Escolar Documentos
Profissional Documentos
Cultura Documentos
THECUBANTIMBAREVOLUTION
ANINTRODUCTIONTOLATINMUSIC
FORDANCERSANDLISTENERS
KEVINMOORE
downloadableaudiofileproductandfreedownloadavailableat:www.timba.com/audio
CoverphotobyRichardRobinson:
DancersfromAfroCubadeMatanzasMatanzas,Cuba
REVISION1.0
2012BYKEVINMOORE
SANTACRUZ,CA
ALLRIGHTSRESERVED
Nopartofthispublicationmaybereproducedinwholeorinpart,orstoredinaretrieval
system,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopy,
recordingorotherwise,withoutwrittenpermissionoftheauthor.
ISBN10:1480160938
ISBN13/EAN13:9781480160934
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www.timba.com/audio
www.timba.com/percussion
www.timba.com/clave
www.timba.com/bass
www.timba.com/encyclopedia_pages/beginners
www.timba.com/piano
www.timba.com/users/7
kevin@timba.com
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TableofContents
Introduction ......................................................................................................................................... 12
ListeningTours ................................................................................................................................. 12
RhythmicExercises........................................................................................................................... 13
AbouttheFreeDownloadableAudioFiles ...................................................................................... 14
CollectingMusicin2012 .................................................................................................................. 15
ListeningTour1:PreRevolution(19001959) ..................................................................................... 16
HowtoUsetheListeningTours ................................................................................................... 16
Son.................................................................................................................................................... 17
Danzn ............................................................................................................................................. 19
FurtherListeningRecommendationsforDanzn ........................................................................ 21
SonMontuno ................................................................................................................................... 22
DanznMambo ............................................................................................................................... 24
MamboinCharangas ................................................................................................................... 25
Jazzbands ......................................................................................................................................... 26
MamboinJazzbands .................................................................................................................... 28
1950sCharanga................................................................................................................................ 30
Descargasofthe1950s .................................................................................................................... 33
RhythmExercises1:TheGrid............................................................................................................... 35
DemystifyingMusicNotationorFourWaystoSayNothing.......................................................... 36
TheYardstickAnalogy .................................................................................................................. 40
MeasuringthePassageofTime ................................................................................................... 40
TheMeaningofMusicalTalent.................................................................................................... 41
Exercise11:FeelingtheGrooveAudioTracks11a&11b ................................................. 42
EstablishingYourOwnGroove............................................................................................. 42
Exercise12:VisualizingtheGrooveAudioTrack12 ........................................................... 42
Exercise13:mainbeatsAudioTracks13aand13b........................................................... 44
TheAudioFileMethod..................................................................................................................... 45
Exercise14:mainbeats+32sonclaveAudioTracks14ad.............................................. 45
TrackNamingConventions .................................................................................................. 47
HowtheAudioFilesWork............................................................................................................ 47
ThePocket............................................................................................................................ 47
TheTeacherandtheTutor ............................................................................................ 47
ThePsychologicalStagesofLearning................................................................................... 48
ListeningTour2:PostRevolution(19591989) ................................................................................... 50
Politics,EconomicsandMusic ..................................................................................................... 50
Salsa ................................................................................................................................................. 52
Cubainthe1960s............................................................................................................................. 56
LosVanVan(songoera)................................................................................................................... 57
IrakereandotherModernizedJazzbands........................................................................................ 60
RitmoOrientalandotherModernizedCharangas........................................................................... 62
LaRitmosPercussionSection...................................................................................................... 63
ModernizedConjuntos..................................................................................................................... 66
ElioRevysuCharangn ................................................................................................................. 68
RhythmExercises2:TwoBeatRhythmicCells .................................................................................... 70
Exercise21:girotimekeepingpatternAudioTracks21ad............................................. 71
Exercise22:tresilloAudioTracks22ad ............................................................................. 71
Exercise23:displacedtresilloAudioTracks23ad ............................................................. 72
Exercise24:cinquilloAudioTracks24ad........................................................................... 73
4
Exercise25:bombasicAudioTracks25ad ...................................................................... 73
Exercise26:bomboponcheAudioTracks26ad................................................................ 74
Exercise27:botaAudioTracks27ad ................................................................................. 76
Exercise28:bolerobassAudioTracks28ad...................................................................... 77
Exercise29:habaneraAudioTracks29ad ......................................................................... 77
Sidebar:StartingPoints.......................................................................................................... 1
Exercise210:commonbassandkickcellAudioTracks210ad ......................................... 78
Exercise211:2beatcongamarchacellAudioTracks211ad............................................ 80
ListeningTour3:Timba........................................................................................................................ 81
SongspecificAccompanimentParts............................................................................................ 82
Salsa,Timba,GearsandDancing ................................................................................................. 83
NGLaBanda ..................................................................................................................................... 85
CharangaHabanera.......................................................................................................................... 88
TheClaveInstrumentinTimba .................................................................................................... 89
Sidebar:ComparingIssacDelgadoandPaulitoFG ........................................................................ 1
IssacDelgado.................................................................................................................................... 92
PaulitoFGysulite.......................................................................................................................... 95
Manoln,elMdicodelaSalsa......................................................................................................... 99
ManolitoysuTrabuco ................................................................................................................... 102
Klmax............................................................................................................................................. 104
Bamboleo ....................................................................................................................................... 106
AzcarNegra .................................................................................................................................. 108
LosVanVan(timbaera) ................................................................................................................. 110
PupyPedrosoandLosQueSonSon............................................................................................... 113
ElitoRevysuCharangn.............................................................................................................. 115
HavanadPrimera........................................................................................................................... 117
OtherRecommendedTimbaArtists .............................................................................................. 119
RhythmExercises3:FourBeatRhythmicCells.................................................................................. 122
DancingPatterns ............................................................................................................................ 122
Exercise31:basicdancestepon1AudioTracks31ad ................................................ 123
Exercise32:basicdancestepon2AudioTracks32adand32prepad .................... 125
Exercise33:basicdancestepon3AudioTracks33ad ................................................ 126
Exercise34:basicdancestepon4AudioTracks34ad ................................................ 127
VariationonExercise31:basicdancestepNewYork2(useAudioTrack31) .............. 128
Exercise35:specialsonmontunostepAudioTracks35ad ............................................. 129
Exercise36:chachachAudioTracks36ad ..................................................................... 130
ClavePatterns ................................................................................................................................ 132
Exercise37:23sonclaveAudioTracks37ad ................................................................. 132
Exercise38:32sonclaveAudioTrack38ad................................................................... 133
Exercise39:23rumbaclaveAudioTracks39ad ............................................................ 134
Exercise310:32rumbaclaveAudioTracks310ad ........................................................ 134
Exercise311:23clavemarkersAudioTracks311ad...................................................... 136
Exercise312:32clavemarkersAudioTracks312ad...................................................... 136
BellPatterns ................................................................................................................................... 137
Exercise313:23campaneoAudioTracks313ad ........................................................... 138
Exercise314:32campaneoAudioTracks314ad ........................................................... 138
SoapboxSidebar:TerminologyGetOverIt! ....................................................................... 1
Exercise315:23contracampaneoAudioTracks315ad................................................. 141
Exercise316:32contracampaneoAudioTracks316ad................................................. 141
ExamplesoftheThreeMainTypesofmid20thCenturyInstrumentation ........................ 143
Exercise317:23contracampaneo2AudioTracks317ad.............................................. 144
Exercise318:32contracampaneo2AudioTracks318ad.............................................. 144
PatternsforTimbales ..................................................................................................................... 145
Exercise319:23cscaraAudioTracks319ad ................................................................ 145
Exercise320:32cscaraAudioTracks320ad ................................................................ 146
Exercise321:23cscaraaccentsAudioTracks321ad ................................................... 146
Exercise322:32cscaraaccentsAudioTracks322ad ................................................... 147
Exercise323:23cscaraderumbaAudioTracks323ad................................................ 147
Exercise324:32cscaraderumbaAudioTracks324ad................................................ 147
Exercise325:23baqueteoAudioTracks325ad............................................................. 148
Exercise326:32baqueteoAudioTracks326ad............................................................. 148
DrumsetPatterns ....................................................................................................................... 149
KickDrumPatterns..................................................................................................................... 150
Exercise32723commontimbamarchakickAudioTracks327ad.............................. 150
Exercise32832commontimbamarchakickAudioTracks328ad.............................. 151
Exercise32923commontimbapresinkickAudioTracks329ad.............................. 151
Exercise33032commontimbapresinkickAudioTracks330ad.............................. 151
SnareDrumPatterns.................................................................................................................. 152
Exercise33123timbakick&snareAudioTracks331ad ............................................ 152
Exercise33232timbakick&snareAudioTracks332ad ............................................. 153
Exercise33323LosQueSonSonkick&snareAudioTracks333ad ........................... 154
Exercise33432LosQueSonSonkick&snareAudioTracks334ad ........................... 154
Exercise33523LosQueSonSonghostsnareAudioTracks335ad............................ 155
Exercise33632LosQueSonSonghostsnareAudioTracks336ad............................ 155
Hihat,TomsandCymbals........................................................................................................... 155
CongaPatterns ........................................................................................................................... 156
Exercise33723clavealignedstandardcongamarchaAudioTracks337ad .............. 157
Exercise33832clavealignedstandardcongamarchaAudioTracks338ad .............. 157
Exercise339232drumcongamarchaAudioTracks339ad....................................... 158
Exercise340322drumcongamarchaAudioTracks340ad....................................... 158
RhythmExercises4:RhythmicPerspective ....................................................................................... 159
WhatisRhythmicPerspective?...................................................................................................... 159
TheProblem ............................................................................................................................... 160
MixedSignals ............................................................................................................................. 160
HowRhythmicPerspectiveAffectsOurListeningTourStrategy ............................................... 161
RhythmicPerspectiveProblem1:Changoffbeats...................................................................... 161
ExerciseRP1:mainbeats+changtresAudioTracksRP1ad......................................... 162
ExerciseRP2:changmarmbula(useAudioTracks211ad) .......................................... 162
RhythmicPerspectiveProblem2:TheAnticipatedBass ............................................................... 163
ExerciseRP3:tumbapartforguaguancAudioTracksRP3ad........................................ 163
ExerciseRP4:Parecochero+anticipatedbassAudioTracksRP4aandRP4b................ 165
RhythmicPerspectiveProblem3:4Groupsof3or3Groupsof4? .............................................. 165
ExerciseRP5:mainbeats+standard12/8bellAudioTracksRP5ad............................... 166
Whatabout6/8?............................................................................................................. 167
12/8inLatinPopularMusic ............................................................................................... 167
RhythmicPerspectiveProblem4:Wheres1in12/8? ............................................................. 169
10
11
Introduction
Beyond Salsa for Beginners is for dancers and listeners who enjoy attending Latin music concerts
and dances and simply want to learn more about the history, discography and basic rhythms for
theirownpersonalenjoyment.Thegoalsofthebookareasfollows:
togiveyouaworkingknowledgeofthefullhistoryofthismusic
toincreaseyourappreciationwithsomebasicclapping,singingand
dancingexercisestohelpyouunderstandhowitallfitstogether
toprovidealittleinsideinformationforthosetakingdanceclasses,
attendingconcertsandtravelingtoCuba
ListeningTours
Thecourseisbuiltaroundlisteningtours,withtheideaofmakinganemotionalconnectionwith
specificclassicrecordingsbeforegoingintostudymode.Thelisteningtoursgothroughthehistory
ofLatinmusic,genrebygenre.Eachsectionconsistsof:
arecommendedlisteningtrackanalyzedsectionbysection
abriefhistoryofthegenre
alistoffurtherlisteningtracks
ThegameplanfortheListeningToursistomakeaplaylist,orburnanaudioCD,consistingofthe
recommendedtrackforeachsection(orifyouprefer,analternatetrackfromthelongerlist),andto
listentotheplaylistoverandoveruntilyoucansingalongandhavestartedtodevelopapassionfor
themusic.Theideaistobecomeafanofthegenrebeforeyougointostudentmodetostudythe
genreshistoryandlearntoclapandsingitsrhythms.
