II:!' - - . . ,., ft ft -I 0 II:! - - - ,-, - ,- , . . .ft . . I..,

B I - - ,-,

E~ A~ F I C B~7 E~7 E~sus7

r-/ - - - - ~ 1 f I # " . - - - - . • .-. ~

I I I

. . . . ft

T . . ft I.., ft 'ft ft ft

A II:! - ,-, - ,-, - . . . . III:!' -B - . . . - ,- ,

E~ A~ F I C B~7 E~7 Eb sus?_ ,• - - - - . __ 1 1 # - .----. • • •

I I I I

J::

T . . ft I.., - - ft 1t' ft ft ft

A'"

. . . \'" ,-, . . .D_ ..t:!.. ''''' II:!

B - - - ,-, -

1.

E~ A~ F I C B~7 E~7 E~sus7

r-/ • - - - - . __ 1 1 # - .----. • .~

I I I I

. . . . ft

T . . D ~ I", - - . . 1t' ft ft - oil

A III:!' - - , - , - , - ,D II:! III:!' - II:! oil

B,- , - - ,-, - II

2 .

B~7 E~7 E~sus7 E~

r-/ -. • . . . . . - . ..-~

~

I I I

. . ft

T 1t' ft ft - - IIA . . . . 'ft'

. . .II

B - - ,-,II



Co-author (Manny) with Celia Cruz at

Miami's Bayfront Park. May 1995

Co-author (Manny) with Celia Cruz and husband

Pedro on concert tour in Colombia. August 1994

Oscar D' Le6n Manny Patino Victor Victor

Co-author (Manny) with pianist

Paquito Echevarria.



56

MUSICA AFRO-CUBANA

Although, the great majority of the grooves in this book are Afro-Cuban, this section includes one of the many grooves

that have been played by groups like N.G. La Banda, Adalberto y su son, and Orquesta Reve' among others. Some of

the bass and piano examples are more like obligato sections that usually segue into a more standard tumbao. Like the

majority of the groups in Cuba, a trap set is also used. And, like the Songo, parts could be and usually are more ad lib.

Among many other internationally known Cuban groups are: Irakere, Afro-Cuba, and Rumbavana.

CD

@Clave 2:3

Bass Example 29

MUSICA AFRO-CUBANA

",_, I Piano Solo

7

E~

. , - . . . .I I

T .-- I I , , ,'"A v -

-

F F#dimlC Gm~

E~

,_/

~-~.- ~~ t- f I I - .-.

I I

""4ft 4 .. 4" . - . . _ "A '''''

IV1ft

' ' ' ' '. . . . . - 1ft ,ft' ~ ...J. _.t:._ .lI:i . .

tJ ,- , v , 'VI ,,,v/_

. _ -_

~'v~V

. . . . . . .

F F#dimlC Gm

AE ~_EE~

r-/ ~~ ~ .-. -I I

_ , . . . . _ _ _ , . _ . . _

T 1ft 1ft

""

. _4""

.-A ,. ., 'V .v

"". . . .

j_ ,ft'. . . . . I> ' 1 > ' . .

tJ ver . - ",. _

" . , __ _

~ -. . . . . . .

F F#dimlC Gm E~_ ,

1 I t - t * ' ..-.. f I I - .-. -

-I I I

4ft 1ft 4"" ~ . .A I...,

.V .-''''

,..ft". . . .

1ft 1ft'

. _IA . . It> JI>'

v . . .B '-I ,, _

1ft-, ' - - - ,-,

. . . . . . .,_



57

F F#dimlC

.-:,.

Gm

- Piano Solo 7

(Gm)

/ _ E ~ f'- .,. -

, .T ._ , . . ~.AB ""'''''

.'"~ft

.'",ft,

,''''.- ...ft. - ,. ", . . .. -

E~ F F#dimlC Gm

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

. . .T ft ,n In .

A . . . ,~, _ . . __l<fi I.ft ...H1n

.- ~n

B,_ , - '-I - '-I

. _-- ' - '_ ,'"

~

E~ F F#dim Gm

~ E ! ' -• •, . _

-I I

. ."" " . " _ . , _ . . , . . . . .

A . . .,I..' '" '" " '"

. -"

n In "'n\ .- ,.,ft

B ' -I,_~

- - ' = --'-"2

~

E~ F F#dimlC Gm

~ .-... ~-..~ . . . . - . . . ~-"f'- -I I

, ."

,n""

I~n. - ..

" ~ I~\

"_l<fi

. _-"-"- _uru_ .-

~ft

B ''''' '''' '" '" ''''I - '-I. _

~'-, ''''

E~ F F#dimlC Gm

E"-'~'• • - A~ -=- ~ F " '" > >

I I

'". . .,

T" "

..n ...!I.!!L.-

--'-=r>«: '" '" II

A ,n' " '" " 'ft'. - _ . . . . . I~t\

.- ., .,II

B \ ''''' '" - '-I '", =r II



58

CD

@Clave 2:3

Bass Example 30

~ Piano pick-up Piano Solo

MUSICA AFRO-CUBANA

6

bend-up

~~:~ -

T :;::- :;;;-A .- . _

-0

B "

F B b B C7

b . , ,- . . .. " I # - . . -. . . " 1 # - '.-...

. ._ . _.

. . . o '0' ft Ht'

A 1t'" - ." . -

'ft,.

F B b B C7 C#dim Dm

~ b.,.-.._. "1#-""--'"1#-!:

~~,.-.._ fL....--.~ e :~

~ e :. - . . _ .. . . - - . . . -f- ~ f- - f-.

,

~.,. ~. ,A ~A A

T . . ft 'ft ft 'ft'4ft ,. , -

4, , .14t' , .

A '0' _\,'I_ 'v ".,

~,.

ft

B v-r

_

F B b

- .~.

'ft

. . . ft . . .. n ..~ . . .A 1t' ft ' "

_ _ -." .-

. . .

Dm F B b B C7 C#dim

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

~ ~ . . . . . . . - - . . . _X_ h.._,.-. ._. " I # - . . .. - -. " 1 # - ' ~"-"_"I#- fL"'-"_f- , . . . . . f- -

_ , . - . . _ _,,

4.01 ," ~.T , . ., ,. . " . . . ft '0' ft ft . ." '~n' ~~ .... _ . . . _A '. _ ,

1t' ftv

'''' " - ." ,''', ". -

B - '''',



. .--

. .

59

Piano Solo

8va -,

1 2 . • • _ _ &>/; ':;:. • /J'J;7

T ,. . .

- - - _ _. . ....

A . _ . _B

F B~

.~. . '

., '"' _ _

1.0 ~A

T ., ,. "

v

. . .A

." \"/. .

IS -

F . . .

1,,, . . ., . . . . , . .

... '~I\' , . .

." ,, " -, . .

B~ B C7

b . - - . ~ ~ ~ .C#dim Dm Ill.

~ - - ~ ~ ~ ~ = ~ - - ~

A " .,. . . . .

,. "IS -,

F

_ - - _ . . .

,., ~I\ ,~,\\ ". ,~.,I~

\"/ .V

. _ . _

B~ C#dim

'fIIt'~ •

~. ~.T .,

-. . .

A , . "B \-,

F

.~. .

. . ,~,\\ . _ ,. .. . ,~.\ . . . .. . I... . . . . ~. . .

B~ C#dim Dm...- F

' f l i t ' ~ . ~ ~ ~ ~ . ~~u:> >

,. . .

T .,

" "11

. . .A "B

,. " - II\"/ "'

OV \ 'VI OV

---.. .. II



60

CD

®Clave 2:3

Bass Example 31

MUSICA AFRO-CUBANA

Piano Pick-up Piano Solo

aEm

_-.. •

I " " I

" .A o f . .

B . - . _

C#dim D7 D#dim Em Em/A

C C#dim D7 D#dim Em Em/A C C#dim/Gr-! I .. . I • 1 " ' \ . _ . - - - . . . . _ .

I I

1 1 r I I I r I I

T ft . . ~" "A 'ft' . .

''''. . . . ~ .. ,

lY' .A '> /'>\ I I : : .

B ,-, ,-, ,., - ,-, -. . . . . .

