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Salsa

Salsa

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Published by Rodrigo Araus

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Published by: Rodrigo Araus on Jun 28, 2012
Copyright:Attribution Non-commercial

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05/22/2014

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INTRODUCTION
ThisbookwillprovideyouwithasolidunderstandingofthefunctionofboththebassandpianowithinpopularLatinmusic.
It
isacollectionof'tumbaos'(grooves)thatyoucanassimilatewithoutsittingthroughrecordingswherethetumbaosaresometimesobscuredbytheotherinstruments.
It
doesnot,inanyway,replacetheeducationalvalueoflisteningandanalyzingsoundrecordingsorvideosandactuallyseeinglivegroupsperformthismusic.Thisbookshouldbeusedasatoolforlearningthefundamentalsofthegrooves.
It
shouldserveasasteppingstoneforthemusiciantocreatehisorherowntumbaoswithinthecharacteristicsofeachstyle.ThisbookisforthosepianistsandbassistswhohavealwaysbeenintriguedbythecomplexpolyrhythmsandsyncopatedpatternsofLatinmusic.
It
isalsoforthosewhomightwanttoincreasetheirvocabularyofLatingroovesandforthosemusicianswhohavehaddifficultyinfinding"one"orjustsimply"feeling"the"time"insomeLatingrooves.ThescopeofLatinAmericanmusicstretchesfrompopular,wellknownstylestolessknownregionalfolkmusic.Therearemanymorerhythmsthatcomposeagoodportionofthetotalspectrum.FromBuenosAirestotheCaribbeanthereisaprismofmusicthatisimpossibletofitwithinthiswriting.ForthisstudywewillbefocusingmainlyonLatinAfro-Cubandancemusic.FromthegreaterAntillesIslandsoftheCaribbeanevolvedmostofthepopularLatindancemusicweheartoday.FromtheislandcountryofCubawehaveinheritedthevastmajorityofpop-dancerhythmslikeRumba,Cha-cha,Mambo,Songo,Guaracha,Boleroandmanymore.FromPuertoRicoevolvedlaPlenaandlaBomba.Inaddition,PuertoRicanimmigrantsinNewYorkelaboratedontheCubanGuarachaandproducedahybridformcalled"Salsa".AndfromtheDominicanRepublicthemostnotablecontributiontoLatinmusicisofcourse,theMerengue.
 
8
LOSTUMBAOS
(TheComping)
Themostimportantthinginanypop-dancemusicis"time".LikewiseinAfro-Cubanmusic.Themostcrucialelement,otherthantheClave"whichwewilldiscusssoon,isbeingveryconsciousofthetime/pulseandknowingatalltimeswherethebeatis.Peripherallistening,constantadaptationandaccommodatingtothesoundsoftheotherinstrumentsverycrucialfor"lockingin"witharealgroove.WhatImeanisanadjustmentofthevolume,attackandsustainordec:ofeachnotebeingplayedinrelationtowhatis"happening"aroundyou.Ofcourse,thisinteractionislimitedwhenorplayswithadrummachineorsequencer(which,bytheway,isverygoodpracticeforacquiringtime).InplayingAfro-Cubanmusicitisessentialthattherhythmsectionbeclosetogether.Thesectionshouldrunlikeafinetunedmachine.Precisionisthekeyinamusicthathassomuchoverlappingofrhythms.Onenotefromanyoneofitsmembers,thatisoutoftime,willde-tunethe"mechanism".Ofcourse,we'renottalkingaboutonenoteinawholetunbutratheroneoftherepetitivenotesofapatternthatisconstantlyoff.Thiscanalsomeananinconsistenttimefeeloradraggingand/orrushingofoneormorenotes.Whenplayingthesestylesyouwillrealizesomesimilaritiesbetweenthem.Tempos,rhythmicpatternsandchordprogressionswillgiveeachadifferentflavor.Tothemusician/listenerwhoisfirstexposedtoAfro-Cubanmusicitmaallsoundthesame.Longtermexposureandcarefullisteningwillenablehim/hertodistinguishthedifferences.Somemeasuresincertaintumbaos**canbeinterchanged
dependingontheclave.Thegroovescanbeembellishedand/oredit:withdiscretionbytheplayeraslongashekeepsinmindtheunderlyingaccentsoftherespectiveclave.
Asmentionedearlier,th"trick"istokeepyour"ears"openatalltimes.Listentowhatisgoingonaroundyouandhowitisrelatingtowhat
yo
aredoing.
If
you'recriticalaboutyourplayingandaboutmusicingeneralyouwillfeelthegroovewhenit"locks".
'Clave(klah-vay):Anunderlyingostinatorhythmicpattern(usedinAfro-Cuban)musicwherebyallofthesyncopationsandaccentsoftheoverlaymusicmustbestrictlyarrangedinrelationtothisostinatopattern(pleasesee"TheClave")."tumbao(toom-ba-o):Groove,orcompingagroove;vampingonagroove;usuallyarepetitivetwobarrhythmicvampplayedbythepiano,bass,(tresguitarthatmustbeplayedinrelationtotheclave(seepage"HistorySynopsisofTumbaos").

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