Cubanmusicianstendtohaveagreatawarenessof,andrespectfor,thehistoryoftheircountrys
musicperhapsmoresothaninmanyothercountries.Youdbeunlikelytoheararockandrolleror
a hiphop musician quoting Frank Sinatra unless for comic effect, and few would even know the
namesofsuchmidcenturygiantsasLesterYoung,BudPowell,JeromeKernandmostotherswho
haventhadarecentHollywoodmoviemadeaboutthem.Incontrast,everyyoungCubanmusician
knowsandlovesBenyMor,LilMartnez,AbelardoBarrosoandthefullrangeofrumba,chang
and AfroCuban folkloric music. Its part of their national identity their sense of being Cuban.
Theyconsciouslyandsubconsciouslyquoteandrefertoaspectsofthiscommunalmusicallegacyin
everyperformanceandarrangement.Thisisofcourseabroadculturalgeneralizationandthereare
manyexceptions.Forexample,Englishlanguagepopartistshavebeguninrecentdecadestobuild
theirtracksoversampledsnippetsofJamesBrowngrooves,butthecontinuitybetweengenerations
inCubaismoreorganicandhasbeengoingonuninterruptedforoveracentury.
12
As a listener, dancer or music student who hasnt grown up in Cuba or Puerto Rico, your
appreciation of your favorite songs will grow geometrically as you start to hear them in their
broader historical context and enjoy their dozens of references to the past. I myself studied this
music in reverse chronological order, falling in love with timba and salsa before working my way
backtotheturnofthe20thCentury.AsIdidso,Ifoundmyselfinastateofcontinualamazement,
thinkingtomyself:Aha!Sothatswherethatcamefrom!,onlytolaterlearnthatitactuallycame
fromevenfartherback.Inmanycases,themusicalhookIwassoenamoredofdatedbacktorumba,
changorAfroCubanfolkloricmusic.
AchronologicalsurveyofLatinmusic,then,wouldbeginwithAfroCubanfolkloricmusicandbranch
out to secular folkloric genres like rumba and chang before arriving at the first recordings of
danzn made around 1900. Son, also originally a folkloric genre, was first recorded commercially
around1918andbecamewildlypopularinthelate1920s.Sonmontunoanddanznmamboarrived
inthe1940s,followedbymamboandchachachinthe1950s.AftertheCubanRevolutionof1958,
salsa developed in New York and Puerto Rico while the Cubans moved on to mozambique, piln,
upaupa,simal,dengue,andchang68inthe1960s;thesongoofLosVanVan,thejazzclassical
AfroCubanfusionsofIrakere,andthemodernizedcharangaofRitmoOrientalinthe1970s;andthe
modernizedsonofRumbavana,Son14andAdalbertolvarezandthecharangnofRevinthe80s.
Thetimbaera,beginningaround1989,drawsheavilyonallofthesegenres.
Because of the listen before studying philosophy of this course, I had to modify the historical
chronologyslightly.Yearsofobservationhavemadeitclearthatmusicstudentsandnewlisteners
have a strong tendency to hear AfroCuban folkloric music, chang and rumba incorrectly. If you
immerseyourselfinlisteningtotheserhythmsbeforeyoureabsolutelycertainwherethe correct
beatis,youcaneasilywindupdoingyourselfmoreharmthangood.Thevocalsandtresofchang,
forexample,arealmostentirelysyncopatedandtheresnobassorchordalinstrumenttomakeit
clearwheretherealbeatis.Theresultisthatmanynewlistenersheartheomnipresentoffbeatsof
chang as onbeats. As well discuss later on, the human brain cant be stopped from guessing
where1iswhenithearsanewpieceofmusic.Andonceitmakesitsfirstguess,itcommitsitself
strongly, and before you know what hit you, youve learned the song incorrectly and have to go
throughalongandpainfulprocessofunlearningit.
Thus, although AfroCuban music, rumba and chang are the first genres historically, well save
themforthefinallisteningtour,afterwevemasteredtherhythmictoolswellneedtolearnthem
correctly.
RhythmicExercises
Asecondarygoalofthisbookistoprovideapreparatoryheadstartcourseforpeopleconsidering
takinglessonsonaninstrumentbutwhohaventyettakentheplunge,orforpeoplewhosimplylike
toknowmoreabouttherhythmstheyrehearing.Theother20volumes(asof2012)oftheBeyond
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LookingAheadtoTheBeyondSalsaSeries
BeyondSalsa:TheCentralPremise
The explosive Havana music scene of the 1990s produced a windfall of transformational musical
breakthroughs, many of which have yet to be fully exploited: songspecific tumbaos, gears, gear
changes,controlledimprovisation,conga,pianoandbasstumbaosofdoubleorquadruplelength,
contrasting gestures,efectos,rhythmiccounterpoint,newapproachestoclaveandclavechanges,
andsoon.Workinginrelativeisolation,Cubanmusicianshavereinventedpopularmusicarranging
inmanywaysthatcryouttobeunderstood,recombined,andcarriedforwardtotheirfullpotential
acrossthefullrangeofpopularmusicfromsalsaandLatinjazz,torock,funkandpop.
ThegoaloftheBeyondSalsaprojectistostudythisCubantimbarevolution,anditshistory,from
thepointofviewofeachinstrumentintherhythmsection:BeyondSalsaPiano,BeyondSalsaBass,
Beyond Salsa Bong, and so on. In Beyond Salsa for Ensemble, we study the rhythm section as a
whole, with coordinated exercises for each instrument designed to be practiced together as a
completerhythmsection,whetherbystudentsinanensembleclasssettingorbyprofessionalsina
working band seeking to incorporate more modern Cuban rhythm section techniques into its
arsenal.InUnderstandingClaveandClaveChanges,weclarifysomeoftheconfusionandmystery
surroundingthisenigmaticmusicaltopic.
Theearlyvolumesoneachinstrumentcoverhistoryandbasicconcepts.Subsequentvolumesfocus
onthestyleofonespecificartist.BeyondSalsaforBeginnersisaspecialcoursedesignedfornon
musicians:dancers,listeners,andbeginnersandBeyondSalsaPercussion,Volume1isapreparatory
coursefornonmusiciansconsideringtakingpercussionlessons.
HowtheSeriesisOrganizedandSold
With the exception of the Understanding Clave and Clave Changes book and audio package, each
volumeoftheBeyondSalsaseriesconsistsoftwoorthreeseparatelysoldproducts:
1) abooklikethisonewithtextandmusicalnotation(hardcopyoreBook)
2) downloadable MP3 audio files demonstrating the musical examples, accompanied by a
clave click track, at fullspeed and in slow motion, panning certain elements hard left and
rightformoreflexiblestudy
3) when available, downloadable computer video files and physical DVDs showing a Cuban
musicianperformingeachmusicalexampleatfullspeed,inslowmotion,andwithvariations
Book
Thebookyourereadingnowcanbepurchasedat www.createspace.com/4035244asahardcopy,
bound paperback book. Alternatively, it can be viewed online and/or printed on your computers
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Audio
Theaudiofilesdonotcomewiththebooks.Theyreavailableasseparate,downloadableproducts
from www.timba.com/audio (or,inthecasesofUnderstandingClave,andpartsofBeyondSalsafor
Beginners and Beyond Salsa Percussion, Vol. 1, theyre available as free downloads at
clave.latinpulsemusic.com and timba.com/audio). For each notation example, there are two ultra
highqualityMP3filesmadedirectlyfrom24bitwavefiles.Dependingonthesubject,someaudio
filesaregeneratedfromMIDIfiles(oftenplayedbythemusician)andsomeareactualliveaudio.In
each case, we provide a slow motion version. The Alain Prez books, for example, are about 90%
live audio and 10% MIDI audio. The audio files can be burned to audio CDs or played on an MP3
player. If you have audio on your computer, I highly recommend taking advantage of the new
generation of computer programs that will allow you to change the tempo and/or key of any of
these audio files and to loop them to fit your style of practice. Particularly useful are: Amazing
Slowdowner,Transcribe!andEmulatorX,allofwhichcanbedownloadedfromtheirrespective
websites.Audiosamplesforallbookscanbeauditionedattimba.com/audio.
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Video
Liketheaudioproducts,thevideosaresoldasseparatedownloadsfromtimba.com/audio.Sofar,
wehavevideofortheAlainPrezvolumesBeyondSalsaBasstheMelnLewisvolumesofBeyond
Salsa Piano, and the Calixto Oviedo volumes of Beyond Salsa Percussion. There are video files for
eachexercise,inwhichthemusicianwillplayslowly,thenatfullspeed,andfinallywithvariations
such as might be used in a live performance. In the cases of Meln and Alain, there are three
separatevideosforeachperformance:cameraangle1,cameraangle2,andasplitscreenversion
showing both angles. Samples of each as well as some free performance videos of Meln can be
foundatwww.timba.com/pianoandwww.timba.com/bass.SamplesarealsoonYouTube.