~D7 D#dim Em Em/A C C#dim D7 D#dim

. 1 " ' \ . . - - - . . . . . I I l I

~_l"""

1 r 1 I I r 1 1 1 r 1 I

T n .,/"7\

A''''' "

. . ~ . . " , ft '''' A

" I". ". .

B,., v " , v ,., . . ,., v 1

Em Em/A C C#dim D7 D#dim Em

~ . 1 " \ . _ . - - - . . . . _ .I J .. . I . 1 " \ • . _ , , - . . . .

I r 1 1 1 r 1 I I

T ft . . ,...ft ft . .

A /"7\ . 1 , ,- ' - _A_ ft 'ft' A_ . . I.., . . . . ,... ., .,1

B " , - ,-, - ,- " ,



61

Em C C#dim

• . . . , - . . , . f ! : . f ! : . . , . i t#f: . fI- fI-~iano Solo 3

I

n nn '" '"T

'" ' ' ' ' .,.,A ,., . . . -.. . . . . . . . . . . . - . - . -

,.'<, ,- . -

07 O#dim Em Em/A C C#dim/G

_,/ ~f'- ~ ~ f ! : . ~ ~~~ ~ ~..._----. I

·· .*,-,* - I I

. . . . . . n . . . ., . . ., - - , . . . . . , . . . . 1•.,\ . . . .

A "., ,. ,.: . , . ' II :""1 . . ft P

lI S . . . 'n , - , - - -. . . . . . - \- ,

07 O#dim Em Em/A C C[dim 07 O#dim_,/ . " " ' . . , . . - . . . . .

I I .. . I

I r I I I r I I I r - *,-"

T n n .,'""

.,A ''''' "

. . .'"" - - v) . . ,., . . . . ,.,

",

lI S ",., ,-,

ft

-

Em Em/A C C[dim 07 O#dim Em

---..~~~,_/ //=-"~'~~~.,.""';.,I . .. I • f ! : . " " ' ! : . f ! : . ~ ~

,

· .., - , , - 6 - I I r I I I

/,.\ ,ft

'". .

"T /i:; 11 .. :;1 ,- .. .,

'"A // " '/ . . . .,-

'","', . . . . '''''' I>

.,'"" -

lI S // , - - - ,- , - ,- , - v r

~ver /

Em/A C C#dim 07 O#dim Em Em/Ar-;

,_/ ~.,. ~I I . .. I • f ! : . f ! : . ~

I I I r ~ I I > >

'I>' n '"T'v , _ . . . . . <, II

A . ft 'ft . . . . '''''., I> . . . 1"7\ - <; II

lI S - ., - ,- , v v , v) . . . . . . . . . II- -



62

SALSA

Salsa is a name that originated in New York City during the 1970's to describe the sound that had been evolving for a

number of decades. Itis a mixture of many cultures, but mainly it is Afro-Cuban music, especially the "guaracha"

(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 helpful 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 "El 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 idiosyncracies 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.

Inthe following examples you will hear both of these styles extensively.



63

CD

@Clave 2:3

Bass Example 32

SALSA

A

Ab Abm

_ . _.-.._. _.-.._. _.-.._.. 1 " " ' \ .

r I r I, .

T I

~ ~ II.., - 1_' - 1_'V - v \VI - v \Vl --v v --

Ebf ! : .

Bbm7 Eb7f:..,-.,..

••

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

I I I I I

n . .T n

vn n - -,. ., - 1 _ , V V V - ,-, -v

II \- ,"" - \- , \"1

. . . . . . . "

Ab Abm Eb~ ,..-., ,..-., ,..-., . 1 " ' \ .

r I r I r I I I I

T It> ~ I~ ~ I..., . . ."'"

n

A v

'"v \VI

'"v \VI - v ~I . . - - - ,

II - -v \"1'"-

Bbm7 Eb7.f:.

Ab",./ •• , . 1 " ' \ , . ,..-., _ . _,..-., _ . _,,-.,.

I I I I -, I r I

-. . . . ·v - ,- - ,-,

A I~\ . . . v" . . . 1 _ , V v \' - ,VI -

I \-, v v \VI v "

. . . . . . . -

Ab m~f: .

Ebf ! : .

Bbm7,_/ I""'\_. -,..-.,_ . . 1 " ' \ . • 1 " ' \ , . .. , . 1 " ' \ , .

I I I I I

n n n

T , " " , - - I- n - . . - . .A \-1 - \-1 ~ I..., - ,- --V

" . . ...11

,. , , . - v ,VI -



64

E~7 A~ A~m_ ,,.-." ,.-." ,.-." ,.-." . ••

I r I r I r I I

T _r . " ' . " '" '" ''''' '","',

'", , . , , . . . .

A ,"', - - ,- ,'" - ,- , , . , - ,- , ,. , v \V v v ,. ,

B \V, v v _l

E~~

B~m7 E~7 A~~ . 1 " ' \ . •• . 1 " ' \ . ,.-."

I I I I I r I

. .,. v . . . . . ~ . . . .

A ,,.,, . . ",., vI:!_ ' I > ' - 'v

'" -_IS , - _ , _ ., - ~, v 'v v

v

A~m E~

~»<: . ,.-." _ . _,.-.,,_. _ , I " ' \ , _ . 1 " ' \ .

r I r I I I I I

. .T

"", . , , , . , , ,. , , , . , , . . . . . . v

A . . v \V, . . v

-" _ " ' - - 1t:>, "'- -"", -B - ,-,

'"' v ,

. . . . . . .V

B~m7 E~7 A~ A~m~ •• . 1 " ' \ . ~ ~ ,.-."

I I r I r I r I

. . . .'" '"

,"','"

,"','"

,"','"v v ,. ,

'''''v v \- , . . v ,- , ,. , - \-, , ., -

B -"v v

. . . . . . .

_ , E~ : r -""'\ . 1 " " ' \ . . 1 " " ' \ .

I I I I I

. .T ' I > ' . . . . II

A ,- , v , . , , , . , , , . , , , . , , v I > IIs v \V, v IV, v

II



65

SALSACD

@Clave 2:3

Bass Example 33



66

~Dm9 G13(~9)

-I I I I - r I r I

. . P IP P

A'"

. I"" '"p - ,-,

t::. -s ,-,

t::. - . . - -, -

Cmaj9 Em7 A9~ I I I

I r I I

_I e: t::. . . . . . .A . . ., . . ,., ., .,

'" . . ,... . . .B

., - ,- ,p

.,

~Dm9 G13(~9)

-I I I I r I r I

I '" IP '"''''' ''''' "

, , , ,"

II p,-,

"'-

' " ' "

., .,

Cmaj9 Em7 A9~ I I I .~..- .

r I I

ft I-

I'"

II< . . .", . " ,

II< ."

., - v-r

A . . " . . I.., " - - ,- , ., - ft

'"II "

' " ' "

_,/Dm9 , , _ - - - - - , , _ . G13(~9) Cmaj7

~

I I r I - . . . . _ _ _ - I

. . ,_

I . . ,.,p I

A Ip r.,

r.,

II< . . Its ,-,

"., . . ,., ., .,

I., , , , ,



67

CD SALSA®Clave 2:3

Bass Example 34

,_/Dm13 G13

-I I I I r I r I

T - - ~ I~ .,A ., ., I."

. ~ p

~v

' ' ' ' ' "B " " '''''

~.,- "

Cmajl3 EmIl A7(b9),_/ I I I " ' " '

I r T "= I

T -A - '" '''''

.," - ,- - .,

B - v ,- ,"

v ,, . ~ I~ "

''''

~Dml3 G13_ - - . . . _ - I

I I I - _ _ _ _ _ - ". I

T - - ,_,",

A , , , , , ., 'r " . . '" ''''' ~ - . . .B 'v '" '''' . . - ,_ , '" "

v

'"~.

