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Contents
About the Author
Introduction
Single-Voice Montuno Exercises
Variations of the Single-Voice Montuno Exercises Using Syncopation
Octave Montuno Exercises Grouped in Threes
Octave Montuno Exercises Harmonized in Tenths
Octave Montuno Exercises Grouped in Fours
Chromatic Exercises
Syncopated Octave Montuno Exercises
Syncopated Octave Montuno Exercise Played Chromatically
Typical Latin Improvisational Technique
Based on a Cha-Cha Piano Rhythm
A Technique Common in Cuban Piano Playing
Listening GuideAcknowledgments
I'd like to thank the following people who have been a great influence and
inspiration to me. My parents, George V. Deneff, and Alkisti Deneff. My teachers,
Leaine Gibson and Mike Garson. Their incredible knowledge and wisdom con.
tinues to amaze and inspire me, My children, Gitana, George, and Sophia. They
are my greatest joy and my biggest fans. My wife, Diane Azzara. She continues to
believe in me and support my art (even though the rewards are often slim). am
thankful that she is my wife, soulmate, and mother of my children. Besides that,
she actually thinks my jokes are funny.
Finally, I would like to dedicate this book to my father, George V. Denetf.
Although he is no longer among us, his wisdom continues to guide me.About the author
ter Deneff is a pianist, composer, and teacher in Southern California, He
began playing at age three and started his formal training at nine with
classical pianist Leaine Gibson. He began jazz studies in 1986 with pianist
Mike Garson. He studied composition at California State University Long Beach with
Dr. Justus Matthews and Dr. Martin Herman. He is currently earning his masters
degree in music composition at CSULB, doing studio work, recording dises for the
Yamaha Diskiavier piano, composing, studying and writing film scores, and per-
forming with his band Excursion as well as with other groups. He also teaches pri-
vately and at Cypress College. He resides in Southern California with his wife Diane,
and his children Gitana, George, and Sophia,Introduction
Latin jazz and salsa are wonderfully intricate, challenging, and enjoyable
styles of music. Besides being harmonically interesting, they are quite complicat-
ed rhythmically and therefore require specialized technique from a performing
musician. Being a percussion-based style, salsa demands the same rhythmic feroc.
ity and percussive touch from the pianist as it does from from the conga or tim-
bale player. The syncopated rhythms of Latin music are not necessarily left up to
the player's discretion, however; in order for the ensemble to work properly, all
the players must understand their place within the detailed tapestry of the
rhythm,
Specifically, the pianist must be rhythmically and technically capable
enough to play “montunos,” which are distinctive rhythmic motives that serve as.
a major driving force in the Latin orchestra. There are technical challenges that
exist in the execution of montunos that are unique to salsa—these include a heavy
reliance on the fifth finger (a finger that is naturally weak), because there is so
much octave playing,
This book is intended as a sort of Latin sequel to Charles Louis Hanon’s The
Virtuoso Pianist in Sixty Exercises, a classic of piano literature that has been push-
ing pianists’ technique to the limit for over one hundred years. When this book is
mastered, you will be able to execute practically any Latin montuno pattern. The
exercises in this book are perfect for either the beginner or the professional and
can even benefit pianists of other genres such as jazz or classical. They may be
practiced as quickly as they can be played cleanly and accurately. Some tips that I
like to keep in mind when practicing these exercises include the following:
‘Start very slowly, deliberately, and staccato. This builds articulation,
*Use a metronome. The metronome will help you develop your sense of
time.
+When you master an exercise at a given speed, increase the tempo
‘one notch on your metronome.
*Keep your fingers curved.
‘*Don't tense up.
*Push yourself, but stop if it hurts!
These exercises should be learned in all twelve keys because it is important
to feel at ease anywhere on the keyboard. Also, you should try to play them in har-
monic, melodic, and natural minor. Meanwhile, itis important to listen to great
Latin music in order to absorb the feeling of the music—some of my favorite Latin
players are listed in the back of this book
The main thing to remember is to have fun with these exercises, be creative,
and find new ways to incorporate these techniques into your music, Latin or not.
Last but not least, do not get discouraged. Technique doesn’t happen overnight; it
may take weeks or even months to master some of these exercises. It will certain-
ly take longer to master them in all keys. Pace yourself, and you will succeed in
mastering this book and be well on your way to becoming the next great Latin
pianist!
Happy playing,
Peter DeneffSingle-Voice Montuno Exercises
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