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The video products for Volume 2 and Volume 3 of Beyond Salsa Percussion, featuring
drummer/timbaleroCalixtoOviedo,areavailableatwww.timba.com/percussion,asareseveralfree
previews. The two volumes Calixto volumes are combined on a hardcopy DVD available at
www.createspace.com/324911.AllhardcopyDVDsaresoldfor$25andincludethecontentsoftwo
volumes,whilethedownloadablevideosaresoldseparatelyat$10pervolume.HardcopyDVDsfor
AlainandMelnmayalsobereleased.
AttheendofthisbookistheBeyondSalsaCatalogandpricelistforallproductsreleasedtodate,
withpictures,linksandcontentdescriptions.
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BeyondSalsaPiano
BeyondSalsaPiano,with11volumesasof2012,isahistoryandanthologyoftheroleofthepiano
intheLatinrhythmsectionfromitsfirstappearancetothepresent.Inabroadersense,itsastudy
oftheartofcreatingmusicfromlayersofrepeatingrhythmicandmelodicphrases.Whetherthese
syncopatedfiguresarecalledtumbaos,guajeos,montunos,riffsorvamps,thisAfroCubanconcept
liesattheheartofnearlyeverypopularmusicgenrefromsalsatorock,funk,R&B,hiphopandjazz.
While presented as a set of method books, the series doubles as a history course and record
collectingguideforlisteners,dancers,andmusicianswhoplayinstrumentsotherthanpiano.
Perhapsthemostimportantgoalofthepianoseriesistoprovideacomprehensiveunderstandingof
how tumbaos are constructed, their central role in the texture of Latin music of all eras, and the
endlesspossibilitiestheyprovideforcreativecomposingandarranging.
Volumes1to5Rangingfrombeginningtoadvanced,thesefivevolumescoverthefullhistoryof
Cuban tumbao playing, from the tres and violin guajeos that were the predecessors of the piano
tumbaotoathoroughanalysisofthemoderntimbastyle.
Volume6onwardEachbookconcentratesonthestyleofoneCubanpianist,withnotefornote
transcriptions,oftenbasedonMIDIfilesperformedbythevolumesfeaturedpianist.Forexample,
thesubjectofVolumes6through9isIvnMelnLewis,thephenomenallyinnovativepianistwho
played with The Issac Delgado group from 1995 to 1998. Volumes 10 and 11 begin our study of
CsarPupyPedrosoofLosVanVanandLosQueSonSon.Volume12willcompleteoursurveyof
PupysworkwithLosVanVan,andVolume13willcoverhisfirstfouralbumswithLosQueSonSon.
Beginning with Volume 14, we hope to move on to Juan Carlos Gonzlez and Tirso Duarte of
Charanga Habanera, Rodolfo Peruchn Argudn of NG La Banda, Chaka Npoles of Manoln (El
MdicodelaSalsa),RolandoLunaofPaulitoFGandTheIssacDelgadogroup,andmanyothers.For
beginners and intermediate players, well also be adding a special volume featuring Gustavo
Ramrez,exploringthehistoryofandthemanypossiblebassandpianovariationsthatcanbeused
withtheubiquitousguajiraprogression,IIVVIV,sofundamentaltosalsaandson.
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BeyondSalsaBass
Beyond Salsa Bass also begins with five introductory volumes of increasing difficulty (planned for
2013), covering the history of the bass tumbao chronologically. The subject of Volumes 69, Alain
Prez,playedsidebysideintheIssacDelgadogroupwithMelnLewis,thesubjectofVolumes69
ofBeyondSalsaPiano,sothetwoseriescoverthesamematerialinthesameorder.Eachisarguably
theleadingfigureofthetimbaeraonhisrespectiveinstrument,butevenmoreimportantwastheir
creative chemistry they shared with each other and with Delgado himself, producing a musical
result that far exceeded the sum of its parts. The opportunity to study the same historical music
fromthesetwovantagepointshasbeenoneofthemostexcitingpartsofwritingthisseries.
BeyondSalsaPercussion
After an introductory volume for beginners and prebeginners, the rest of the Beyond Salsa
Percussionseriesfocusesonindividualtimbalerosanddrummersandanalyzestherhythmsection
practices of various bands from various eras of Cuban music. Volumes 2 and 3, on the inimitable
Calixto Oviedo, of NG La Banda and Adalberto lvarez fame, were released in 2011. There are
extensivevideoproductsforthesebooks,includingspecialfilesfortheTranscribeprogramwith
prestoredvideolooppointsthatcanbeplayedbackatanyspeed.
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UnderstandingClaveandClaveChanges
Andidealcompanionforthebookyourereadingnow,UnderstandingClaveandClaveChangesisa
specialsupplementaryvolumeinspiredbythearrangingofPupyPedrosoandJuanFormellduring
theperiodcoveredbyBeyondSalsaPiano,Volume11.Itbeganasashortappendix,butthemoreI
wrote, the more I thought about my years of discussions with other musicians, long nights spent
withheadphones,readingofendlessclavethreadsoninternetgroups,andthemanylecturesand
master classes Ive attended. There seems to be an endless fascination with clave, clave direction
andclavechanges,aswellasendlessfrustration,confusionandmisinformation.
With UnderstandingClaveIwasdeterminedtoendtheconfusiononceand forall,andtokeepit
frombeingonemoreloseweight,quitsmokingandmakeextracashinyoursparetimeselfhelp
book.Idesignedamethodthatrequiresyoutosing,clapanddanceyourwaythroughmemorized
musical examples before even attempting to understand the terminology of concepts. In order to
reach as large an audience as possible, the clave volume is sold at a reduced price, and with free
downloadableaudiofiles.
BeyondSalsaforEnsemble
At368pages,with464audiofiles,BeyondSalsaforEnsemble,Volume1isbyfarthelongestbookof
the series. Its designed for college and high school Latin ensembles and/or working salsa bands
seekingtoaddCubanrhythmsectiontechniquestotheirrepertoire.
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Volume1,Part1takesastandardchordprogressionandshowshowitcanbeconvertedfromsalsa
totimbaonaninstrumentbyinstrumentbasis.
Volume1,Part2,usingthesameprogression,presents16rhythmicbreaks,orefectosandshows
howtheycanbeexecutedin32and23clavebyeachinstrument,withleadsheetsforexperienced
playersanddetailedtranscriptionsforstudentswhoneedorwanttolearnanexactandauthentic
waytoorchestrateeachbreakontheirspecificinstruments.
Volume 1, Part 3 is a meticulously complete arrangement of Pupy Pedrosos timba standard El
buenagente, with full lyrics, vocal harmony parts, horns, piano and bass, the latter two provided
bothasleadsheetsandnotefornotetranscriptions.Theresalsoaconductorsscore.
BeyondSalsaforEnsemble,Volume2,scheduledfor2013,willextendthesameapproachtotimba
gears.
BeyondSalsaBongandBeyondSalsaCongas
BeyondSalsaBong,featuringCarlosCaroofOpus13andPaulitoFG,andstartingwithavolume
forcompletebeginners,willbereleasedinlate2012orearly2013.
BeyondSalsaCongasiscomingin2013.
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Appendix1:Glossary
Abaku
1.a12/8rhythmbroughttoCubafromtheCalabarRiverareaofWestAfrica
2.amysterious,allmale,mutualaidsociety
abanico
1.aspecialtimbalfigureusedtointroduceanewsection;originatedindanzn
2.Spanishforfan,femaledanzndancerswouldfanthemselvesduringtheAsections
ofdanzonesandthencollapsetheirfansontheirpartnersbacksjustastheBsection
began,perhapstheoriginalreasonforapplyingthetermtotimbales
aberkula
unconsecratedbatdrumsforuseinnonreligioussettings
ahnam
slangforahnadams(keepittherenomore),shoutedbysingersafterapassageor
attheendofasongthemeaningismorelikethatsperfectjustlikethat;sometimes
asnmissubstituted(likethat,nothingmoreisneeded)
akpn
theleadsingeranddirectorinatraditionalAfroCubanreligiousceremony
apodo
nicknamemanyCubanmusicianshavethemandthenicknameisoftenagoodnatured
jababoutsomephysicalattribute,e.g.,bombnforsomeonewhoisshortanddark
skinned,gordoorflacoforthefatandskinny,melnforsomeonewithabigroundhead
andsoon.Onlyrarelyisanapodocomplimentary,e.g.Changuito(asmallerversionof
therevereddeity,Chang).Otherapodosrefertoracialappearanceorskincolor,e.g.,El
Indio,Chino,Niche(darkblack),Chocolate,orpersonalitytraits,e.g.Tosco(roughand
crude).
Arar
1.anAfroCubanethnicgroupfromDahomeywhosemusic,drumsandreligionhave
beencarriedoninWesternCuba
2.aspecialbatrhythmadaptedfromtheararrepertoireforusewithspecifictypesof
songs
Bant
anAfroCubanethnicgroupofCongoleseorigin;moreslaveswerebroughtfromthis
regionthananyother;principalmusicalgenresarepalo,makutaandyuka
BPM
BeatsPerMinutetheunitofmeasurementfortempo(thespeedofthemainbeats)
backbeat
subdivision5;thesecondmainbeatofeachsideoftheclave;thesubdivisioncommonly
playedbythesnaredruminNorthAmericanmusic;asopposedtofrontbeatthefirst
mainbeatofeachsideoftheclave
baqueteo
1.theprincipaltimbalandgirorhythmofdanzn
2.(general)arhythmplayedbyastickorbaqueta
basicstep
asixstepdancemovementlastingoneclaveinduration
bat
1.oneofthreesizesofhourglassshaped,doublesidedrumsusedinYorubanmusic
2.themostextensivelypracticedandstudiedAfroCubanreligiousgenre
batera
Spanishfordrumset
bemb
1.afamilyofYorubandrumsinCuba
2.oneofthefourmainYorubanmusicgenresofAfroCubanfolkloricmusic
bloque
alongerrhythmicbreakplayedbytwoormorerhythmsectionmusicians(asopposedto
efecto,ashorterrhythmicbreak)
bolero
1.atypeofslowsongwithromanticlyrics,verypopularthroughoutthe20thCentury
2.aspecificrhythmicpatternoften,butnotalways,usedtoaccompanybolerosongs
224
bomba
1.alargefamilyofPuertoRicanfolkloricrhythms,includingbombasic,studiedin
Exercise25.