' ' ' '

Cmaj13 EmIl A7(b9),_/ I I

I r I - I

., .,A '" - ,_ , '" ~ - - 1"9\ .,B ,- , v ,- , " - I~' ~ "

'" '''''

Dm13 G13,_/ - I

I I I r

T - - - . . I.., ~ -A ~ " ''''' . . " p

'"B v-r " 1- " -



68

Cmaj13 Em 11 A7(~9) Om 13,_/ I I I

I

"I I I I

T ~ ~ - -I""v

'" I""v

P

'" - - - - ~ I~ ~B -I

'" '" I ~ I~v ,V I

pV

V ,V I

_./G13 Cmaj13

- I I I I

I I ......_.", r I

~ I~ ~ ~A I~ ~ ~ V ,V I

" "I,,'

V

" I"V

P '" -,V Ip

vft 'ft

V - '- I - -- '- I

EmIl A7(~9) Oml3 G13,_/ 1'"\ ~I'"\~ -

I r I - I I I I r

-. . . . . . . . " ~ I~ ~A I- . . . ~ I~ p I~

v 'V I pv

B "I p Ip p '-I - . . ., - , V

Cmajl3 Em 11 A7(~9)

,_/ I I I I ~~ . . . . . . - . . . ."

\._/

-I I

ft . . .~ ~ ~ - - . . I....

A ~ V

'" I""V

'" I""V ~ '" . . . 1"7\ " ~

B II,v v 'V I v ,V I v V

" Ip

v

, - , -

Om 13~~~"

G13 Cmaj13_./ - ~ -

I r I -...._.- . . . . . . .

