Merengue Piano Styles (Ebook PDF

Campos Music
A.D.G Productions
Merengue Piano Styles
Copyright © 2018 by Carlos Campos
All rights reserved. No part of this publication may be

reproduced, distributed, or transmitted in any form or by any
means, including photocopying, recording, or other electronic or
mechanical methods, without the prior written permission of the
publisher, except in the case of brief quotations embodied in
critical reviews and certain other noncommercial uses permitted
by copyright law.
Carlos Campos
CamposMusic.com
This ebook is solely for the use of the purchaser and may not be transmitted or duplicated to any other party.
Foreword
Ever since I was a student at Berklee, I have been transcribing and learning
merengue piano patterns. In those days an older merengue musician from the
Dominican Republic spent countless hours teaching and getting me ready to play
with his band “La Típica Siboney.” I respectfully called him “Heredia,” which is
what everybody affectionately called him. He could play the accordion, piano,
tambora, congas, guira, bass and guitar. On top of that he also sang. Scary...
When I started to play with “La Típica Siboney,” I remember struggling
endlessly with my comping patterns, groove, time, you name it. But one day in the
middle of a song, something clicked. Heredia and all the Dominican musicians in
the merengue band turned around and smiled at me. Wow...I finally got it!!
Well, so many years and so many gigs and so many experiences later, I
thought it was time to share what I had learned.
Many years ago I promised my publisher and good friend Andrew Gordon to
finish writing my merengue piano book and yes, it took many years to put it
together.
I divided most of the piano patterns into two basic merengue comping styles.
One is called “Derecho” or “straight” in Spanish and the other “Pambiche.” Some
of the other patterns will work in both “Derecho” or “Pambiche” styles. In the
audio recordings the bass and percussion will change to match the “Derecho” and
“Pambiche” piano patterns.
Merengue sometimes is played at ridiculously fast tempos, but in this book I
recorded most examples at both medium and slower tempos for practice purposes.
Traditional merengue may use basic chord progressions, but the harmonic
rhythm and sequence of those chord progressions can be most challenging to
follow. This book covers many such chord progressions with patterns starting on
the root, third and fifth of the main chords.
The complete set of recordings containing every example in this book are
also available in high quality MP3 files and/or MIDI files, which can be ordered
at www.camposmusic.com. The audio tracks contain recorded examples featuring
piano, bass and percussion, as well as bass and percussion only for practice.
A new section has been added to this book edition which contains notated
Merengue Tambora patterns.
As always, let’s have lots of fun playing music.
Carlos Campos
Los Angeles, March 2018
LessonswithCarlos.com 2 CamposMusic.com
No unauthorized duplication without the consent of the copyright owner.
Index
Foreword page 2
Index page 3
V-I Patterns (Derecho) page 4
V-I Patterns (Pambiche) page 9
I-V Patterns (Derecho) page 12
I-V Patterns (Pambiche) page 15
IV-I-V Patterns (Derecho) page 21

IV-I-V Patterns (Pambiche) page 27
IV-V-I Patterns (Derecho) page 33
IV-V-I Patterns (Pambiche) page 36
I-IV-V Patterns (Derecho) page 42
I-IV-V Patterns (Pambiche) page 45

I-V-VI-IV Patterns (Derecho) page 51
I-V-VI-IV Patterns (Pambiche) page 57
I-∫VII-IV-V Patterns (Pambiche) page 65
I-II-V Patterns page 69

VI-IV-I Patterns page 84
I-V Patterns (Broken) page 86
Song No. 1 page 88
Song No. 2 page 89

Song No. 3 page 90
Tambora Patterns page 92
Back Cover page 98

Carlos Campos
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Carlos Campos
1 f g7 c

2 f g7 c

3 fn g7 cn

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f g7 c

5

f g7 c

6

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9 f g c

10 f g c

11 fn g cn

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Carlos Campos
1 f g c

2 f g c

3 fn g cn

4 fn g cn


5 f g c

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6

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8


9 f g c

10 f g c

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13 f g c

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18

fn g cn

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f g c

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f g c

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fn g cn

24


Carlos Campos
c f g

1

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2

cn fn g

3

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4


5 c f g7

6 c f g7

7 cn fn g7

8 cn fn g7


9 c f g7

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Carlos Campos
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5 c f g