2.anultrahighenergytimbagearinwhichthebassplaysthumpsandslidesanddancers
danceapartfromeachother,withshouldersandhips,andwithrecklessabandon
bombo
1.subdivision4;themiddlestrokeofthe3sideofclave
2.Spanishtermforbassdrum
bong
apairofsingleheaded,openendeddrums,attachedtoeachother,heldbetweenthe
kneesandplayedwiththehands;thebongoriginatedinCuba
bongosero
amusicianwhoplaysbong(andalsothehandbellinmostgenres)
bongbell
asynonymforhandbellorcampana
bongdelmonte
averylarge,lowbongusedinchang
bota
1.amemberofthesongofamilyofrhythmsthatstressessubdivision6and8ofeach
sideoftheclave;createdbyJosLuisChanguitoQuintana
2.Spanishtermforboot(asinkickinguptheenergyoftheband)
botijaor
botijuela
alargejugusedasabasswindinstrument;replacedbythemarmbulainchangand
earlyson,andlaterreplacedbythecontrabassinson
cabildos
culturalpreservationsocieties,somestillinexistenceinCuba,datingbackhundredsof
yearswhentheywerepermittedbythegovernmenttoallowAfricanslavestopreserve
theirculture
caja
1.thelowestdruminmanyfolkloricensembles,oftenusedforimprovisation
2.Spanishforsnaredrum
cajn
1.oneofafamilyofdrumsservingasimilarroletoacongaortumbadorabutwithboth
thebodyofthedrumandtheplayingsurfacemadeofwood
2.Spanishtermforbox
campana
1.Spanishtermforbell(anybell)
2.aspecificbell,thehandbellorbongbell;thelowestofthethreecommonbellsof
salsaandtimba
campaneo
1.Spanishtermforapatternplayedonanybell
2.aspecificandextremelycommonpatternplayedonthehandbell(Exercise313)
cscara
1.acommonrhythmiccellplayedwithsticksonthesidesofthetimbalesalsocalled
cascareo(Exercise319)
2.Spanishforshell
cscarapulse
aterminventedforthesebookstoprovideadescriptivenameforsubdivision6,whichis
heavilyaccentedonbothsidesoftheclaveinthecscaraorcascareorhythm
alsoknownasCubanstylesalsainthedancesense;atermforthetypicalwaythat
Cubansdancetosalsaandtimba.IntheUnitedStatescasinoisoftendistinguishedfrom
LAandNYstyleSalsaasbeingmorecircularandlesslinear.
anyofavarietyoffolkloricinstrumentsusedfortimekeepingandconsistingof
hardwoodstruckwithsticks;alsocallguagua
casino
cat
cencerro
Spanishtermforacowbell;synonymforcampana
chach
thesmallerheadofabatdrum(thelargerheadiscalledtheen)
225
chachach
aCubangenrecreatedinthe1950s,originallyplayedbycharangagroups,withaspecial
characteristicdancestep
chabell
asmallhigherpitchedbell,usuallymountedonthetimbalerosstand(campanade
chachach)
Chang
oneofthemostcelebratedSanteradeities,theorichaofthunderandlightning;
associatedwiththecolorred;dancedbyasinglemaledancerwithanax(seep.204)
chang
aseminalCubangenrefromtheeasternregionofCuba
charangafrancesa
agroupthatincludesviolins,flutes,giro,andtimbales,butnotbongorhorns;now
calledsimplycharanga;itsoriginalprimarygenrewasdanzn,thendanznmambo,
thenchachach,butthetermreferstotheinstrumentation;examples:Orquestas
Aragn,Sublime,Sensacin,Amrica,Rev,RitmoOriental,Melodasdel40,Arcao,
Fajardo,etc.
chkere
apitchedgourdwithbeadsnettedaroundtheoutside,playedwiththehands
(sometimesspelledshkere);aprimaryinstrumentintheYorubangirogenre
cinquillo
1.animportant5strokecellbuiltaroundthe3sideofclavenotequallyspaced
2.literally,aquintuplet,agroupoffiveequallyspacedstrokes
clave
1.oneoftwosticksplayedtogether(claves)
2.oneofseveral5strokerhythms,regularlyalternatingbetweentwosides,onemore
syncopatedthantheother,andaroundwhichmostCubangenresarebuilt
clavealigned
arhythmiccellofatleast4beats,withadifferentrhythmforeachofitsinternal2beat
halves,suchthatone2beatcellismeanttobeplayedagainstthe2sideofclaveandthe
otheragainstthe3side.Ifthelistenerhasexperienceinthegenreandstyletheclave
alignedcellshouldestablishtheclavedirectioneveniftheactualclaveisnotpresent.
columbia
thefastestofthethreeoriginalrumbagenres;in12/8;featuringavirtuosicsinglemale
danceraggressivelydancingwithknifesandotherimplementsandinteractingwiththe
quintoorleaddrum
comparsa
acarnavalparadecelebration,withfloats,commonalloverCuba,featuringavarietyof
fast,densecongarhythmsandsexydancinginelaboratecostumes
conga
1.atall,rounded,singleheadedCubandrum,playedwiththehands,alsocalled
tumbadora
2.aspecificsizeddrumofthecongafamily,largerthanthequintoandsmallerthanthe
tresdosandtumba
3.afastCubancarnavalrhythmplayedbycomparsagroups
conjunto
agroupwithtrumpets,tres(optional),andbongbutnottimbales;itsoriginalprimary
genrewassonmontunobutthetermreferstotheinstrumentation;e.g.Arsenio
Rodrguez,Chappottn,RobertoFaz,ConjuntoCasino,Rumbavana,Son14,etc.
contracampana
alongflatbellmountedonthetimbalerosstand,alsocalledtimbalbell,ormambobell
contracampaneo
aspecificpatternplayedonthecontracampanabell
contratiempo
literallyagainstthebeatusedtorefertodancingon2
cornetachina
adoublereedwindinstrumentusedincomparsa,especiallyinEasternCuba
coro
1.arepeatingcallandresponsevocalriffsungduringthemontunosection
2.thewholesectionwherearepeatingcoroandleadvocalguasorpregonesaresung
226
cubanismo
theessentialqualityofbeingCuban
cuerpo
1.thelowervolumesong,orverse,sungbytheleadvocalistaloneatthebeginningof
mostLatinarrangements;thebodyofthesong
2.Spanishtermforbody
Dahomey
1.anAfricankingdominandaroundpresentdayBenin;someDahomeyanswere
broughtdirectlytoMatanzasandHavana(calledArar);otherscametoEasternCubavia
Haiti
2.aseculargenrefromtheVodfamily,broughttoEasternCubafromHaitibypeopleof
Dahomeyandescent
danzn
seminalCubangenredatingfromthelate19thCenturythatcombinedclavebased
rhythmswithEuropeanorchestralinstrumentsandtheEuropeancontradanza;thefirst
danznwasLasalturasdeSimpsonbyMiguelFaldein1879
despelote
anoncouplestyleofsexy,undulatingdance,performedtotimbagears;literally,tostrip
offorthrowdown;fromdespelotar
danzonete
a1930smodificationofthedanzn,addingvocalstocompetewiththepopularityofson;
thefirstdanzonetewasRompiendolarutinabyAnisetoDazin1929
descarga
ajamsessionfromtheverbdescargartodischarge,tounload,ordescargarseto
unburdenoneself
diablo
ArsenioRodrguezstermfortheconcludingsectionsofhissonmontunoarrangements,
withrepeatinghornriffsjuxtaposedagainstcorosandsometimessolos;adirect
predecessorofthemambo
diana
afreeformvocalsungbytheleadsinger,withnonverbalsyllablesinsteadofwords,at
thebeginningofaguaguanc.Thedianasetsthemoodandkeybeforethecuerpo
begins.
duplepulse
structure
musicinwhicheachmainbeatisfeltasbeingsubdividedintotwoorfourparts;most
Cubanpopularmusicisinduplepulsestructure
efecto
arhythmicbreakplayedbytwoormoremembersoftherhythmsection
en
thelargerheadofabatdrum(thesmallerheadiscalledthechach)
estribillo
ingeneral,arepeatedvocalchorus;usedspecificallyasapartofadanznarrangement
frontbeat
subdivision1,thefirstmainbeatoneachsideoftheclave,asopposedtobackbeat,the
secondmainbeatoneachsideoftheclave
gear
(gearchanges)
atermcoinedbytheauthortodescribeanyspecificrhythmsectionorchestrationthat
themembersoftherhythmsectionhaverehearsedandcanswitchinanoutofoncue.
Allgenreshavegears,buttimbahasauniquegroupofgearsinvolvingtheabsenceofthe
basstumbaoandoftenaccompaniedbychangesinthedancemoves.
guagua
1.apieceofhardwoodorcane,playedwithsticks,creatingawoodblocklikesound,used
inrumbaandotherfolkloricgenres;alsocalledcat
2.Cubanslangforbus
guaguanc
oneofthethreegenresoftheseminalCubanfolkloricrumbacomplex;characterizedby
aspecificmatingritualdance;incrediblyinfluentialonallCubanpopularmusicgenres
guajeo
asyncopated,loopedfigureusedforaccompaniment;guajeoisprimarilyusedforviolins
andtresbutalsosometimesusedforpiano;synonymsaretumbaoandmontuno
227
guajiro/guajira
1.apersonfromthecountry(alsocampesino/campesina)
2.guajiraatypeofvocal/guitarfolkmusicwithminimalpercussion,fromthesame
familythatincludestrova,cancin,boleroandpuntoguajiro.