- -- ~ ~, p II

A I~ - '-I ~ ~ - . . . IIB 'v , v . . . I...,

v

'"v II

v ,V I v



69

SALSACD

@Clave 2:3

Bass Example 35

*Played on a 6 string bassAm7(~5) D7(~9,~5) Gm7 C9 Am7(~5) D7(~9,~5) Gm7 C9

~~~~ E e : ~ ~ , J _ e : ~ ~ ~ ~ ~~ ~_"._

_= r - - ~ - = ~ . ~ -..

LI

r I r V I V r I r V I V

'"~ft " " '

,ft. . . ._ ~ft,- ~,. ft ~ft I~

, - ~,. ,.!

.w .., . _'w .., ·

.ft .ft 'ft o f , . ·I"L

,_,ft 'ft ,ft

'Wft ft ft

. _. , . .ft ,ft

,-ft ft ft

g , - .w .w 'w w w w

Am7(~5) D7(~9,~5) Gm7 C7(#9) Am7(~5) D7 Gm7 C7(#9)~ . .. I . .. I ,,\\ss· ./

·· . . .-';0-';

. . . . . . _ . . - ";:._"; -......_..-

-

- -, .,-. , .

",,,' w . , . , . , . ,

" '''' -" . '-I

. . , _ ., . . -I

- -

Am7(~5) D7(~9,~5) Gm7 C9 Am7(~5) D7(~9,~5) Gm7 C9

~ ~~~~ E ! :~~rJ. !:~~!:~ E e : ~ ~ ~ J./

--

··r I r I I r I r I I

'ft ,ft ,ft 'ft

. . . ._ ~ft ~~~. _ft. _ . . _ . . . . . . . _ ~. _ft.. . _ . . - - . _ . , - - ·. . . . . . ,ft 'ft ,ft ·. _

~,.'"

~,. , -ft ft ~ ~,. ~,.

" ft

~ .w ,w .w - - ,- . - ,- - -

Am7(~5) D7(~9,~5) Gm7 C9 Am7(~5)~

_ . - J.. _l . -··r I r I

. . .! . . ., ,. " ., t>. . . . _ . , _A . , . - ,-,

" - - ., -. . . - -



7 0

Gm7 C9 Am7(~5) D7(~9,~5) Gm7 C9_,I . .. I - .. . I

· .·

". I

,.~ I~' ~ ~ ~ _J:! ~r' '"It>

A , - , ., - - '" - ,VI . . V V

. . . . V V . .-~

Am7(~5) D7(~9,~5) Gm7 C9 Am7(~5) C9

~~ ~ # ._ ~ j _ ~ ~~~~ ~ ~ # . _ , . J _ ~ !:~~~-1--- I- I- -- - - f = f = ' - -

··r I r

" I "r I r

" I "'"1ft I... 1ft,. ..

,ft

. . .,ft ft ,ft

! · .- 'v _ .- .v V .A · '" , . . . , . . . Oft

.rIO ~n ~I\ ~n G G G ~n ~I\ ~n

,-G G G

g 'V 'v 'V V V V .v •v . . . V V V

Am7(~5) D7(~9,~5) Gm7 C9 Am7(~5) D7(~5,~5)~ . - L I -·

rI

rI

,.~ · ~ . . I.., . . . . ~ . .A · '"

'-I '" '". . . V V V

g

Gm7 C9 Am7(~5) Gm7 C9~ .. . I oJ.

_ .- .. . I

_.-.....· .·

". I

,.! J",'

. ~ ~ I.., ~A ,V ., V V .

'"- ,V

.". . . . V V V

g

Am7(~5) D7(~9,~5) Gm7 C9 Am7(~5) D7(~9,~5) Gm~ r»; - .. . I

_,..-....._. > >

· .·

r I ". I

,.! ~,

'"J",' ~ - - . . . .

A "I . . V ,V . . ,.I,J:!. . . . . V

g



71

CD

@Clave 2:3

Bass Example 36

Dm7

~

I

T ~A ., -iii -

SALSA

(Em7bS A7b9,bS)

09 Cmaj7 F9 Bm7(bS) E7(b9,bS) Am7 D91E Play 3 times

I I

.--... .. --... .r I r I

1t'.,

'" "., •II

ft - v-r .,'" . . '11

ft "n . .II.,

Dm7 09 Cmaj7 F9 Bm7(bS) E7(b9,bS) Am71D D9 Dm7 09

~ _ I_ 1

.~.~I"'\~

I

I r I I I I I

.,T ft 'ft I • .. .A . . ft ., .,

/."., I•/."

iii - ft 'ft' - - , - , - II ,-, ft

. . . . . . .v 'v , . .

(Em7bS A7b9,bS)

Cmaj7 F9 Bm7(bS) E7(b9,bS) Am7 D91E Dm7 09

~ .. . . - . . . . . .. . . . . - . . . . . Play 4 timesI

-.

-r I r I I

T ft /ft'.,

'""., •II

'". . . . ,. " . . , ., . . •II ..

II - II,- ,

Cmaj7 F9 Bm7(bS) E7(b9,bS) Am71D D9 Dm7 09 Cmaj7 F9

~ I .~. ~ ~ I I .~r I I I I I

., . .T ft 'ft '" ft

A ft - , - , ., .,~/'"

., ., ft

iii""

v v ,-, - - ft 'ft' -- , v 'v

Bm7(bS) E7(b9,bS) Am7 D91E Dm7 07alt Cmaj7 F13 091B E7alt AmID

~~ . . ~ . I I .~. >..r I r I I r I r

T 1ft . . 1'9\ .,'"

ft /ft' II

A,-, . . . '" , . . '" - ft - ,- , ., '"II

iii . . ,." v ,..II,-,



72

CD

@Clave 2:3

SALSA

T=Thumb

Bass Example 37

T Bm7

t~S~D string T

E7

gliss. A string

T n - -_ ft

A - ,v ,_

B....,_ It- _

Am7 t . . gliss. G string D7

~ ~

~ Bm7

~ ~ /7 gliss. D string f'-

'~~q~. .I -

1ft ft

'" - ~ . .T - - n ., - i.. .i:t .i.. n

A. . . . . . . ""t-- . . _ , ,_ .. ,

ft

B - .,

E7 ..-.. Am7

~ .~I- ~ ~ ft~ _ - - - - _ .I I r I - r I I

n ., n In'., n

T ft - - ,- , - - "'"A ft - - - ,. r ., ., r

B"'" - . ,.,

'" I"" -'"

w ,-,

D7fI - ----fl-.

Bm7 E7

.~I- ~ /"\~

_ / " \ _~~

. - - - - ..I

.,"'" n ., ft

T - "/ ,ft ft 1t ft

A ", ", - - ,-,

n n .,"' " -

B ' w , - .,"'" - . ,.,.,

r"\~ ~ f!- ~~Am7 D7

f '- ----fl-.

- - - -. r-; ~/"\~ .~

r I - r I I I

- ft . . . "'"T ,-, - - .,

"'" - "1

A,., . . . . . . r 10:'

, - -II

'" I""w ' W ,

,-,



73

Bm7 E7

' ) ( f ! : . ' " ' f ! : . ' ~ - - ~ ~'"'~Am7

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

I I r I -

ft ,ft

''''T 'ft ft .. , , , - . . . 17\

A , - ,n n . . . 17\ - v . .B - . . 17\ - \'/ e., -

_,/07

I'- '--"1'-'Bm7

- '" ' - - ' " ' - .. . I .--... .- - I I -

. . . 17\ A 'A'. . . . \'/ A,

\'/

A . . , . . ,.,'" . . - . . .

B Ie' - ,-, - - \-/ - -- . . . \-/

E7

• f ! : . I'- ~ --~ ~ ~ r-;f ! : . ~Am7 07

~ - - '" '1'---

I r I - r I I I

n _ " " , . . . . 1... ,,- n. n . . .T ft - "

\ '/ , - - - . . I_ . .A ,- . . ,

\"/ . . . . . .""

,

B,.

e le,-,

- \-/

Bm7. ' " ' . , . . . .I I

ft .. ft 'ft ft .. ft

T \'/ ,ft n In\ n. .,A - ft ft . .. . \'/

" /

Am7 071'-'-""'1'-

Gmaj9_,/ 1""\ '"'- ~ I'- . , .

r I - r I I

. . 1'7\ . . . . II!

T 1'7\ . . \'/, - II

A \'/ . . . . . e le IIII . . ''''' - \-/ II,-,



7 4

CD

@Clave 2:3

Bass Example 38

SALSA

Am9 D7(~ 13,#9) Gm9

~ 1' . ... ,

., , - . . . .

-r I I I r I

T /- 1 '7

'", " ' ,

A It> '" ''''', v \VI

'"v v \VI

C13I I

. . .. . ,.,

Am9 D7(~ 13,#9) Gm9 C13

~ r-; ,,-.,._

-I I

r I I I r I

T""

. . .'"

,"', . .A 'I I..,

v '-I'"

. .B \V, v v \VI

Am9 D7(~ 13,#9) Gm9 C13

~r». ,,-.,.

-I

L

_.- - -

r I I I r I

"". . .

'" ''''' '".,

A \' I . .'"

v \VI . . ,. ' v .B

v -,

11.2.Am9 D7(~ 13,#9) Gm9 C13 Am9

~

- _ ._ I " " I _

-I I _ . . . . - . . . _ .

r I I I r I r I I

T "". . .

'","', '"

. . ."'"v I . . . . I..,

v \01/p . . 'ft'

V \' I p p IB I-I v \-1 v v

. . . . . .

3.D7(~ 13,#9) Gm9 C13 Am9 D7(~ 13,#9) Gm9

~ 1"'\ - I Ir»; , , - . . . . . fL')L·

I r I t I I I

. . .T . . . . I.., . . . . ° II . . . . . . . . IIA ''''' - . . ,

'" -'> ,. " - O L i 'I.~

'"a... v II

B \V v v lVI IIv v \VI II



75

CD

@Clave 2:3

Bass Example 39 (Tapping)

*Played on a 6 string bass

Dm6R " ht h d

SALSA

E~7 Dm6 Eb7

~" Ig an./""'\.. •• _ . _ ~ _ . _ ••- -

. . ,i 0 o . 0 o i I

Left hand

·· . . . .I I I I I I I I

. . . ~. . . . . . ~. . " I ~ , , " " 0" .ft'"

~. ~. . . . . . . . . . . ~ ~ ." 4 '" 4...

l!. .:;.. : ; . . : ; . . UlU ..o _.ui_ _.ui_ ~ ft ii._ ~~ ~ iiil iA :~ .::; : ; . .'w 'W , - , -

. - . -'W ,- 'W 'W .- 'W .- . - 'W ,.W/ .w ,v .v .v

'" '" ''''' '" 'r " _..I::._ J.t:l. r'V ~ V

- - ' = ~ _..I::._. . . . _ , _

_ .J : ._ - ~".!_'"

v

w w W V

~

Dm6 Eb7 Dm6 E~7 Play 10 times

~," - - .- .- ._r-;•• _ . _ . . - - .- - _.r-.._. . ._ ••'- '-

j ·