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Carlos Campos

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Carlos Campos
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Carlos Campos
c b f g7

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3

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5 c b f g

6 c b f g

7 cn b fn g

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23 cn b fn g

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Carlos Campos
c d8 g7

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14 cn d9 g7

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15 c d8 g7

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16 cn d9 g7

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17 c d8 g7

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19 c d8 g7

20 cn d9 g7


21 c d8 g7

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22 cn d9 g7

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23 c d8 g7

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Carlos Campos
1 g f c

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5 g f c

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Carlos Campos
1 c g7

2 cn g7

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5 c g7

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Carlos Campos
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Carlos Campos

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Tambora Patterns
Carlos Campos
Slap Open Tone Sitck

(Golpe de Mano) (Cuero) (Palo)
Percussion Note Map for œ ¿
Dominican Tambora. / 0 l
Left Hand Right Hand Right Hand
Tambora: Basic pattern, no fills (Tambora Derecha)

1
£
J¿ ¿ ¿ ¿ ¿ œ œ œ œ ‰ J¿ ¿ ¿ ¿ ¿ œ œ œ
/ C œ œ œ “{ œ ‰ 0 l 0 0 l 0 l 0 0 l
/ œ ‰ ¿J ¿ ¿ ¿ ¿ œ œ œ œ ‰ J¿ ¿ ¿ ¿ ¿ œ œ œ
0 l0 0 l 0 l0 0 {”
Tambora: Basic pattern with fill (Tambora Derecha con repique)

2
£
J¿ ¿ ¿ ¿ ¿ œ œ œ œ. ¿J ¿ ¿ ¿ ¿
/ C œ œ œ “{ œ . 0 l0 0 l 0 l0 0 œ œ œ l
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿
/ œ. 0 l0 0 œ œ œ l œ. 0 l0
œ œ œ0 œ œ œ0 œ
{”
Tambora: Straight pattern with fill in bar 8 (Primera parte con repique)
3
¿J ¿ ¿ ¿ ¿ J¿ ¿ ¿ ¿ ¿
/C “{ 0 . 0 l0 0 œ œ l 0. 0 l0 0 œ œ l
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿
/ 0. 0 l0 0 œ œ l 0. 0 l0
{”
Merengue Tambora Patterns
Tambora: Straight pattern with variation. Fills on bars 8 and 16 (Primera parte con variación)
4
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿ ¿ ¿
/ C “{ 0 . 0 l0 0 œ œ l 0. 0 l0 0 œ œ l
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿
/ 0. 0 l0 0 œ œ l 0. 0 l0
l
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿ ¿ ¿
/ œ. 0 l0 0 œ œ l 0. 0 l0 0 œ œ l
¿J ¿ ¿ ¿ ¿ ¿J
/ 0. 0 l0 0 œ œ œ0 l œ . 0 œ œ œ l œ0 œ œ0 œ œ œ0 œ {”
Tambora: Straight pattern #2 with fill in bar 8 (Segunda Parte)

5
¿J ¿ ¿ ¿ ¿ ¿J ¿ ¿ ¿ ¿
/ C “{ œ . 0 l0 0 œ œ œ0 l œ . 0 l0 0 œ œ œ0 l
¿J ¿ ¿ ¿ ¿ ¿J
/ œ. 0 l0 0 œ œ œ0 l œ . 0 œ œ œ l œ0 œ œ0 œ œ œ0 œ {”
Tambora: "Apambiche" pattern (Apambiche ó Apambichao)

6
¿ ¿ ¿ œ œ œj œ ¿ ¿ ¿ œ œ
/ C “ { œ0j œ 0j œ
l0 0 l0 0j œ
l0 0 l
¿ ¿ ¿ œ œ œj œ ¿ ¿ ¿ œ œ
/ jœ0 œ 0j œ
l0 0 l0 0j œ
l0 0 {”
Tambora: "Pambiche Moderno" pattern, no fills