3.guajiraaspecialmediumslowtypeofarrangementpopularinNuyoricansalsa
guaracha
originallyatypeofCubansongusedinoperettas,featuringcomicalwordsandfast
tempos,lateradoptedbysonandcharangagroups
guarapachangueo
amoderntypeofguaguancaddingcajonesandsometimesbatstotherumba
ensemble;thetermwascoinedbyafriendofLosChinitos,who,uponfirsthearing,and
notimmediatelycomprehending,theirrhythmicinnovations,famouslyandpejoratively
questioned:whatsallthisguarapachangueo?
guataca
ametalhoebladeusedasabellinmanyfolkloricgenressuchaspaloandgiro
guayo
atypeofgiro(serratedgourdtimekeepinginstrument);usedinchang
gira
ametalgirolikeanopenendedmetalthermoswithahandle;usedprimarilyin
Dominicanmerengueandbachata,butsometimesinCubanmusic;wasplayedby
musicaldirectorJoaqunBetancourtinIssacDelgadosmid90sband
giro
1.aserratedgourdplayedwithastick(likeawashboard);oneoftheprincipaltime
keepersinLatinmusic;sometimescalledguayo
2.anAfroCubanfolkloricgenre(Yorubancategory)usingmultiplechkeres
habanera
1.ahistoricallyimportantrhythmiccell;sometimescalledtango
2.aSpanishadjectivemeaningHavanan,orofHavana(habaneroformasculine)
3.afemalepersonfromHavana(theSpanishtermforHavanaisLaHabana)
hembra
thelargerbong,conga,ortimbalinagroupoftwo(thesmallerbeingcalledmacho);
literally,hembrameansfemaleandmachomeansmale
twosmallcymbals,facingeachother,thatcanbeopenedandclosedwithafootpedal,
and/orplayedwithsticks
hihat
hook
ashortmusicalideathatdrawsalistenertoanewpieceofmusic,thatsticksinthemind
suchthatthelistenerwantstohearthesongagain.Ahookcanberhythmic,melodic,
harmonic,accompanimental,orlyricalusuallyacombination.
ittole
themiddlesizeddrumofthethreebats
iy
thelargestofthethreebats,playedbytheleader,whocuestherhythmicchanges
iyes
1.oneoffourmaingenresofYorubanmusicwithitsowntypeofdrums
2.aspecificrhythmadaptedforuseinbatmusic
jamblock
originallythebrandnameforarectangularinstrumentofredorblueplastic,producinga
veryloudclavelikesound,usedprimarilytoplaytheclaverhythmandmountedona
drumortimbalessetnowthetermisusedgenericallyforanysuchinstrument
jazzband
(pron:yahzbahng);agroupwiththeinstrumentationofaNorthAmericanbigband,or
asubsetthereof,thatlateraddedLatinpercussion,e.g.OrquestasRiverside;Casinodela
Playa,ChepnChovn,BenyMorsBandaGigante,TitoPuente,Machito,etc.
jimagua
1.the2sideofclave
2.Spanishfortwin
kickorkickdrum
abassdrumplayedwithafootpedalinCubanmusicsometimesplayedfroma
standingpositionbyatimbalero
228
kirib(orquirib)
asimplefolkloricgenrefromthemountainsofEasternCuba;alongwithnengn,oneof
theprecursorsofchang,andbyextension,son
Lucum
1.atermforCubansofYorubanancestry
2.thelanguageandreligioninheritedbyCubansofYorubandescent
macho
thesmallerbong,conga,ortimbalinagroupoftwo(thelargerbeingcalledhembra)
mainbeats
Thefourequallyspacedbeatsofonecycleofclave.Thesearethebeatsonwhichyoutap
yourfoottothemusic.Theirspeedisthetempoofthesong.Thefirstandthirdmain
beatsarecalledfrontbeatsinthisbookandthesecondandfourtharecalledbackbeats.
makuta
oneofthethreemainBantgenres,withitsowntypeofdrums(similartocongas),anda
fertilityritedanceconsideredaprecursorofguaguanc
mambito
Ashortrhythmicfiguresharedbythefluteandpercussionincharangamusic
mambo
1.asectionofaLatinarrangementfeaturingrepeatinghornriffs,oftenwith
contrapuntalrepeatingvocalriffs,orcoros
2.aCubangenre,withacharacteristicdancestep,createdinthe1950s
mambobell
synonymforcontracampana,thelargeflatmountedbellplayedbythetimbalero
manoteo
thelessaccentedstrokesofacongamarchaorbongmartillo,usedtofillinthe
subdivisionsfortimekeepingpurposes;alsocalledrelleno
maracas
Maraca
1.apairasmallgourdswithhandles,filledwithbeads;oneoftheprincipaltimekeeping
instrumentsinLatinmusic
2.thenickname(apodo)ofOrlandoValle,flutistandbandleader,whoasayoungman
wasverythinandhadahugeafro,thusresemblingthemusicalinstrument
marcha
1.arepeatingcongapatternusedforaccompaniment
2.afamilyofrhythmsectiongearsthatalwaysincludesasteadybasstumbaoandconga
marchaandhasdifferentpercussioncombinationsdependingonthepartofthe
arrangementitsusedfor
marchaabajo
atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforcuerpos;usescscaraandusuallybong,butwithnobells.
marchaarriba
atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforcoros,withtwointerlockingbellparts
marchade
mambo
atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforhornmambos,withbells,cymbalsandlotsofpercussionfills
marmbula
alargewoodenboxwithpitchedstripsofmetal,likealargekalimbaorlamellophone;
usedasthebassinstrumentinchangandearlyson
martillo
1.theprincipaltimekeepingpatternofthebong
2.literally,Spanishforhammer
masacote
atermforatimbagearwithoutbasstumbao,butwithsomesortofcongamarcha
merengue
afastDominicangenrethatbecamepopularinCubaninthe1980s,spawningvarious
hybridssuchasChanguitosmerensongo
meter
theregulargroupingofmainbeats,e.g.,4/4,2/2,12/8etc.Thefirstnumberisthe
numberofbeatspergroupandthesecondisthedurationusedinstandardnotationfor
onebeat.12/8isacompoundmetermeaningthateachgroupof3isfeltasonebeat,
suchthat12/8hasfourmainbeats,eachfeltwiththreesubdivisionsperbeat.
229
moa
1.atypeofhornriffsimilartoamambo;sometimesinventedonthespotinlive
performance
2.CubanslangforrecentNorthAmericanR&BandCubanpopinfluencedbyit
montuno
1.asopposedtothecuerpo,thelonger,moreintensefinalsectionofaLatin
arrangement,featuringcoros,mambos,muelas,gearchanges,andsolos
2.atermusedoutsideofCubaforpianotumbao
mozambique
agenreofbriefbutextremepopularitycreatedbyPelloelAfroknintheearly1960sand
basedoncomparsa;arareexampleofpopularmusicwithnobassorchordinstruments,
althoughelectricguitarwaslateradded;notrelatedtothecountryofthesamename;
inspiredadifferentgenreofthesamenameinNewYork,ofwhichtheprincipal
proponentwasEddiePalmieri
muela
1.alowintensitybreakdownduringaliveperformancewherethebandplaysmore
softlyandthesingerengageswiththeaudience
2.Spanishtermfortooth(asinchewingthefatwiththecrowd)
nengn
asimplefolkloricgenrefromthemountainsofEasternCuba;alongwithkirib,oneof
theprecursorsofchangandbyextension,son
note
apitchedsoundcreatedbyamusicalinstrument(asopposedtostroke,asound,of
optionalpitchornopitch,usedinapercussionpattern)
nuevoritmo
anameusedbyArcaoandCachaotodescribethenewtypeofmontunosectionadded
tothedanznformatinthe1940s;sometimesalsocalledmambo
oknkolo
thesmallestofthethreebatdrums
on1,on2,on3
termsreferringtothedancecountonwhichthelongerstepawayfromthebodyoccurs
pachanga
amerengue/sonflavoredgenreplayedprimarilybycharangasthatbecameverypopular
inthelate1950s
pailas
synonymfortimbales;literally,Spanishforfryingpans
paseo
the5th,6thand7thbarsofadanznAsectionandthedistinctivetimbal/girofigureused
toaccompanythem;paseorepeatstherhythmofthe3sideofclave3timesinarow
andisalwaysfollowedbyabreak(aka,bloque,cierreorefecto)
pegao
popular,orinstyle;literallystuck;ahitsongoraverypopularartistispegao;
contractionofpegado,fromtheverbpegar,tostick,ortohit
piln
1.alongpoleusedtostirroastingcoffeebeansinacircularmotion
2.agenreanddancebasedonthismotion,createdbyEnriqueBonneandPachoAlonso
intheearly1960s;thegenreisseldomplayedtodaybutelementsoftherhythm
continuetostronglyinfluencesongoandtimba
platillo
1.Spanishtermforcymbal;literallylittleplate
2.occasionallyusedtermforsubdivision8,thelastsubdivisionofeachsideofclave
ponche
1.Spanishtermforpunch
2.subdivision7,thenexttolastsubdivisionofeachsideofclaveandthethirdstrokeof
the3sideofsonclave
pregn
animprovisedphrasesungbytheleadsingerinbetweencoros;asopposedtogua,a
similar,butnonimprovisedphrase;synonym:soneo;originallytheexclamationthata
streetvendor(pregonero)usestoadvertisehiswares
230
presin
adramatictimbabreakdowngearwherethebassdropsoutorplayspedaltonesandthe
congamarchaandbellsdropout;alsocalledpedal,whenthebassplayslongtones
quinto
theleaddruminrumba(alsothesmallestandhighestpitchedofthecongafamily)
quintopulse
atermforsubdivision2,thesecondsubdivisionofeachsideofclave
rezo
literally,aprayerwhenusedinAfroCubanfolkloricmusic,thedrumsusuallyplayin
timewhilethesungprayerfloatsabove,outoftime
ride
apercussivefigureplayedoverandovertocreateagroove(alsousedinridecymbal,
thecymbalusedtoplayanimportantrideinjazz)
rueda(orrueda
decasino)
"wheel"inSpanish;acircleofcouplesdancingcasinoinwhichallcouplesperformthe
samemovementssimultaneouslyasdirectedbyacallerwhocuesthegroupverballyand
withhandsignalsoriginallydevelopedinthelate1950sorearly1960s.
rumba
acriticallyimportantCubanfolkloriccomplex,thegenresofwhichincludeyamb,
guaguancandcolumbia
rumbaclave
aformofclaveusedinguaguanc,songoandveryoftenintimba;alsocalledclavede
guaguanc(Exercise39)
segundo
literallysecond;themiddledruminrumba,orinmanyfolkloricensembles
sello
literallysealorstamp;thetrademarkstyleofaband
slap
1.anaccentedspeakingtonestrokeoncongaorbong;unpitched,loudandsharp
2.anoccasionallyusedtermforsubdivision3,asubdivisiononwhichtheconguerooften
playsaslap;tapadoinSpanishdobletapadowhenamarchausestwoinsuccession
snaredrum
(orsnare)ashallowdrumwithmetalwiresonthebottomhead,usedinNorth
Americandrumsetplayingtoplaythebackbeat;cajainSpanish
sobadoorsobao
literallymassaged;referstothelefthandorstickplayingasoftaccompanimentonthe
timbaleswhiletherightstickplaysalouderbell,cscaraorwoodblockpart.
