Latin Jazz Piano Technique _ TECHNIQUE | OLIGARIO. DIAZ 18.95 = — —ABOUT THE AUTHOR MR. OLEGARIO DIAZ Mr. Diaz studied at the Berle Collegs of Music, earting « Bachelor in Composition, aad the Man- ‘hatin School of Minsic, and holds a Muster in fazz Suxdien. ‘Be has performed piano in the New York and West Coast arcs with such artists as Tito: Puente, ‘Willie Bote. Celia, Cruz, Johnay Pacheco, Willie Colon, Joné Fajardo, Luiz Ramires, Afro-Cubans, ‘Mario Bawa Big Band, Paquito de Rivers, Victor Pez, Daniel Ponce and many others Mr. Diaz still playa in the New ‘York area with many different Latin and Jazz banda. The Inte 1940s saw the emergence of a new achicl of drummers who combined many influences Afro-Cuban and Latin rhytiems, imported into te Dizzy Gillespie Band by the late Cano Pogo in 1948 yeremmpely atm ric «fe yee ina ems sym ened testing ts the authenticity af jazz, could be detected at one jpoint ex another in almost every pectormance by ee eva woe het of ati sgt wb sb pniy odjerse toa Ot packet unfamiliar percussive sounds. Latin Music is founded ona two-measure rhythm pattern,» forma played on a pair of thick hard- ‘wood stick known as the “claves.” This is the continunen of all Cuban rmmiie. Authentic mamba melo- Siow are “ia clave,” that i, Uhair in accents correspernd with the accent of this iwo-meamare artery, ‘Fundamentals msch as rhamibs, mambo, merengue and cha-cha constitute a diversity of accentuationa, applied to te subdivision of a foursfour measure into eight notes. ‘The piano plays.a very important role in this music, for the chords are broken in continuous hiomo- phonic unison, This s called “Montuno.Guajeo" or "tumbscy”in the Latin vocabulary. Mostunca are ‘usually performed with both hands in unison, Jeft Ising coupled with right hand om the octave. Hiarmo- ‘ny chord structures ar written the samess jaz “This book will explain to the student how to play Latin rhythms from any particular chord inversion, according to the melody, whether instrumental or vocal. For best reaulls, amy individual or class using this boo should Limen tos mock Latin music (hoth live and recorded?) aa posite ‘Olegurio Dix asad aad ine ia Goacs: ene Shien Whee Bllbeh hn Wedd ste VemmaChapter I ‘Progressions on the F-TV, ¥7 Major ce I, lim, V7 Minor sere commonly played in the SOs by Cuban fund, and ts wel! known a3 “Son Montano,” *Craljiras” “Charnnga Chords,” or “Tipico Style ‘Thise patiornsare playd in major or minor tomalities; right hand will couple unison at the octave ‘vith the left bans. ‘The bass player wil play the notes of bass clef The eA hand and right hand will piay the samme uni- ‘son at the 8 va. These particalar exercises should be played in all keys, andl meraorined for @ good enawiedige of the matecial, “Please be simple and specific when playing the Montano. otherwise the harmony will be dense.ChaChaEom? Emo FmChapter IT Inversions Over the Dominant 7 Chord In thitchapier we will analyze the dominant seventh chord from all ita pains, ax well 8 Majer aid sninor ebords, Megbineh~ Aoentyesiortaeiny one dorninant chewd: called “Descarga Latina.” We will change. Montenoa over the Dominant 7 chord. Some time cam be integrated over the iim7, ‘VT situation, and we will write Montuncs over 12 bar blues stractures:as well “The eft ancl will play mame as right hand, Sea unison. base player plays the bas line. Like Cha peer T, benimple and specific when playing. atherwise the harrnony will be dense These exercises should be cover many’CF CheChe — = — es ~ = ~ = = = = C7 Chu-Che D7 c D7 — = ———, ve a, yr Se — = De ¥ — Fs 3 a - = = z= — = = ae -— i D9 orDT A — ~ iFor Intros = ee Cmaj7 oatChapter TI ‘type of Montuno contains raany harmonic chord cha-npes ns we play in the Jarzidiom; iim?, V7 advihooncunen terials amen, dominant and major chord. Thess are Latin Jazz Progrensions In Montuno style. The feft tad will play same ax right fund, va unis: thc ts player phys the bass fino. These ‘Montunos can be used for Jeaz changes and will be called Latin-Jazz plano. They can als be played by. vihraphinas and puitars ix submttution for keyboards. Mont unos can be inverted from the'b? and b3 Major or clinor ofall chanda oa Llim7, V7, LmajTor vi, Play these exercises ax in Chapters Ind TI: learn in all keys to be played aver chord chaniges without notesAe 7 Bem?Asm ‘Db mt GemDescending Meise Seconett fina?-V3 -L major?Major xeventh chords arcand circleChapter IV Rhythms We will comp the iano way’ as the rhythm till indicate: These are similar’ ‘ction ais mia different accents to inchoate the basis rhythm: tore for the syle stele paaed, vg Rikythms for Bossa anf SambsC6 fil out CH GN out IC6 Mout C6 fou