7
J¿ ‰ J¿ ‰ Jœ œJ œ J¿ ‰ J¿ ‰ œJ
/ C ‰ Jœ “ { œJ œ 0 œ
l0 0 l 0 œ
l0 0 l
¿J œ ‰ ¿J ‰ œJ Jœ œ ¿J œ ‰ ¿J ‰ œJ
/ œJ œ 0 l0 0 l 0 l0 0 {”
Tambora: "Pambiche Tradicional" pattern, no fills

8
¿ œ œ œJ œ ‰ ¿ œ œ
/ C ‰ œJ œ “ { œJ œ 0j ‰ 0j œ l 0 ‰ 0j l 0j
‰ œ
0j l0 0j l
‰ ‰ ¿ œ œ Jœ œ ‰ ‰ ¿ œ œ
/ œJ œ 0j j0 œ
l0 0j l 0j 0j œ
l0 0j {”
Tambora: "Caballo" pattern #1 (Caballo Simple)

9
¿ œ 0 ¿ ¿ œ 0 ¿ ¿ œ 0 ¿ ¿ œ 0 ¿
/ C “{ Œ
l
Œ
l
Œ
l
Œ {”
Tambora: "Caballo" pattern #2 (Rítmo

10 Caballo)
¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ
/ C “{ 0j 0 l 0j 0 l 0j 0 l 0j 0 {”
Tambora: "Caballo" pattern with variation #1

11
œJ œ œ œ œ ‰ œ œ œJ œ œ œ ‰ œ œ
/ C “{ 0j 0 l 0j 0 l œ 0j 0 l 0j 0 l
¿J œ ¿ œ 0 l ¿ ‰ j0 ¿ œ 0 l J¿ œ j0 ¿ œ 0 l ¿ ‰ j0 ¿ œ 0 {”
/ 0 0j
Tambora: "Caballo" pattern with variation #2

12
¿ ‰ ¿ œ ¿ ‰ ¿ œ J¿ œ ¿ œ ¿ ‰ ¿ œ
/ C “{ 0j 0 l j0 0 l j0 0 l j0 0 l
¿J œ ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿J œ 0j ¿ œ 0 ¿ ‰ 0j ¿ œ 0 {
/ 0j l l l ”
Tambora: "Caballo" pattern with fill

13
£
¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ
/ C œ œ œ “ { œ ‰ 0j 0 l j0 0 l j0 0 l j0 0 l
£
¿ ‰ ¿ œ 0 ¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œœœ
/ 0j l j0 0 l j0 0 l 0j {”
Tambora: "Caballo Break" pattern variation #1

14
¿ ‰ ¿ œ J¿ œ Jœ ¿ œ ¿ ‰ ¿ œ J¿ œ œJ ¿ œ
/ C “{ j0 0 l 0 l j0 0 l 0 {”

15
¿ ‰ ¿ œ ¿ ¿ œ 0 ¿J 0 j0 ¿ œ 0 ¿ ¿
/ C “{ 0j 0 l 0 l l 0 œ 0
l
¿J œ Jœ ¿ œ 0 ¿ ¿ œ 0 ¿J 0 j0 ¿ œ 0 ¿ ¿ œ 0 {”
/ l 0 l l 0

16
¿ ‰ ¿ œ ¿ ¿ œ 0 l ¿J 0 j0 ¿ œ 0 l ¿ ¿
/C “{ 0j 0 l 0 0 œ 0 l
¿J œ Jœ ¿ œ 0 l¿ ¿ œ 0 l J¿ 0 j0 ¿ œ 0 l ¿ ¿ œ 0 {”
/ 0 0
Tambora: Caballo with Break pattern #1

17
£
¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ
/ C œ œ œ “ { œ ‰ 0j 0 l j0 0 l j0 0 l j0 0 l
¿ ‰ ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿J œ Jœ ¿ œ 0
/ 0j l l l {”

18
£
¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ J¿ œ Jœ ¿ œ
/ C œ œ œ “ { œ ‰ 0j 0 l j0 0 l j0 0 l 0 l
¿ ‰ ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿J œ Jœ ¿ œ 0
/ 0j l l l {”

19
£
¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ ¿ ‰ ¿ œ
/ C œ œ œ “ { œ ‰ 0j 0 l j0 0 l j0 0 l j0 0 l
¿ ‰ ¿ œ 0 ¿J œ Jœ ¿ œ 0 ¿ ‰ 0j ¿ œ 0 ¿J œ Jœ ¿ œ 0
/ 0j l l l {”

