{a} play-along Jai (stright 81 Montuno for Monty This piece is inspired by Cuban ‘son’ or slsa music, and features a typical piano ‘montuno! in the ineo and coda (a eepetitive rhythmic igure tha changes to it the underlying harmon). Intro Dm Gm Moncuno op oe ‘Tim Richards Dm Gm ay Dm {© 2005 Schott & Co, 1d, Londoo 73 LURESA = E rs § 74 Five-finger positions Gm DS. al CodaUT eT 8 Er © Montuno All montunos alternate on-the-beat and off-the-beat notes, often in ‘two-bar patterns like this one. The secret to playing them correctly is to spot which notes are played on the upbeat (in between the foor-tap). Listen to the rhythm on the CD, clap it over and over, with a foot-tap on the downbeats, and memorise it ci: pd Siaigds dads by DI y Foot-tap: Pr eee ae eee For another example of a montuno, see Hot and Cold, Vol. 2, Chapter 6. @ Left hand Once the melody begins (‘A1’), the montuno is dropped in favour of a simple bass line, but it reappears in the left hand for ‘A2'. You'll need to practise the co-ordination between the hands here ~ slow it right down and isolate any problem bars, practising them over and over until all the notes are correctly in place. If you find the co-ordination too hard, just keep playing the bass line asin the first‘ section for now, and go back to it later. (© Bass line The accent on ‘two and! and ‘four’ is typical of Cuban music and is actually the firstpart of atypical Tumbao’ bassline, in which the ‘one’ isonly ever played in the opening bar. Itis shown below with the montuno in the right hand: Fig 2.30: Tumba’ bassline with montuno Dm Gm 75