solar
anurbanCubanhousingproject,orlargeapartmentcomplex,withacentralcourtyard
whererumbasandothercommunalactivitiesoccur;plural:solares
son
aseminalCubangenredevelopedinthe1920s
sonclave
aformofclaveusedinson,salsa,sometimbaandmanyotherLatingenres(Exercise37)
sonmontuno
1.agenrerepresentedbyanaugmentationoftheinstrumentationandarranging
possibilitiesofson;pioneeredbyArsenioRodrguez;playedbyaconjunto(asonsepteto
withaddedcongas,trumpetsandpiano)
2.anarrangementinthestyleofArsenioRodrguezandhisfollowers;mediumslowin
tempowithaconcludingdiablo(aka,mambo)sectionandahigherdegree(thanson)of
AfroCubaninfluenceinthelyricsandrhythms.
songo
1.theselfdescribedstyleofLosVanVan
2.afast,syncopatedrhythmicstyletypicalofLosVanVans1970sstyle
3.alargeandvariedfamilyofrhythmsdevelopedbyJosLuisChanguitoQuintana,
andincludingslower,R&Brelatedpatternsaswellasthebetterknownfastsongoabove
songspecific
anaccompanimentpart(basstumbao,pianotumbao,congamarcha,efectoetc.)
composedtofitoneparticularsong.Forexample,TomasitoCruzscongamarchaon
PaulitoFGsDelaHabana.Thepatternisuniquetothatsongandadiscerninglistener
willbeabletoidentifythesongfromthecongapartalone.Oftensuchapartisahook.
231
stroke
asound,ofoptionalpitchornopitch,usedinapercussionpattern(asopposedtonote,a
soundofveryspecificpitchcreatedbyamusicalinstrument)
subdivision
theshortest,orquickest,unitoftimeinarhythmicgroovesometimescalledpulse
traps
drumset,baterainSpanish
trapdrummer
adrumsetplayer,bateristainSpanish(istaisusedformaleorfemale)
tres
1.aguitarlikeinstrumentwiththreepairsofstrings,usedinchangandson
2.Spanishforthenumber3
tresdos
themiddledruminrumba,alsocalledsegundo
tresillo
1.athreestrokefigurewithunequaldurationsof332subdivisions;the3sideofson
clave(Exercise22)
2.Spanishfortriplet,threeequallyspacedstrokes
triplepulse
structure
musicinwhicheachmainbeatisfeltasbeingsubdividedintothreeparts,e.g.,12/8
trova
troubadormusicwithlittleornopercussionanimportantinfluenceonson;nueva
trovawasamovementinpostRevolutionaryCubawithpoliticallyconsciouslyrics,
typifiedbyartistssuchasPabloMilansandSilvioRodrguez.
thelargest,lowestconga
tumba
tumbao
1.asyncopated,repeatingostinatofigureplayedbythepianoorbass
2.outsideCuba,aspecifictypeofcongamarchathatmarksthe3sideofclavewiththe
tumba
3.thepersonalqualityofhavingastrongsenseofrhythmormusicality,e.g.,tiene
tumbao(he/shehasagreatgroove)orIssacDelgadoslyricyayotenamitumbao
pegao(Ialreadyhadmymusicalstyleestablishedearlyinmycareer)
tumbadora
anothernameforthecongadrum;alsoappliedtotheCongoleseancestorsoftheconga
vacunao
thefamouspelvicthrustdancemoveinguaguanc
yamb
theearliest,slowest,andmostrestrainedoftherumbagenres;originallyplayedon
cajonesandusingsonclave,dancedbycouples,oftenfeigningoldage
Yoruba
oneofthefourmaincategoriesofAfroCubanfolkloricmusic;includesfourmaingenres:
bat,giro,iyesandbemb
yuka
oneofthethreemaingenresoftheBantcomplexofAfroCubanfolkloricmusic
232
Appendix2:CommonSuffixes
ao
contraction for ado, which is like ed in English, e.g., cruzao = cruzado = crossed; less
formal,likechangingplayingtoplayininEnglish
eo
therhythmicpatternplayedonacertaininstrument,orthestyleofplayingonacertain
instrument,e.g.,cascareo(patternplayedontheshellofthedrum),campaneo(pattern
playedonabell,baqueteo(patternplayedwithsticks)
ero,era
a person who has a specific job, origin or cultural identity (conguero, Guantanamera,
charanguera,bongosero,timbalero,etc.)eroismasculine,eraisfeminine
ista
likeeroandera,butusedwithdifferentroots(violinista,dentista,Sandanista,pianista,
bajista,trompetista,saxofonista,flautista);istaisnotgenderspecific
ito,ita
abigger,bolderversionofsomething,e.g.,danzn,charangn,vaciln,rumbn,Robertn
(LosVanVansbearlikeleadvocalist)
Appendix3:SpanishExplanationsforEnglishSpeakers
IfyournativelanguageisEnglish,youllfindthatSpanishespeciallyCubanSpanishtakesabitof
gettingusedto.Somethingswilllookwrongatfirstsuchasonlycapitalizingthefirstletterinthe
titleofanalbumorsong.IfyouspendalittletimestudyingSpanish,however,youllbestunnedto
discoverhowexquisitelylogicalitisandhowobscenelyridiculousEnglishis.AftertakingSpanish
101,youllbeamazedthatanyonecouldeverlearnEnglish.
Pronunciation
WhenIsayexquisitelylogical,Imeanthis:thereisonlyonewaytopronounceanywrittenSpanish
word.Conversely,inEnglish,thesamepersonwillpronouncethesamewordinmultipleways.The
oldColePorterlyric,yousaytomaytoandIsaytomahtoisbutthetipoftheiceberg.Andthisis
oneicebergthatisnotmelting.
Tryreadingthissentencealoud:TheonlytimeIreadthenewspaperiswhenmyinternetconnection
isdown.MostNorthAmericanswillsayTheeonlytimeIreadthuhnewspaper.
In Spanish, once you know a handful of rules, you can correctly pronounce any word in the
dictionaryevenifyouveneverhearditspoken.Everyvowelmakesonlyonesound.Theresnevera
doubleconsonantunlessitchangesthepronunciation.Justasimportant,thestressofeachsyllable
isalsosetinstone.Ifthewordendswithavowel,s,orn,thestressisalwaysonthenexttolast
syllable and if it ends with any other letter, the stress is on the last syllable. If you want to
pronounceitanyotherway,youhavetouseanaccentmark.
233
Asanexample,letstakethefirstnameofthefamousCubanpianistChuchoValds.Hisfirstname
endsinavowel,whichmeansthatthenexttolastsyllableisstressed.So,usingEnglishphonetics,it
shouldbeCHOOchoh.Right?YouwouldntcallhimchooCHOHwouldyou?Now,justforfun,lets
sayChuchosmotherhadwantedtodifferentiateheryoungprodigyfromtheotherChuchosinthe
neighborhood and taught him to answer to chooCHOH. This would be fine, but shed have to
changethespellingofhisnametoChuch.Gotit?NowletsmoveontoValds.Itspronouncedval
DEHS, but it ends with an s and all words ending with s have the stress on the nexttolast
syllable unless theres an accent mark. Without the accent, Valdes would have to be pronounced
VALdehs.Now,gothroughallyourIrakererecords,andyoullfindthatsomeofthemlistChuchoas
ChuchoValdez!AndChuchoisamongthemostfamousCubanmusicians.Youcanfindthreeoreven
four different spellings of the names of many Cubans on their own albums! The reason is that
Valdez,withouttheaccentmark,ispronouncedexactlythesameasValds,becauseifawordends
withz(oranyletterotherthanavowel,sorn),itautomaticallygetsastressonthelastsyllable
soanaccentmarkwouldberedundant.
Finally,inSpanishthereisnozlikezebrasound.Zandshaveexactlythesamepronunciation
(like an English s). Most English speakers tend to pronounce the name Prez as perEZZZZZ, but
thecorrectpronunciationisPEres.
SpanishLetterCombinationswiththeSamePronunciation
option1
option2
option3
Englishpronunciation
ll
yellow(isliketheninnofollowedbytheyinyellow)
ce,ci
silver
georgi
him
hisalwayssilentinSpanish
ca,co,cu
cat
bandvaresimilarbutnotexactlylikethebinboy
So Chucho could write his last name Valds, Valdez, Balds or Baldez. Whats really interesting is
that some Cuban musicians will spell their own names differently from time to time. In English,
peopletendtobeverysnootyaboutspelling(No!no!no!ItTerriwithaninotTerrywithay!!).
AccentMarksinSpanish
Showingthestressofsyllablesaccountsformostaccentmarksbuttheyhaveafewotheruses:
Function
Example
separatingtwoconsecutivevowelsintotwosyllables
MarioversusMara
exclamations
qulocura!(whatmadness!)
questions
cundo?(when?)
sameword,differentmeanings
ms=more;mas=plus
234
Finally,wehave,whichmakesmaanasoundlikemanYAna,and,whichmakesanEnglishw
sound,likewater,asingiro(GWEErow).
Letsuseeverythingwevelearnedtounderstandthewordchang.ItspronouncedchanGWEE.
Iftheudidnthavethetwodotsoverit,itwouldbepronouncedchanGEE(likeguitar).Since
changendswithavowel,itneedsanaccentonthe,oritwouldhavetobepronouncedCHAN
gwee.
Accent marks also indication questions (cundo = when?) and exclamation (qu locura = what
madness!)anddifferentiatessimilarwords(si=if;s=yes;l=him;el=the).
TestYourSkills
ThetypicalNorthAmericanbaseballannouncerspronunciationofOscarHernndezisAHskurhur
NANdezzzz.Therearesixerrors.Howmanycanyouspot?
1&2.AHskur(asinstir)shouldbeohSKAR
3.theHshouldbesilent
4.hurshouldbeair
5.nan(likenannygoat)shouldbenahn(ornon,likenonsequitur)
6.dezzzshouldbedes
CapitalizationinSpanish
InSpanish,onlythefirstwordiscapitalizedinsongtitles,booktitles,andalbumtitles,butallmain
wordsarecapitalizedinnamesofmusicalgroups.Forexample,Irecommendthatyoulistentothe
songNotelocreas,fromthealbumConlaconcienciatranquila,bythegroupPaulitoFGysulite.