20
£
œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ
/ œ œ œ “ { œ ‰ œj œ l œj œ l œ œ l œj œ l
œ ‰ œ œ œ œJ œ Jœ œ œ œ œ ‰ œj œ œ œ œJ œ Jœ œ œ œ
/ œj l l l {”
Tambora: "Caballo Pa' Mambo"

21
¿ ¿ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ œ ¿ ¿ ¿ œ
/ C “{ 0 0 œ l 0 0 l 0 0 l 0 0 {”
Tambora: Break pattern #1

22
¿ œ ¿ œ ¿ œ ¿ œ
/ C “ { 0 œ œ œ0 l0
œ œ œ
0 l0
œ œ œ
0 l0
œ œ œ
0 {”
Tambora: Break pattern #2

23
¿J ¿ œ œ ¿J ¿ œ œ ¿J ¿ œ œ ¿J ¿ œ œ
/ C “{ 0 0j 0 l 0 j 0 0 l 0 j 0 0 l 0 j 0 0 {”
Merengue Piano Styles

I started to learn about merengue in my freshman year at Berklee. I discovered that there
were so many great merengue musicians and bands from the Dominican Republic in the New
England area. My first teacher in this genre was a Dominican born multi-instrumentalist, whom I
respectfully addressed by his last name “Heredia.”
Merengue is a style of music from the Dominican Republic usually written in cut time and
felt with a 2 beat. The traditional instrumentation consists of accordion, a two-sided drum held
on the lap called tambora, and a metal guira. Traditionally, the guira was made out of a sheet of
metal perforated with a nail, shaped into a cylinder, and played with a stiff brush. Nowadays you
can get fancy guiras from LP percussion. One of the traditional styles in merengue is called Perico
Ripiao or Merengue Típico.
Merengue also consists of different rhythms which will dictate the way the rhythm section
will play. One of them, “Merengue Derecho” or straight merengue, sounds a bit more march-like.
Another rhythm is “Pambiche” or “Merengue Apambichao,” which sounds more syncopated.
I have recorded most of the examples and chord progressions in this book as both “Derecho”
and “Pambiche.” Some of the examples in the book can be played the same over both styles.
The tempo in merengue can vary from medium to ridiculously fast. For practical purposes I
recorded most examples in different tempos, ranging from medium slow to medium fast. In one
chapter (page 16) I decided to go up to a 296 bpm fast merengue.
One of the first merengue songs I heard was called “Compadre Pedro Juan” performed by Angel
Viloria and his Conjunto Típico Cibaeño. Friends suggested that I also listen to Damiron and his Piano
Merengue. But the moment that I really got hooked on merengue was when I listened to the song
Guavaberry by Juan Luis Guerra. After that I had to get every single album that Juan Luis Guerra
ever did, from “Soplando” (1984) to “La Llave de mi Corazón” (2007). Over the years I have listened
to all of his songs and greatly enjoyed them, and as a musician I have learned from them and
transcribed quite a few. To this day I consider Juan Luis Guerra to be one of the greatest Latin-
American singer-songwriters and a great source of musical inspiration for myself.
Some of the other great merengue artists that I enjoy listening to are Wilfrido Vargas,
Ramon Orlando, Fernandito Villalona, Sergio Vargas, Johnny Ventura, Bonny Cepeda, Los
Hermanos Rosario, Jossie Esteban y la Patrulla 15, Conjunto Quisqueya, Cuco Valoy, Milly
Quezada, Olga Tañón, Alex Bueno, Freddie Kenton, Pochy y su Cocoband, Kinito Mendez,
Anibal Bravo and my old friends, José Liriano and Henry Jimenez!
I hope this book helps you in your studies of merengue and Afro-Latin music.
Carlos Campos
ISBN 1-934163-11-2
www.camposmusic.com
A.D.G. Productions
www.adgproductions.com
6 63389 11172 1
Online Music Lessons with Carlos Campos
I have been teaching music for almost 25 years to

students from all around the globe. I taught at
Berklee College of Music, New England
Conservatory, Musicians Institute in Hollywood and
at the Cornel School of Contemporary Music.
I earned a Bachelor of Music from Berklee, Masters
of Music from New England Conservatory and an
Honorary Doctorate of Music Arts from Shepherd
University. Some teachers I studied with include
Edgar Valcarcel, William Thomas McKinley, Herb
Pomeroy, Ran Blake, Anthony D’Bonaventura,
Stephanie Tiernan, James Williams and others.
I have written books on Latin Jazz, Afro-Latin Piano,

