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    241 views94 pages

    Salsa Hanon Lat N Piano - Peter Denneff PDF

    Uploaded by

    María Isabel Rojas

    Copyright:

    © All Rights Reserved
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    of 94
    By Peter Deneff ISBN 0-7935-B494-9 HAL*LEONARD® OR RATION “Conylnt© 1997 by HAL LEONARD CORPORATION. Incenatonal Sopyaht Secured Al Fights Roser No part ofthe pubioaton may be rprocusad in ay om cory any moane wit! ha pr vetan perms of he Puntshar Viet Hal sonar Onn at ‘www.halleonard.com Acknowledgments Vd 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. Deneff. Although he is no longer among us, his wisdom continues to guide me. 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 Guide About the Author Peter Deneff is a pianist, composer, arranger, and teacher at Musicians Institute in Hollywood, California. He began playing piano at age three and start- ed his formal training at age nine. His teachers have included classical pianist Leaine Gibson and jazz pianist Mike Garson. Peter is currenily recording his new CD, Excursion, a spicy mixture of Latin jazz and Middle Eastern styles, and is also performing, arranging, and doing stu- dio work in the Los Angeles area. 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 Deneff Single-Voice Montuno Exercises 1 = 60-120 ° —_—— aS wit Single-Voice Montuno Exercises Lew! air a el ae =eran se ore 2143t Single-Voice Montuno Exercises 4. 275-198 Single-Voice Montuno Exercises es if tt | | ] : ‘ ols Single-Voice Montuno Exercises J. = 75-195 10 Single-Voice Montuno Exercises Variations of the Single-Voice Montuno Exercises Using Syncopation 6 d= 60-120 Ss pe === oie = 5 FE x Datel SSS ror Pg | Gar Pit get Ly a ——- tn tls gt i Me SSS eS Variations of the Single-Voice Montuno Exercises Using Syncopation eto Exercises Using Syncopation 9 = = + aS a SS SS eS SS 2 te # #__ ate f o— Bea ea == v ¥ eI oe ES oOe Variations of the Single-Voice Montuno Exercises Using Syncopation ei Exercises Using Syncopation Oa Variations of the Single-Voice Montuno Exercises Using Syncopation eee ing Syncopation Variations of the Single-Voice Montuno Exercises Using Syncopation Variations of the Single-Voice Montuno Exercises Using Syncopation = R Variations of the Single-Voice Montuno Exercises Using Syncopation Re | : : - lm hee 1 : | Xt) S | : Ie j “ te 4 iE = a KE as 1S = i + = SS eae ecereeeee SESE eS SESESEOSESE SESS SCE Sere Seater reese ees Variations of the Single-Voice Montuno Exercises Using Syncopation een Prercises Using Syncopation Ss 2 Te # ss * ; aos $1 a BE ==.SoS eee == eS Sree aos 43 t 3 = r 5 = + = ; feels sate SS eae ia aS o fF + 2 2 A : ap Peg et gg * SSS SSS a 19 Variations of the Single-Voice Montuno Exercises Using Syncopation Octave Montuno Exercises Grouped in Threes 11 a Octave Montuno Exercises Grouped in Threes 22 Octave Montuno Exercises Grouped in Threes 13 J. 275-195 5 nae Octave Montuno Exercises Grouped in Threes 14 J. 275-195 Octave Montuno Exercises Grouped in Threes Octave Montuno Exercises Grouped in Threes 26 Octave Montuno Exercises Grouped in Threes Octave Montuno Exercises Grouped in Threes 28 Octave Montuno Exercises Grouped in Threes 29 Octave Montuno Exercises Grouped in Threes alle + ls. ¥ + ! \ i th 30 Octave Montuno Exercises Grouped in Threes 31 Octave Montuno Exercises Grouped in Threes 4275-195 Octave Montuno Exercises Grouped in Threes 33 Octave Montuno Exercises Grouped in Threes Octave Montuno Exercises Grouped in Threes Octave Montuno Exercises Grouped in Threes 96 Octave Montuno Exercises Grouped in Threes 20 75-198 Octave Montuno Exercises Grouped in Threes Octave Montuno Exercises Grouped in Threes 4. 275-195 Octave Montuno Exercises Harmonized in Tenths 40 Octave Montuno Exercises Harmonized in Tenths a Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths 24 Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths 46 Octave Montuno Exercises Harmonized in Tenths 26 75-195 47 Octave Montuno Exercises Harmonized in Tenths es Harmonized in Tenths 49 Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths ee es * Sa SS 51 Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths ——— ii itnonized in Tenths mel rT Se pp tee J * apart eS es a4 = at =f Octave Montuno Exercises Harmonized in Tenths Octave Montuno Exercises Harmonized in Tenths es 55 Octave Montuno Exercises Grouped in Fours Octave Montuno Exercises Grouped in Fours ee round in Fours 87 Octave Montuno Exercises Grouped in Fours eee OUIS eum! uu ol “ 4 al “

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