•I · . . .

~I I I I I

, ,I

4.. 4.. 4... 4" 0 ' " I~....... ,... . . . . ,n 4... . . . . . . . . ...., 4""- o n . 14 ..."" lft '" ,ft .o-

I:' I:' :;.. J;" :x .:~ I:; :0 :0 : ; . . : ; . . : ; . . :. . .: . . ':0 iii; iii; ix .: . .· " ./

, - , - ' . . , - ~ , - , - , - .· ,"', '" ,"',

'" ''''' . . 1 : > . ". . '".

' v , ~ v 'v , ~ - ,- ,'" - ,-,

w .. . .

~

Dm6 E~7 Dm6 E~7 Dm6

~" .~.. •• .~.. • .it >

I

tJ

>·

I · . . .I I I I I I , r

. . . . . . . . . . . . - 0" 1.,,\ 'ft •ft 4ft . . . 4... . . . . . . . . . . . . . . . 14 . .. " " on Oft Oft .o... . . . : . . :;.. .: . . i.. ':0 1 .. 01 ':0 iA~ _ . . . . ~ ~ ~~ ~ Li.ii iA ':0 ':0 . . . .~ .v .v .v . - . - ,._/ . - .w . - . - 'W ,. . . . . ... .- ~

,.. . - . - .v

A 'P ~ ''''' '" ''''' .~ 'e ~. . . . ,-,'"

w _,-!.I>c .sz: J:_ ~ '"g . . - .. . .

. . . . . . . .



76

CD

@Clave 3:2

Bass Example 40 (Tapping)

*Played on a 6 string bass


Cm~7 Dm7Right hand tap

SALSA

Em7 A7

."./" • r-. •• •• • • • .. 1'"\

- .J Left hand tap r r r I r I I r I r

... II -I 1\ . 1 ' \ . - - -". ..I I I r I I

I.. . . . I..... . . . . . . . . . . . . . . . . . . . . 1ft /.ft\ 1ft .ft 1ft .ft 1ft .ft 1ft .ft . -y I::: I::: I::: I::: I: ' ~~ . . .;. . .;. ;.:" 1.,UcU\ .fd ..x ..i ..i ..i ..i ..i i;'!

'",- . . . . - ,,~/ . -

n,_ . _ . . .

'- ~ '- . - '-A . . ,., - . . ,., , . . . ~ - '" ,. ~

_ft_ v 'v, v '-I ,.Q

. . . . . .

Dm7 G7 Em7 A7

."./" 1\- - - . . . : . - - - - . . . : . . r - . . • • •• . r - . . . • • _1""\

~ r J r J r

_ 1 " ' \ - - - - . 1 " ' \ . - - - - r--_.· ..

I r I J J r J I

1...\ .... . . . . .. . . . . . . . . . . . . . . . . . . . . . .n /.n\ .n .n .n .n I.n'\ In •n . . . ."I" .::, 1 ~ :, ~:, ~:, : ; , . . : ; , . i;" ~;, . i;" in inl rx in in in in in ~n i:'

•

. ,.- '"

~ _ " ft ."7. ~A . '" ' ' - ,-, '" . . . 17\ - " . . . .. . . 'v, v ,. , v v

_Q

Dm7 G7 Em7 A7_./"I""\ . r - . . . . .. . r - . . . •

, .•

, .1"'\

. . . , r I r I I - r

1"'\ - . 1 " ' \ . ---r--·I · .

I r I r I I

/. . .'\ . - . . . . . . ,- . . . . . . . . . . . . . . 1ft /.ft\ 1ft .ft 1ft .ft I.ft'\ 1ft 1ft 1ft .ft . . . ."I" "':' . . . :, . . :, i':' . : . . i.. i., i.. ..., in ..ftJ ..x in ..~ iii l.u;I ..ii _-ii 'i_ ..i .Ml - . ; _ ; . _~ " '/ . . '"

'v I,;',..v 'v . - , - ,._/ . -

n . - . - . . .v ; . : ; : ; . .v 'v .v, _

.u . ,~, v 'v, . .. . . ,- - ,

'" ,. .. .. . . '-I,.I :-

g

Dm7 G7 Em7 A7

."./" 1"'\- - . . . : . - - - . . . : . . r - . . • • • . r - . . • . - . - _1""\

- .J r I r I r

_1""\

-. 1 " " \ . -.--'-'· .

I r I I J r J I

1...\ .... . . . . .. . . . . . . . . . . . . . .... .'7 •n j.n of... . . . . . .of'" _l4ft\ 1ft 1ft . -"I" U:' 1 .::, i:' .::, . : ; , . . : ; , . i;" i;" .:;,. in inl in in iii II':;; i;; . . ;; .::,! -"0. .. . i.;<.

.v .v , ,,,,! .-ft . - . . 'v ';.:;r 'v 'v

A" '"

- '-I .1::.. . . . _17\,. ~. . . 'v, v " , v -

. . . . . .



77

Dm7 G7 Em7 A7r-/ /I 1"\_ - . . . : . - . , , - . . . ... .. • • I I I . _ • • _1"\

I . . r I I r

_/"'\- - . / " ' \ . _....- l"- .I · .

· . .I r I I r I I

I ~ _ " ~ _ ~ _ ~ _ ~ _.... _cr_ _od _Lon. \ . .n. ...n _od I..a I... .n Oft Oft

~ _"I" 1~:'1 ~:. ~:. ~;, ~;, . ; , ~;, ~;, i n i n l i n i n i n i o . 0 iii i o ~ o ~:.~ v '/ - 0 ~ ow ;~ ow ow .v

_t_ __1 _m ,w ..& I~' ,-,

'". . 17\ - ,.,

<> ~. . . . ,VI V ,.I v

g

Dm7 G7 Em7 A7~~ 1"\ - - . . . : . - - - - . . . : . • r<; •• .. . , , - . . . . .;. • .it 1"\

I

• r I r I r

_ 1 " \ - - . ' " ' . , - - - - r- .I · .

· .I r I I I r I I

I ~ _ " 0- ~-~- ~- . - ~- ~-~- Oft ~--"A --"A --"A. . . . _ ~...._ Oft ~ft ~-

I" I~:' ~:. ~:. ~:. ~;, . . . , . . . , . ; ; ' _ ,< .< . , . ; n 4 n 4 n . ; n _. t_a ; 0 l l i o 4 0 .." rx :!"~ \"/ - '"

.vJ,;',.

.v .v . - 'V "V/ 'Vft

.v ._ . . .- ,.:;\ 'v

.& ~ . v ,VI ~ - , . . . , . ~ _..t:_ ~. . . . v ,., - v

g

Dm7 G7 Em7r-/ /I 1"\_ - - . . . : . - . . . - . - . - - . .. . - . - . _ . • • .1""'..

I.

tJ, I r I r ~

I""'.. . 1 " " ' . . . - - - - -.· .

I r I I I

,_ "~ _

. . . . . . . . . . /. . .\ _cr_ . . , . __od _Ht:ti. I..a I..a 1ft

"I" ~:'I ~:. ~:. ~:. ,;' i ; ' i ; ' i ; ' iX iii in i n : : : :• \' '/

-

. . ~ ov ,~ .v .w .v "V/ .v...n. . .

A

''''' '"_7_

~

_

. . . . ,VI v

"

A7 Dm7 G7 Cmaj7r-/ /11'""\. • • ;. - - - - - _ .- - - . . . : . - - - - - - . . . : . >

I . . r r I r I r<

1'""\ 1'""\ - I

I ··r I

I I r I

I~ft'\ Oft Oft Oft . . - 1._\ . . . . . . . . . . . _ . . . . , . _ . . . . . . . .., . . . - '""I" l ~ o I ~ o ;" ;" ~!" U!"I ~:. ::. ~:. i ; ' i ; ' ,;' i ; ' ~:. :~~ ,.:;\ 'v . . --"'- .iJEi

. _

.&, ~

'".

''''' - .sz: _r:_ ft. . . V V . ,VI . . v

g



7 8

SALSACD

@ T=Thumb

Clave 2:3 P = Pluck


D6 G A7 G A7 GP P P P

~ T ~ T. . . . . . ,

T . . : . T. . . . . . ,

T T r--1 T..I

~- - . . . . . r - - U"

- I

. .T P . . . P . . . P

A'" - '"B - ., p ,,'" .,

II< 'II< . . -- - '-I - - '-I . .

P P

D6P P P

GP

A7 GP

~ ~ T iii. T iii. T. . . . . ,

TP

T. . . . . ,

T

··I

~ l..- I I __r - __r -

. . . . . . .T II' II< . . "'. IA 'II< P I•

'II< - -'v , P. . I 'v , . . P IP ft P

- ,-, - -

A7 GP

D6P

Play 10 times

P PG

P

.,,/_P

T r - - -1 T ~ T ~ T ~ T r - - -1 T. . : .

··~

I I~ ~

I I~

-

. . . ., . . .. . . p •II II<

A . .P IP P ·11 IP v

B 'II<., - ,-,

II<II -, ., .I:!.

'v , - - - _ .

A7 GP

A7 G D6

.-/ T r--1 T . . : . T T T

·· - -I - - -I r 1 J

. . . p . . . . IIA

. .p II

B III<.,

II< Ip\ ., . P II'v , - - ,-, -

P P P



7 9

SALSACD

@ T=Thumb

Clave 2:3 p= Pluck


D6 G A7 G A7 G

P ; P...--. P

;P P P P

~ T fl- T I f : - ~ f : - T T f : - f : - T fl- T 1 1 1 - " " "

r -. . . . . . n In' n . . .

" ". . . . . .

T ~ . . v \v v . . . ., .,p

A P '" v . .IS

v

D6 G A7 G

; P P P P P P.,/ """~ T 1 I l - T fl- T fl- T f : - - - - ~ f : - T fl - T

L. . - I r

"". . . . . . . . .

" '''' ". . .

T ' / . II 0 p . . '-I p . .A . . 11 0 I.., - - .B P '" II \"'/

A7 G D6 Play 10 times G

P P P ~ - - - ~ P P P P P,,-..

~ : r - : r - T fl - T fl - T 1 I l - T fl - T ..1':.. T f : - "-

- L..- I r

ft ft

. . . . .17\

. . . . . . . . .ft

T - - . . ./ oII . . . . -A '" p p oil IP '"II - II: II '-I

~ -

G A7P

f : -P

f : -

G

; _D6

~P

: r - T T T

-'ft ft " "

. . . .'1 . . . .

IIA - IIB - II



80

SALSACD

8Clave 2:3


Gm

T

T=Thumb

P=Pop

S = Slide to next note