Ear Training and Solfege, Keyboard Voicings,
Keyboard Technique, Contemporary Improvisation
and other music subjects. I have also worked as a
producer, music arranger, songwriter and
keyboardist in Los Angeles and the Boston area.
I enjoy teaching students of all ages, music levels
and interest. My students range from beginners to
advanced. Their interest ranging from jazz piano, songwriting, ear training, Afro-Latin styles,
composition, contemporary music theory, arranging and scoring.
Here is a list of the subjects that I teach to my students:
Keyboard Theory and Musicianship

• Jazz Piano • Ear Training and Solfege
• Afro-Latin Piano Styles • Jazz Theory
• Latin-Jazz Piano • Chord Scale Harmony
• Contemporary Keyboard Technique • Reharmonization Techniques
• Contemporary Voicings
• Keyboard Harmony and Chord Writing
Progressions • Composition
• Improvisation and Melodic Development • Songwriting
• Arranging
• MIDI Mockups
To obtain more information regarding online music lessons with Carlos Campos, please go to:
www.lessonswithcarlos.com
Testimonials
Carlos Campos is an educator without peer. His innovative teaching empowers students to achieve
their creative dreams.
– Daniel Walker Ph.D. (Award Wining Composer)
I want to recommend Dr. Carlos Campos as one of the most inspiring teachers of music I have ever
known. Do you truly want to learn music and enjoy the process of learning and working hard? Then,
there is no one better, because he is a born teacher who specializes in knowing how to teach and
enthuse the student to fall in love with learning the art of making music. It has been my honor to
work alongside professor Campos.
– Dr. Abraham Laboriel Sr. (Professional Bassist with Stevie
Wonder, Al Jarreau, George Benson, Barbra Streisand, Billy Cobham, Dolly Parton, Donald Fagen, Elton John,
Freddie Hubbard, Herb Alpert, Herbie Hancock, Larry Carlton, Lee Ritenour, Madonna, Michael Jackson,
Nathan Davis, Paul Jackson Jr., Paul Simon, Quincy Jones and Ray Charles to name a few).
Dr Carlos Campos is the kind of music educator that I would loved to have had when I was starting
out! Not only is he brilliant in music theory and analysis, but his passion and insight into creativity is
highly contagious! His mentorship in music inspires musicians to be well developed in their skills
and excited about their own personal journey of discovery.
– Caleb Quaye (Professional Guitarist with Elton John, Mick
Jagger, Pete Townshend, Paul McCartney, Hall & Oates, Shawn Phillips and many others)
I have worked with Carlos Campos for many years, both in the areas of music education and
production. As an educator, Dr. Campos can guide you through most areas of your music making;
but most importantly, Dr. Campos will light your soul with inspiration, and infuse in you the drive to
grow and to reach your full potential as a musician and as a complete human being.
– Daniel Indart (Owner of Indart Music, LMS Records; Composer
for Dexter, The Sopranos, Mozart In The Jungle, Dance With Me, NCIS, Our Brand Is Crisis, House Of Cards
and Orange Is The New Black)
I have known Carlos for many years. He is an extremely talented musician with a unique approach to
teaching piano, composition, ear training and other musical subjects. Carlos is a professional who
understands the steps it takes in becoming a great player and writer. I would highly recommend
studying with him.
– Mauricio Guerrero (Six time Grammy Award winning producer,
Shakira, Phil Collins, Beyoncé, Gloria Estefan, Luis Miguel, Placido Domingo, Celia Cruz, Lena Park)
Mr. Campos’ teaching methods, whether it is keyboard technique, ear training, latin and jazz piano
instruction is of the highest calibre, educating 1000’s of music students from all over the world. He is
also an energetic, knowledgeable and fun teacher.
– Andrew Gordon (Author, Pianist, Publisher and Educator)
Testimonials (continued)
Dr. Carlos Campos is one the best educators in his field and probably the most organized teacher I've
ever met. He knows a great deal of musical anecdotes and is very funny! If you want to get a great
musical education, just study with him. You won’t regret it. You'll start learning the right way!
– Kwang Il Lee (Professional Bassist)
Carlos is not only a master in music theory and keyboard harmony, but he also helps students on
philosophical concepts; for instance, he emphasizes awareness and being in the moment when
playing music.
– Eliseo Borrero (Bassist with Paco de Lucia, Oscar Hernandez)
After more than 20 years of my career in the classical music field, I had never approached Jazz. I
needed both an academic and step by step method to go about my Jazz studies. After studying with
Carlos, he opened a new colorful door for a fresh palette of improvisation techniques that boosted my
musical thinking.
– Yalil Guerra (Ph.D candidate, recipient of UCLA Cota-Robles
Fellowship, Grammy Award winning Composer)
Carlos Campos is truly a Maestro in the area of contemporary music. He enjoys to share freely all of
his knowledge while at the same time choosing the right information to keep one focused, grounded
and growing as a musician. Studying with him is definitely helping me to achieve my musical goals.
– Miguel Rojas (Professional Bassist)
Whether you are a beginning or professional musician, Dr. Campos’ wealth of knowledge and
method of teaching, will improve your music knowledge, skills, and performance. Lessons are taught
in a comfortable yet challenging manner!
– Timothy Cooley (Public and private school music teacher)
I'm a professional drummer and after studying Ear Training, Solfege and Keyboard Skills with Carlos,
I realized that I could my drums more melodically and with an increase sense of awareness and
harmony. Carlos is a great teacher, not only for pianists but also for drummers or any musician
interested in going deeper with their musical practice. I would highly recommend studying with
Carlos.
– Young Bin Park (Professional Drummer)
I consider Carlos Campos more than a teacher, he is more of like mentor. I'm very glad I got to meet
him and learn from him. He has a very particular approach to music. He invites you to go deeper into
other aspects that surround and relate to music that, in the end, makes you a better and more
rounded, conscious musician.
– Juan Manuel Ferron (Film Composer)
Other Titles by Carlos Campos
CamposMusic.com