While were on the subject, capitalization isnt used in Spanish for the names of days (sbado),
months(octubre),adjectivesfornationality(lamsicacubana),orlanguages(ingls,espaol).
Appendix4:OtherStyleConventionsinthisBook
Italicization
Thisbookitalicizesallsong,bookandalbumtitles,andSpanishwordsthefirsttimetheycomeupin
asection.Forexample:
For his 1980 album, Elio Rev y su ritmo chang, Rev created new a instrumentation called
charangn.Charangncombineselementsofcharanga,conjunto,chang,rumbaandbat.
IalsouseitalicizationtostressthemeaningofEnglishwords,fornewEnglishtermsthatappearin
theglossary(e.g.,basicstep),andtoquotelyrics,whetherinEnglishorSpanish.
235
Appendix5:ForFurtherStudy
SuggestedReading
OtherBeyondSalsaVolumes:
BeyondSalsaPiano,Vol.1TheRootsofthePianoTumbao,byKevinMoore
BeyondSalsaPiano,Vol.2EarlyCubanPianoTumbaos:19401959,byKevinMoore
BeyondSalsaPiano,Vol.34CubanPianoTumbaos:19601989,byKevinMoore
BeyondSalsaPiano,Vol.5IntroductiontoTimba,byKevinMoore
BeyondSalsaPiano,Vol.69IvnMelnLewis,Pts.123,byKevinMoore
BeyondSalsaPiano,Vol.1013CsarPupyPedroso,byKevinMoore
BeyondSalsaBass,Vols.67AlainPrez,byKevinMoore
BeyondSalsaPercussion,Vol.13Intro(1)andCalixtoOviedo(23)byKevinMoore
UnderstandingClaveandClaveChanges,byKevinMoore
BeyondSalsaforEnsemble,Vol.1,byKevinMoore
BooksonInstrumentalTechnique:
ACollectionofBasslines,byFelicianoArangoandCherinaMastrantones,www.createspace.com/3739479
AContemporaryBassTechnique,byFelicianoArangoandCherinaMastrantones,createspace.com/3671152
Changuito:AMastersApproachtoTimbales,byChuckSilverman,ManhattanMusicPublications
YoelPezMtodo(abmusica.es)
TheNewMethodforAfroCubanDrumming,byJimmyBranly,HudsonMusic
ConversationsinClave,byHoracioElNegroHernndez,AlfredPublishing
MelodicDrumming,byRalValds
TheTomsCruzCongaMethod,byTomsCruz,KevinMoore,MikeGerald&OrlandoFiol,MelBay
Eltrescubano,CubanMasterSeries:Piano,bothbyJonGriffin,www.createspace.com
CubanMusicOverview:
CubaanditsMusic,byNedSublette,ChicagoReviewPress
TheClaveMatrix,byDavidPealosa,BembeBooks
TheSalsaGuidebookand101Montunos,byRebecaMaulenSantana,SherMusic
TexttoTuneAlignmentintheMusicofCharangaHabanera,byRyanMeadHonorsThesisatStanford
University,2007.Availableat:Hryanmead.com/Thesis.pdfH
RootsofTimbafreeonlinebookcoveringbasstumbaosofArsenioRodrguez,RitmoOriental,etc.
H
BooksandVideosonAfroCubanFolkloricMusicandRumba:
TheCongaDrummersGuidebook,byMichaelSpiro,SherMusic(alsoatHwww.latinpulsemusic.comH)
RumbaQuinto,byDavidPealosa,BembeBooks
TheAfroCubanFolkloricMusicalTradition,byRobertFernndez,LeisurePlanetMusic
AfroCubanPercussionWorkbook(andDVDproduct),byJosEladioAmatandCurtisLanoue
BataDrumming,byDonSkoog,www.contemporarymusicproject.com
Cantosafrocubanos,byLucaBrandoli,www.cdbabyn.com
H
TripstoCuba:
ChuckSilvermanwww.chucksilverman.com
PlazaCUBAwww.plazacuba.com
236
SuggestedListening
**indicatesalbumdownload(w/fullbooklet)isavailableonwww.latinpulsemusic.comasof2012.
ThislistischosenforbothoverallmusicalqualityandrelevancetoothervolumesoftheBeyondSalsaseries.
H
GROUP
ALBUM
DRUMMER/TIMBALERO
LABEL
PaulitoFGysulite
Conlaconcienciatranquila
YoelPez
NuevaFania**
PaulitoFG(Elbuenosoyyo)
YoelPez
NuevaFania**
Bamboleo
Yonomeparezcoanadie
LudwigNez
AhNam**
Yanohacefalta
LudwigNez/HerlanSarior
AhNam**
o!
LudwigNez/HerlanSarior
AhNam
CharangaHabanera
HeyYouLoca
EduardoLazaga
MagicMusic**
PaqueseentereLaHabana
EduardoLazaga
MagicMusic**
Tremendodelirio
EduardoLazaga
MagicMusic**
Charangueromayor
YulinOviedo
CiocanMusic**
LiveintheUSA
YulinOviedo
CiocanMusic**
ChanChanCharanga
YulinOviedo/PavelRodrguez
CiocanMusic**
DannyLozada
Tantoleped
RalHernndez/PepeEspinosa
Caribe**
IssacDelgado
Rarities(ExclusivoparaCuba)
GeorvisPico/AndrsCuayo
CiocanMusic**
Conganas
GiraldoPiloto/YonderPea
QBADisc
Elaoqueviene
JimmyBranly/JosMiguel
RMM
Otraidea
LuisQuintero
RMM
Laprimeranoche
GeorvisPico/YuriNoguiera
RMM,ARTEX**
Lafrmula
OscarValds/PepeEspinosa
AhNam**
Prohibido
LuisQuintero
PimientaRecords
Enprimeraplana
LuisQuintero
UnivisionLaCalle
Supercubano
LuisQuintero
PlanetRecords
Manoln
Paramigente
AlexisandngelArce
AhNam**
Debuenafe
AlexisandngelArce
BlueMetro
Jaquemate
AlexisandngelArce
Caribe
Elpuente
ReinierGuerra
CiocanMusic**
LosVanVan
DiscoAzcar
Changuito
ARTEX**
Loltimoenvivo
SamuelFormell
QBADisc
AyDis,amprame
SamuelFormell
CaribeRecords**
Estoteponelacabezamala
SamuelFormell
CaribeRecords**
LlegVanVan
SamuelFormell
PimientaRecords**
237
GROUP
ALBUM
DRUMMER/TIMBALERO
LABEL
Chapeando
SamuelFormell
UnicornioRecords**
NGLaBanda
Enlacalle
GiraldoPiloto
QBADisc
SimplementelomejordeNG
CalixtoOviedo
ARTEX(BIS)**
Klmax
Mirasitegusta
GiraldoPiloto/YonderPea
Eurotropical
Juegodemanos
GiraldoPiloto/YonderPea
Eurotropical
Oyecomova
GiraldoPiloto/YonderPea
Eurotropical
KlmaxandManolito
ConciertoEurotropicalI
YuriNoguiera
Eurotropical
ManolitoysuTrabuco
Directoalcorazn
CarlosRodrguez
BembeRecords
Contratodoslosprognsticos
CarlosRodrguez
Eurotropical
Marcandoladistancia
YuriNoguiera
Eurotropical
ParaquebaileCuba
RoicelRivern
Eurotropical
Serompieronlostermmetros RoicelRivern
Eurotropical
Hablandoenserio
RoicelRivern
EGREM
LosQueSonSon
Qucosastienelavida
BombnReyes/RenSurez
EGREM
Labuenagente
BombnReyes/RenSurez
PimientaRecords
Mitimbacerr
BombnReyes/RenSurez
EGREM
Tranquiloqueyocontrolo
BombnReyes/MiguelitoEscurriola
EGREM
SiemprePupy
BombnReyes/MiguelitoEscurriola
EGREM
RevysuCharangn
45aos
CarlosRodrguez
TumiRecords
Sesiguecomentando
JorgeBravo
BIS**
Fresquecito
AndyFornet
BIS**
DequestamosHablando
AndyFornet
BIS
AzcarNegra
AzcarNegra
PavelRodrguez/PepeEspinosa
mp3.com
Andarandando
MaikelZamora
BIS**
MichelMaza
Fieeesta
KarelPez
Envidia**
Quehablenloshabladores
KarelPez
Envidia**
AngelBonne
Circunstancias
JavierOchoa
EGREM
Bonne&BonneCo.
CarlosLeal
EGREM
HavanadPrimera
Haciendohistoria
RodneyBarreto/GillermodelToro
EGREM
Pasaporte
RodneyBarreto/GillermodelToro
EGREM
Various
GraciasFormell
GeorvisPico/AndrsCuayo
YoelPez
Ciocan**
For suggested listening within the 19601989 time period, please see the Discography and Online Book sections of the
Timbapedia section of Hwww.timba.comH. For prerevolution discographical information, please see Cristbal DazAyalas
exhaustiveonlinediscographyatwww.fiu.edu.
238
Acknowledgments
PhotoshopGurus:KrisFrster,TomKrabbe
FinaleGuru:PeterThomsen
Photography:
Tom Ehrlich, Peter Maiden, Richard Robinson, Patrick Hickey, Bob Kraft, Bohdan Kiszczuk, Tom
Bauer, Gabriel Garca, Mary Brassell, Patrick Bonnard, Michelle White, Brett Gollin, Michael Cba,
WillDouglas,ChuckSilverman,RobertFernndez,SueTaylor.
EditingandConceptualGuidance:
Orlando Fiol, Robert Fernndez, Sue Taylor, Kris Frster, David Pealosa, Osvaldo Martnez, Javier
Muiz,DaveDreyfus,RichardRobinson,TomEhrlich,JiovanniCofio,PauldeCastro,TomsCruz,
WalfredodelosReyes,Sr.,EmilianoEcheverra,AndrsEspinoza,RebecaMaulen,JrmeVaccari,
CarlosCaro,ChuckSilverman,MichelleWhite,GabrielWilder,RyanMead,SidneyWeaverling,Edgar
Hernndez,OlavoAln,GabrielGarca,CurtisLanoue,MikeRacette,VictorBarrientos,VakGreif,
BillTilford,MichaelSpiro,JosReyes,AbelRobaina,MajelaSerrano,MikeLazarusandWendyBlack.