H = Hammer-on

Am7(~5)

T T T T T . I T

D7(~9) p p

~""'~ ~ T

r I - I I -

. . . .A . . I~'B . . . . , . ' I~',. ~I

Am7(~5) D7(~9)p

E~p F p Gm7 C9

_" T T ill. T T ill. T s, ~ T T ~ T T ~b~ .,.,,",?·· ,-

r I I I I I I .1 .. J

. . .,II> ~n- .v

'",. In

A . . ~ I~ ~ II"' I" II> ,A'

B Ie' - \- , e" " - - \- , - - v 'v \"-,

. . . . . . .\V, v - -

p p

Gm Am7(~5) D7(~9)p p

_"T ,;, • T T T T T

. .T T S ! I t - T·· - -- "-""- -- r I I - -

. . . . ., .,T

v

A'" " " I"", . . , . _ '" " ". . . . II" '"

., . I~'v v \V v v v ~

\-, v \ - , -

p p

Am7(~5)

T T

D7(~9)p

~ T

E~p P

ill.T,!__ ~TT

F p

~ T T

r I I r 1 .JI

- - ft

II'

T - 1t ~n - 1_

A I~' .,. '" ," , '" II> .. .n '~n"-' .- - ..I~'

v

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -H

ill. p ! " - _ ~ . . . . . . .

-_ - - - _ .

Gm Am7(~5)

- I r I I

II'~

II'n ~n IV. - .V . - , . - . - II' ,n' In -- ~n, - . . - , -

.n

A \_" . \ . - ,, , ' I- . . . . - . - . -

B. . \ "



81

Am7(~5) D7(~9) E~ F Gm7 C9pitch bend

(Bva).. - - - - - - - - - - - __ - - _ - - _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _

~ /1 .: '." ...... _ . .,. _ f I- ~ f I- . ,. "" '; "" " "" " " ./

I I

. . . . . . ".. . . . . .'A

. . . . .T , . .'" ..ft - 'ft , - . - ftft . . . . . ,. . . . . . ,." . -.w

. .A '"'' .- , . . - ,- . . .""

'ft .... ,ft,

II ' "',- ,-, . --

Gm Am7(~5) D7(~9)(Bva): - - - - - - - - - - - - - _ - - - - - - - - - - - - - - - - - - - - - - - _ - - - - - - - - - - - - - - - - - __ - __ - - - - - _

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

....... I--- I

I r

..ft ..ft . . . . ,. .T , . . . . . - , - , - ,ft 'A''''' .ft ,ft " ,ft

A , . . ., . - '''v ._ ..... . -II "

Am7(~5) D7(~9) E~ F Gm C9

(Bva): - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1

~ r-; ~ ~ f I - " " ' f I - • f' - ~ fI- ~ ,

I I

..... ,ft ....

T ,. ., - - . . . " " . . . . - . . . . . . ,. . " ,..... ,..... ,- .- "<

A "-, . . . . . . ,-'" ,_ '''' '''' ........ w. . . , . , . , . . . . . . . . . .

II , " . - ,.,

~ T • T • T T T T fl - T... S ~ T

··- - - -

'-"" ..:r - ~ I r . . . . . . -'"

. . . . . . .T - - .A . . ''''' _ " ' _

'"II '" '" " '". . . . U" . . - ,- , - - . .

~- - ,-, - , - ,

p p

Am7(~5)

p p

D7(~9)p p

Gm

Am7(~5) Fp

Gm7 C9

_,/ P TP

T fl- T ,,_ T !_ ~ T T ~ T T f'-'f'- " ' ' ' " ' 1 9 -·

·

/

- . . . . J I r I .1 .J

. . . . . .'"

.ft

- - - , - . . . . . . . 'ft

A'"

,"','" '"

,~, . . .'" '"

,ft ,ft,'- • . -R ,., . . - ,- ,

'" - - v-r - .,

~,-, - -

p pp



82

Gm Am7(~5)

~ T • • T T T P T ..;. T 1 I l - T T S ~ T

·- -.,_... - ~

I I I J. . . . . . -

. . . ..'7.. . . .

T - ., ., .A P Ip ft po

B ft ft ~ P , " ' ,'" - ,- ,

po - - po- - ,- , - - '- I v v - v

p p p

D7(~9)p p

Am7(~5) D7(~9)p

E~ Fp

Gm7 C9 GmlC

~p P

T fL ... T_ !: TIll- fL~fL ;~

T TT . . . : . T T r- T T , . . . . .

·· /'

- -J I r I 1 J

., .,ft . . . .

T ., ., . .'" ' I

A P IP P

~ ' I I > ,II> ft_

. . . . . . ,. . .,,- ' - - . . . . ' ItI ,p, '-I

'" - - ,VI - - - . - ,"-I - - .,.,

' I'-I

.,V -

p p

CD SALSA@Clave 3:2

Bass Example 44

~

Dm7 G7 Cmaj7

-I I

I r I - '-' .._,T . . p IP

A'" - ,- ,

po . . 1ft

B V '-I . .v

1. - 5.

~Fmaj7 Bm7(~5)1D E7(~9)_ - - _

.--....._". • I I I

T ., . . .,A . . . .

'"P 1<"

. ., . . . .tI ' . ., p - - '-I " /,/ -

6,

Am7 ~-~ A7(~9)~. Bm7(~5)1D E7(~9) Am_,/,-.. ,

_

- -.-. •

I I I I

. .T

'""., . . . . . . . "1 . . .

" ". . II

_A "~I . . . - • I I''''' I'ft - ., - ' I

B I I ,VI ,.I .' I



84

LATIN JAZZ

Before the word Latin Jazz was used to describe this music it was called" Afro-Cuban Jazz" or as Dizzy Gillespie and

other musicians at the time amusingly called it, "CuBop". The first to play this was Mario Bauza, the arranger for Jose

"Machito" Grillo's band in the forties in New York.

Mario 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.

Itis impossible for us to list all of the artists in this field, nevertheless we made a condensed list of the following: Mario

Bauza, Machito y su Orchesta, Tito Puente, Dizzy Gillespie, Mongo Santamaria, Cal Tjader, Ray Barreto, Grupo Irakere,

Poncho Sanchez and Gonzalo Rubalcaba.

CD

@Clave 2:3

Bass Example 45

Fm7 B~m7

,_/ . " "~ .. . . - - . . .

LATIN JAZZ

A .. ov

E~7 A~maj7 D~maj7

. " " . . . . . - - . . _ " " _

I I r I I I

_ . . _J::_ _lIll_ _.t:_

'"<> , < > ,

v v \V,<>

v v

v \V,

T 4ft G

B

Dm7 G7 Cmaj13 Cm7 Fm7

~ I I ~,..-..._~. I I 1"\ .r-..

I

'" '''''~ . . v . .'" . . , ., <> . .

A'"

v . . ,., - --"- _""- - - ~ v v

B v v \VI - \- ,

B~7 E~maj7 Ab maj? Adim7 D7(~9) Gmaj13

~ r»; •• • . 1 " \ . ~ . ~~

-~

-I r I r I

. . . .1t . . ft . . . .

'",.,

I!!

A \VI . . v<> - - - --"'- - ~ . . v

Bv v - . . .



85

Am7 D7 Gmaj13 F#m7~ - b."'. L L '"

I r I I I r I r I

T Ip

- . . '" ''''' '" J r , " A 'A 'A ,-, . . . . '" ''''' . - ,- , . , . - '- I . , . P . .a -I -

B7 Emaj7 Caug7(~9) Fm7 B~m7 E~7

~ b."'. I ~'j. ~ ~"'~ .- - . . . " ' . 1"'\

I I I I I

A '" '". , . . . , ., . .T A . . I.., . . . . -I ., - I>

A ,., -I . . - - I> II>

u

a '-I - v'-I

Ab maj? D~maj7 D~m7 Cm7 Bdim7 B~m7~ r»; . '" '"

r I I I I I - I

T 'I> I> I> . , . . , . . . . .A '- I I> lA

v'A

V . . I.., . . _, . " ~ ,-a v ~ - '-I - v-r ,.,

E~7 Ab maj? G(#9,~ 13) C(#9,~ 13) Fm7 B~m7 E~sus9 E~9(~5).-/ . " ' . - - - . I . . ."'~ . - - - .. • .". _1"'\

I rI

I

. . I• P , , . . ' ,..

T - '"., - - ~-, ., - - I>

A,, - - u

"u

a

"-\

A~maj9 Dbrnajv Dm9 G13(~5) Cmaj13 Cm7~ r»; . '" I I ~ - - - ~ . 19 - I

r I I I I

P IP P

T II> I> t>

'" '" - '-I '" - '". .

A ' v ,"

VA

VA . , . - ,. . I.., - - ,. . - -

'-I



86

(Am7~5 D7)

Fm7 B~sus9 B~9 E~maj9 A~maj7 A~7(~9)~ ~ " ' . , . . ..-... . • .' . ..-.. . _

1._ • . . . . . . .

1 1 r I r I

~ ,. ,,., ,.T

'''' '" " _ 1 _ \ ' " _,> " 0 I> ,I>, I> . . '"'- , '" I> , < > , '" '" ''''I "'" . . "

Bv 'v , I v

(D7)

Gmaj9 Am91D A~9/D Gmaj9/D

.-I .-. - ~"'''_ ~"'''_ ~"'''_ ~ , . _-

r I I I I I I I

. . . . . . . . . .,~, ~ I~ _ " ' - 11 I

A :' "'-,-, - I> I> ,I>, I> ,I>, . .

B - '" '" ''''I '" ''''Iv

F#m9 B13 Emaj13 C(#9,~ 13)

.-I ~"'~- b."'. I ~ " ' . , . . ~L ~ ~

I I - I I I

. .T

,~ Jj

A , < = , I> n n n . . ,., . . , - 'v

B lV V - - . . ,"7\ - " r,

0

~" I

v

Fm7 B~m7 Ebsusv E~9(~5) Abrnajs D~maj7