Merengue Piano Styles (Ebook PDF

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Campos Music

Merengue Piano Styles

Copyright © 2018 by Carlos Campos

All rights reserved. No part of this publication may be

As always, let’s have lots of fun playing music.

IV-I-V Patterns (Derecho) page 21

I-IV-V Patterns (Pambiche) page 45

I-II-V Patterns page 69

Song No. 2 page 89

     

      

      

      

  

  

Slap Open Tone Sitck

Tambora: Basic pattern, no fills (Tambora Derecha)

Tambora: Basic pattern with fill (Tambora Derecha con repique)

Merengue Tambora Patterns

Tambora: Straight pattern #2 with fill in bar 8 (Segunda Parte)

Tambora: "Apambiche" pattern (Apambiche ó Apambichao)

Merengue Tambora Patterns

Tambora: "Pambiche Moderno" pattern, no fills

Tambora: "Pambiche Tradicional" pattern, no fills

Tambora: "Caballo" pattern #1 (Caballo Simple)

Tambora: "Caballo" pattern #2 (Rítmo

Tambora: "Caballo" pattern with variation #1

Merengue Tambora Patterns

Tambora: "Caballo" pattern with variation #2

Tambora: "Caballo" pattern with fill

Tambora: "Caballo Break" pattern variation #1

Tambora: "Caballo Break" pattern variation #2

Tambora: "Caballo Break" pattern variation #3

Merengue Tambora Patterns

Tambora: Caballo with Break pattern #1

Tambora: Caballo with Break pattern #2

Tambora: Caballo with Break pattern #3

Tambora: Caballo with Break pattern #4

Tambora: "Caballo Pa' Mambo"

Merengue Tambora Patterns

Tambora: Break pattern #1

Tambora: Break pattern #2

I have been teaching music for almost 25 years to

I have written books on Latin Jazz, Afro-Latin Piano,

Here is a list of the subjects that I teach to my students:

Keyboard Theory and Musicianship

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