AbouttheAuthor
MelnLewis,KevinMooreLosAngeles2009photobyTomEhrlich
KevinMoore(kevin@timba.com)isthecofounderandmusiceditorfortheworldslargestCuban
music website, www.timba.com, to which he has contributed the free online multimedia book
series,TheRootsofTimba,dozensofextensivearticles,discographies,recordanalyses,interviews
andtheCubanmusicblogLaltima,nowinpublicationforover10years.
H
In the early 2000s, Kevin cowrote The Toms Cruz Conga Method, Volumes 13, a critically
acclaimed method book series used as a text at various educational institutions. More books on
Toms Cruz (including the longpromised volume on the adaptation of folkloric rhythms to timba
congamarchas),maybeintheworksaspartoftheBeyondSalsaCongasseries.
239
Variousotherimportantcongueroswillalsobefeaturedinthatseries.
TheTomsCruzCongaMethodVolumes1,2,&3
PublishedbyMelBayPublications,Inc.
As musical director, composer, arranger and violinist of the Californiabased salsa band Orquesta
Gitano,Kevincoproducedthe1998CDSalsaGitana,songsfromwhichhavebeenusedinvarious
filmsandtelevisionshows.Inadditiontotheaudiotracks,fullsalsabandchartsforthisalbumcan
bepurchasedatLatinPulseMusic[Hwww.latinpulsemusic.com/albums/show/2]
Availableforpurchaseanddownloadatwww.latinpulsemusic.com/albums/show/2
240
TheBeyondSalsaCatalog2012
Beyond Salsa for Beginners alternates between
singing, dancing and clapping exercises and listening
tours covering the full history of Latin music. It also
containsanextensiveglossary,andalongsectionon
thespecialchallengesofAfroCubanfolkloricmusic.
www.createspace.com/4035244
www.latinpulsemusic.com/albums/show/433
www.createspace.com/1000252022
www.latinpulsemusic.com/albums/show/353
www.createspace.com/3419799
www.latinpulsemusic.com/albums/show/359
241
www.createspace.com/3427343
www.latinpulsemusic.com/albums/show/361
Volume3alsocontainsanextensivesectiononAfro
Cuban folkloric rhythms and their application to
popularmusicpianoplaying.
www.createspace.com/3427345
www.latinpulsemusic.com/albums/show/363
BeyondSalsaPiano,Volume5introducesthetimba
genrethatbeganinthe1990s.Volumeincludes:
ahistoryanddiscographyofthetimbaera
adetaileddescriptionofrhythmsectiongears
a list and analysis of the 10 most important
pianoinnovationsofthe1990s
32 instructional tumbaos on the same chord
progression,demonstratingtheseinnovations
www.createspace.com/3427349
www.latinpulsemusic.com/albums/show/363
242
BeginningwithVolume6,eachbookconcentrateson
the style of one Cuban pianist, with notefornote
transcriptions, based in most cases on MIDI files
performedbythevolumesfeaturedpianist.
Volumes6through9areonIvnMelnLewis,the
phenomenally innovative pianist who played with
TheIssacDelgadogroupfrom1995to1998.
www.createspace.com/3427351
www.latinpulsemusic.com/albums/show/364
BeyondSalsaPiano,Volume7movesontoMelns
approach to two more live classics of the Issac
Delgado group: Luz viajera (arranged by Meln) and
Porqupar.
Intheprocessofdetailingthemanytypesoftumbaos
Meln uses in these extended live arrangements we
coverthetimbagearsofmarcha,muela,bombaand
presin and delve even more deeply into Melns
approachtocontrolledimprovisation.
www.createspace.com/3427354
www.latinpulsemusic.com/albums/show/365
www.createspace.com/3427355
www.latinpulsemusic.com/albums/show/366
243
www.createspace.com/3427357
www.latinpulsemusic.com/albums/show/367
Finally,wecoverthetumbaofromMovimiento,from
Melns latest Latin jazz album, and a tumbao from
hisrecentworkwithManoln,elMdicodelaSalsa.
www.createspace.com/3573344
www.latinpulsemusic.com/albums/show/406
Alsoincludedarecompletepianoandbasschartsfor
ElbuenagenteandCallacalla,basedonthemodern
LosQueSonSonversions.
www.createspace.com/3573347
www.latinpulsemusic.com/albums/show/407
244
www.createspace.com/3573348
www.latinpulsemusic.com/albums/show/408
www.createspace.com/3573349
www.latinpulsemusic.com/albums/show/409
BeyondSalsaPercussion,Volume1isforpeoplewho
are considering taking drum or timbales lessons and
want to learn to clap and sing the basic rhythms to
preparethemselves.
This book shares several chapters with Beyond Salsa
for Beginners before moving on to add more
advancedrhythms.Thetwobookscanbepurchased
togetherforareducedratebycontactingtheauthor
directly.
www.createspace.com/3500612
www.latinpulsemusic.com/albums/show/430
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www.createspace.com/3500639
www.latinpulsemusic.com/albums/show/397
BeyondSalsaPercussion,Volume2:BasicRhythmsis
the first of two books on legendary
timbalero/drummerCalixtoOviedo,whoplayedwith
Pacho Alonso, Adalberto lvarez and the first timba
band, NG La Banda. The book begins with a long
biography and discography section and presents
Calixtos approaches to six classic Cuban rhythms,
ranging from traditional timbales to various
combinations of timbales and drumset. The rhythms
coveredare:danzn,chachach,mozambique,piln,
simalandupaupa.
www.createspace.com/3500640
www.latinpulsemusic.com/albums/show/399
Part1:ForBeginnersWhatisClave?
Part2:DemystifyingClaveTerminology
Part3:IntermediateClaveDirection
Part4:AdvancedClaveChanges
www.createspace.com/3711464
www.latinpulsemusic.com/albums/show/414
246
BeyondSalsaforEnsembleVol.1,at368pages,with
464 audio files, is our most adventurous project to
date.
www.createspace.com/37164505
www.latinpulsemusic.com/albums/show/419
Part1:ThePointofDeparture:TheHomeGear
Explainsthedifferencesbetweensalsaandtimbaand
teachesthemostcommontimbagroove,fromwhich
allotherexercisesbegin.
Part2:Efectos36rhythmsectionbreaks,or
efectos,completelynotated,in23and32clave/
Part3:CompletePerformanceChartAmeticulous
notefornotetranscriptionofallinstrumentsforEl
buenagentebyPupyPedrosoyLosQueSonSon.
BeyondSalsaBass,Volume6willcloselymirror
BeyondSalsaPiano,withintroductoryvolumes
coveringthehistoryofCubanbass,startingatthe
beginninglevel,andcontinuingwithbooksabout
specificbassists.Theintroductoryvolumeswillbe
releasedinlate2012andearly2013.Volume6,
picturedhere,wasreleasedinMarch2012.
www.createspace.com/3810546
www.latinpulsemusic.com/albums/show/421
BeyondSalsaBass,Volume7Thesecondoffour
volumesonAlainPrez,Volume7isthebass
companiontoVolume7ofthepianoseriesandwill
bereleasedinmid2012.
Volumes8and9willbereleasedinlate2012and
early2013.
www.createspace.com/3810550
www.latinpulsemusic.com/albums/show/TBD
247
COMING
IN
2012
BeyondSalsaBongwillfeatureCarlosCaro,winner
oftimba.comsReadersPollforBestTimba
Bongosero.Thesebookswillbeginwithinstructionin
technique,startingfromabeginninglevelandthen
worktheirwayfromtheearlysonstylesofbong
playingtoCarostimbastylewithOpus13,PaulitoFG
andJacquelineCastellanos.
COMING
IN
2013
BeyondSalsaCongasisinthedevelopmentstages.It
willhopefullyincludevolumesonTomsCruzaswell
asothertopcongueros.
PRICELIST
TITLE
Physical
Book
eBook
(PConly)
Audio
Download
Video
Download
DVD
BeyondSalsaforBeginnersIntroductiontoLatinMusicforDancers&Listeners
$30
$15
free/$10*
BeyondSalsaPiano,Vol.1BeginningTheRootsofthePianoTumbao
$20
$10
$10
BeyondSalsaPiano,Vol.2IntermediateEarlyCubanPianoTumbaos194059
$20
$10
$10
BeyondSalsaPiano,Vol.3IntermediateCubanPianoTumbaos196079
$20
$10
$10
BeyondSalsaPiano,Vol.4IntermediateCubanPianoTumbaos197989
$20
$10
$10
BeyondSalsaPiano,Vol.5AdvancedIntroductiontoTimba
$20
$10
$10
BeyondSalsaPiano,Vol.6IvnMelnLewisPart1
$20
$10
$10
$10
BeyondSalsaPiano,Vol.7IvnMelnLewisPart2
$20
$10
$10
$10
BeyondSalsaPiano,Vol.8IvnMelnLewisPart3
$20
$10
$10
BeyondSalsaPiano,Vol.9IvnMelnLewisPart4
$30
$15
$10
BeyondSalsaPiano,Vol.10CsarPupyPedrosoPart1
$25
$15
$10
BeyondSalsaPiano,Vol.11CsarPupyPedrosoPart2
$25
$15
$10
BeyondSalsaPercussion,Vol.1IntroductiontotheCubanRhythmSection
$30
$15
free/$10*
BeyondSalsaPercussion,Vol.2CalixtoOviedoBasicRhythms
$30
$15
$10
$10
BeyondSalsaPercussion,Vol.3CalixtoOviedoTimbaGears
*DVDincludesbothVol.2andVol.3footage
$30
$15
$10
$10
UnderstandingClaveandClaveChanges
$15
$10
FREE
BeyondSalsaforEnsemble,Vol.1Efectos
$40
$25
$10
BeyondSalsaBass,Vol.6AlainPrezPart1
$30
$15
$10
$10
BeyondSalsaBass,Vol.7AlainPrezPart2
$30
$15
$10
$10
BeyondSalsaBong,Vol.1
TBD
TBD
TBD
TBD
BeyondSalsaCongas,Vol.1
TBD
TBD
TBD
TBD
$25*
*free/$10=freefilesdownloadableattimba.com/audioadditionalfilesavailablefor$10
248
thispageleftintentionallyblank
249
ForcompletelyupdatedlistsofallBeyondSalsaproducts,
samplevideosandotherfreedownloads:
clave.latinpulsemusic.com
www.timba.com/audio
www.timba.com/bass
www.timba.com/bongo
www.timba.com/clave
www.timba.com/ensemble
www.timba.com/percussion
www.timba.com/piano
comments,questions,suggestions,requests:
kevin@timba.com
250