~ A"'"" ..-.._.. • .' . _ _ . . - . . _ . _ _ " ' -I r I I I

In 0 '0 0 0 I> ,I>, I> I>

A . . 'v v l-, . . v

"v v ,VI

I>v . . v

B. . . . u . .

D~m7 Cm9 Bdim7 B~m9 E~sus13 E~ 13 A~maj9

~ 1"\ I I . 1 " \ . . -I - I I

., ., 4

T J::_ ~"

,. ,. v vII

A 'A ' - ., ~,>\

"-,,,, 4_ '" "

\ .,II

B '~ v ,VI - ,- , ,'I II



87

CD

@Clave 2:3

Bass Example 46

Bm7(~5) E7(~9) Am7~.. . . . - . . . .

LATIN JAZZ

D9 Bm7(~5) E7(~9) Am7.. _ . . . - . . . _ .D9

r I r I r I r I

T . . . . . . ft., . .

A ,. I v . .v -

Dm7 G9 Cmaj7 F9 Bm7(~5) E7(~9) Am7 D9

~ I I 1'- •• ~_ ~~«>

I r I

. . . . . .T I ~I\ ft . . PI't.

v v

A"

. . /." . . . . . . v . ." I

B. . .

'". . .

-

Bm7(~5)r-/. •.

E7(~9) Am7. . . . . - . . . _ .

D9

-Bm7(~5)

••E7(~9) Am7

_ . . . . . - . . . _ .D9 _

r I r I r I r I

T ft., .,

ft., .,

A ... . . "I

, . . ," I -

Dm7 G9 Cmaj7 F9 Bm7(~5) E7(~9) Am7 D9

~ _1 I 1'- ••~ _

~ e ~ ~ " '" '~.. . .I r I

. . . ~ft

T . . ~ft ft.,

" " ' ". . . . . . .

ft

A"

I", . . . . . . . . "/ . . .B

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



, 88

Bm7(~5) E7(~9)r-/ •.

Am7- - - .09 Bm7(~5)

••E7(~9) Am7- - - .

09

r I r I r I r I

T " - - - JA - '7

,.I - '7

,.I

B., .

"

Om7 G9 Cmaj7 F9 Bm7(~5) E7(~9) Am7 09

_,/J J ~ ••

- - - : r - b : r - ~--P-

I r J

. . . . . . -., _-lh A . . . ~

A ~.,

'" ''''\ a . - - '7

,.I

B " " ,"/ "

Bm7(~5) E7(~9)

r-/ •.

Am7 09 Bm7(~5) E7(~9)_ oIf_ ._.

Am7 09_ - - - _ . _ - - - _ .r J r I r J r I

T ft '7 '7 _JIL JA .,

-v r "

-. . . "/

B " .

Om7 G9 Cmaj7 F9 Bm7(~5) E7(~9) AmID~

~ # . ~ . . _ ~ ~ . ._~!:,-_~_,/

I I ~ • ~ ..

-I

-fA. .~ . .,T 1f t ."

. _ , IIA_ _"-"'- ft ." "A A II II

B 1f t . - . . Ja\

.,Oft 0 .. I.. 1f t I\Old II

." ., ,"/



8 9

CD

@Clave 3:2

Bass Example 47

LATIN JAZZ

C6

~Dm7 G9

~,- - - - _

-

C6

:Jo

I

_L_

I

I

I I

, . . I

a - . , .

'"

I~

_ . B_ " "" " I \""1

'"1t'

""

~

\' "II " "

l

" " \""1

ft

~-.;T

Ebmaj7 Dm7 G7

,_/Cmaj7

#----~L 1 L 1 I > '

I I

_ _ - - - - , Cm7

_L'

I

_ _ - - - - ,

L

I I # . I-,

~

T-

- AB

. . 1t'

""

~

'''I- 1t'

I

~""I "1t l. . ~I "

" " 1



90

~D7/C Db/C .~ C6

. " " ' . , . .Dm6 Dm7/C

I .~ I _ I I _ L 1 ~ 1

r I I

~ p

'"_ . . ,- - - -

A ,." . . , , . . " .. , , . . " .. , ,. . . . p

_B _ ,-, ,. ,-, - ,-,." - . . . .

v

~Bm7(b5) E7 Am7 Am7/G F#m7(b5) B7(b9) Em7 A7 Dm7 G9

,,-....1

r I I I I -'-I

T . . ._

A . . . , " In n 'n . . . 1"9\ ." ,.", .. ,B '"9\

. , - - \-, . . . \' pv \V, . . . . .

" -

,_/Cmaj9 Cmaj7/G C6

~"" '~ ~~Cm7 . " " ' ~1 1 I I 1 I

"'-'-

p p

e: ."p -

A r.., - - - . . . . ,., . . ,., .. ,B IV, .. , , . . " . . , v v \V v \V . .

-,

D7/C Db/c_ ~ r : , .

C6~""'.".,/ ~ ~. ~ 1 1 ~~. _I J I 1 1 J

r I

." ." ." I:. I:. I:.

T., v v v . . . . . .

A . . . , . . " .. , , . . " .. , ,. . . . . ,. ., . . .B \- , - -, ,-, ,-, .sz:

Dm7 G9 C6~

-I I

I r I I r I

. . . I:. . ' 1 : . ' p IA p

. . . \",I:. . . ,., -

'" '"_ .. . . . .

B . . . . . . . . \V, v . . . - v



91

Fm7 B~7 E~maj7 Dm7 G7,_"I _ - - . , . _ 1 , • . . . . . - . . . . . • • 1.--.

I I I I -

T 'ft a 'a' a

A 'ft''v V 'v, a

""v . .

_II ~ ,-, . .

I I I

Cm7I I I

. .T

A .. - . . ,., . . , ,., . . , , . . " .. ,B v

D7/C D~/C C6

,_ "I --.". I ... .".. I1';--~

l I ~--.". I I

r I

,,., ,. ,. ,.T v v v

A . . , _ '" '" '''''ft , . " ,

B. . - - ,-, - ,-, ,.

v

Dm6 Dm7/C Bm7(~5) E7 Am7 Am7/G F#m7(~5) B7(~9)./. L I .-.. .

I r I I

. . - v-)

'"A l A , . .

A ,. . . ,.' - - ~ t= r . . -II -

~

Em7 A7 Dm7 G9 Cmaj9 Cmaj7./ I I I I ~

I I I -

,.,'"

~ IIA ,- , ,,., - .. , ,., - . . , -, . ., IIs 'v , v ' v , . . ,., . . ,

'" - II

- - . . .v . .



92

CD

@Bass Example 48

LATIN JAZZ

Rhythm Intro Fm Fm6

T IV

IV IV

•

Bbmunaj")

~--~Fm B~m

In

T

A

'"~ IV

'".v

ft . .V

Iv

B~m7

•

Bbrnunaj")

• •

Fm

'"IV

'" In

'" '"A

V v v . . 'V OV

v v

_ . . . . - . . . _

1ft 4,.

1ft '"IV 'w

'4

AIV

'"'4

,.v

C7

- - -

Fm

0" .ft In 4ft

4ft 4ft

..ftov

1ft 0".V .v

A

.ft

IV

. _4ft

'V". .



93

B b m

•

Bb munaj Z )

~~•

1ft 1ft 1ft

,

. ..v Oft OV

. ..v

. ..v,_ . . . .B

. . .. . . . .

B~m7_ . B~m(maj7).,.Fm

,.•

. . . ." Oft

T . . '. . . . . . . . . . 1ft

,_1ft

' . .A

. . . . . . . . . . . . , . . . . . . .v v

J

Db 7

Fm

1ft\ ft _ . . .1ft

. . . ' . . ,. .1ft

. . .A

,v ,v . . 0" . . ,v

B..

-_~ ~ ~Fm

Rhythm0

~ . . . 23

r

1ft Oft ~ft

T. . . . . . ,. .

Oft IIA . . II

B II



94

MIXING THE STYLES

Styles in Afro-Cuban Music are sometimes mixed adding variety to the 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 eloquently, the change is accepted naturally by the listener. Many

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 at a time are incorporated and usually done once or twice within a section to add some

spice.

A few common groove mixes include:

1. Salsa with a quasi-Samba section and/ or ending

2. Bolero with a quasi-Samba or Bossa Nova ending

3. Salsa with a Bomba section

4. Merengue with a Bolero intro

5. Merengue with the conguero playing Puerto Rican Plena (a mix within the style)

6. Bolero that segues into Salsa

7. Salsa with a Guaguanco intro and/or interlude

8. Salsa with 6/8 bata' drumming intro and/ or interlude

9. Merengue with a Rap section

10. Salsa with other unnamed grooves created within the rhythm section i.e., caballo

CONCLUSION

We hope that you have enjoyed this study and have been able to use it in developing your own grooves. As mentioned in

the beginning, this book should be used as basis for studying the over-all concept of the styles. Itis merely a brief survey

of the tip of an "iceberg" that continues to grow and develop with time. Ifyou've studied and practiced these examples

thoroughly you should by now be able to tap the clave to the examples and create a tumbao over a set of changes that fit

the respective clave. We thank you for listening.

For suggestions and/ or comments please E-Mail: Manny Patino at

[email protected]

mailto:[email protected]




95

SUGGESTED READINGS

Ifyou 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 15Libretos): A merica Latina En Su M usica Mexico: Siglo XXIEditores & Paris: Unesco, 1987

Gerard, Charley w / Sheller, Marty: Salsa , T he R hythm of La tin M usic Crown Point, IN: White Cliffs Media Company, 1989

Mouleon, Rebecca: S alsa G uid eb oo kfo r P ia no & Ensemble Sher Music Co. 1993

Roberts, John Storm: The Latin T inge , The Im pact of Latin A merican M usic on the U nited States, New York: Oxford University

Press, 1979

Slonimsky, Nicolas: Music o f L atin A m eric an , 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.






























J O H N P A T IT U C C I

ULtimate Play-Along for Bass,

Levell-Volume 1

(MMBK0050CD)

Book and CD 124. 95

This exceptional package allows the beginner

to intermediate bassist to practice with a pre-

recorded band. The seven tracks cover a wide

range of styles such as straight eighths, six-

teenth feel, rock shuffle, rock ballad, Latin,

straight-ahead jazz, and rock &roll. Includes

a "roadrnap" chart for each tune.

J O H N P A m U C C I

Electric Bass

(MMBK0006CD)Book and CD 126.95

Derived from John Patitucci's Bass Work-

shop DCI video. Covering technique and an

introduction to musical styles, this instruction

puts you on the right road to becoming a

working bassist.

J O H N P A M U C C I

Electric Bass 2

(MMBK0049CD)

Book and CD 124. 95

Electric Bass 2 focuses on developing impro-

visational skills through ear-training. John

also discusses and demonstrates the specifics

of the six-string bass. Also featured are tunes

from his albums including "On the Corner,"

"Our Family," and "Growing."

81m B A I J . I Y , V lm B W O O I ' E N

Bass Extremes

(F3389BGXAT)

Book and Cassette.....$21.95

Exploring the tremendous, often unrealized

potential of the bass guitar, Steve Bailey and

Victor Wooten have put together this incred-

ible recording, complete with transcriptions

and lessons for each song. Each piece high-

lights different aspects of their amazing tech-

niques - such as Steve's three finger

technique or his awe-inspiring command of

harmonics and chord voicings; or Victor's

incredible funk grooves, thumb, and two-

handed tapping techniques. All music iswrit-

ten in standard notation and tablature.

81m B A I J . I Y B A s s G UITO S ER IE SAdvanced Rock Bass

(F3107BGX)

Book and Cassette.....116.95

Advanced Rock Bass is written for players

crossing exercises, double stops, odd meters,

harmonics, artificial harmonics, arpeggios,

and chords in harmonics, thumb position,

and solo bass playing. Written in standard

notation and tablature.

Five String Bass(F3109BGX)

Book Only $10.95

Five String Bass explores the fretboard in rela-

tion to the added fifth string, enabling you to

fully integrate the expanded range and added

possibilities of this instrument into your play-

ing style. Beginning with position studies, the

book progresses to intervals, extended scales,

chord voicings, and arpeggio studies.

Fretless Bass

(F3106B GX)Book and Cassette.....$16. 95

Fretless Bass is meant for the player who

wishes to add this instrument to his arsenal.

The book focuses on developing accurate

intonation, then progresses to special effects

such as harmonics, double stops, nuances

idiomatic to the fretless bass, and numerous

solo bass etudes.

Rock Bass

(F3106BGX)

Book and Cassette.....$16.95

An aid to gaining complete technical control

and understanding of the bass. Starting with

right hand alternation studies, the book pro-

gresses to 3-finger technique, intervallic stud-

ies, double stops, chords, and time studies.

With hazard studies and finger-busters. In

standard notation and tab.

Six String Bass

(F3110BGX)

Book Only 19.95

Six String Bass is written to help you make the

transition from either the four or five stringbass to the six string. The book begins with an

exploration of the low B and high C strings

followed by scale studies, random note stud-

ies, technique, and chord voicings (triads, sev-

enth chords, and inversions).

For a complete catalog of

Manhattan Music,

DCI Music Video, and

REH Video Products contact

Warner Bros. Publications15800 N .W. 48th Avenue

Miami, FL 33014

(800) 628-1528

(305) 620-1500

L IN C O L N G o iN E S & R o B B Y b U N

Funkifying the Clave

Afro-Cuban Grooves

for Bass and Drums

(MMBK0004CD)

Bookand2 CD's 129.95

Designed for bass players and drummers, thi

book laysout a step-by-step approach to com

bining Afro-Cuban rhythms with rock, funk

and jazz. Includes a 96-minute cassette which

features some of New York's hottest player

and includes the examples from the book.

L E s s o N S W I T H m E G w T S

Lincoln Goines,Jimmy Haslip,

Alphonso Johnson,Rocco PrestiaGaryWillis and Victor Wooten

(MMBK0037CD)

Book and CD 124.95

Developed byJohn Xepoleas. Six major artists

share their vast knowledge and experience in

jazz, rock, funk, fusion and Latin bass. Lin-

coln Goines, Jimmy Haslip, Alphonso John-

son,Rocco Prestia, Gary Willis and Victor

Wooten cover laying down a groove, thumb

playing and popping, improvising, expanding

your jazz vocabulary and mastering modern

harmonic and melodic concepts.

JlJm l l A s u p

The Melodic Bass Library (Scales

and Modes for the Bass Guitarist)

(F3167BGX)

Book and Cassette..... 124.95

An indispensable spiral bound book and cas

sette on scales and modes for the bass gui-

tarist. Contains diatonic, modal, pentatonic,

wholetone, and diminished scales as well a

modes of both the harmonic and melodicminor scales, Eastern, Middle Eastern, and

other exotic scales ofJimmy's own invention.

J A C O P A S T O I I U S

Modern Electric Bass

(MMBK0005CD)

Book and CD 124.95

Jaco Pastorius was, for many years, recognized

as the world's number one electric bassist.

This book and cassette offers the ultimate

look into the creative process that lay behind

Jaco's playing. Features transcriptions o

Jaco's incredible playing on his DCI video

along with analysis by legendary bassist Jerry

Jemmott.

































































































































































































ISBN 1-57623-910-1

I I I I I781576 239100

$19.95in US A

I I I I EL9707C











afro-cuban bass grooves

Documents

merengue grooves

piano grooves

e xam ple

merengue piano tumbaos

chacha grooves

merengue history notes

contagious piano tumbaos

los tumbaos