TECHNIQUE ; OLIGANO. DIAZABOUT THE AUTHOR MR. OLEGARIO DIAZ Mr. Diaz stadied at the Beriise College of Music, eaming a Bachslor in Compouition, ard the Man- ‘hnttan School of Muxic, and holds « Mater in Jazz Stuxties. ‘He has performed piano in the New York and West Coast aroas with such artists as Tito Fuente, ‘Willie Bobo, Cetia Cruz, Johnny Pacheco, Willie Colon, José Fajardo, Luiz Ramirez, Afro-Cubans, ‘Mario Bauza Big Band, Paquito de Rivera, Victor Paz, Daniel Ponce and many others. Mr. Diaz sill plays in the New York area with many different Latin and Jazz banda ‘The late 19408 saw the emergence of a néw schio! of rummers who combined many influences ‘Afro-Cuban and Latin rhythms, imported into the Dizzy Gillespie Band by the late Chano Pom in 1948 ‘were rapidly takon up, Within a few years their use, previounly a rarity and regarded us distracting from the: cof jazz, could be detected at one paint arancther is almest every performance by mod- ern jazz groups This infusion of Latin rhythms drew the to the periphery of jazz a wealth of previously ‘unfamiliar percussive sounds Latin Music is founded on a two-rmeasure rhythm pattern, « formula played on « pair of thick hard- wood sticks known as the “claves,” This is the continuum of all Cuban music, Authentic mambo melo- ‘dies are "in clave,” that is, their main accents corrmspond with the accent af this two-reeasure artery, ‘Fundamentals such as rhumbe, mambo, merengue and cha-cha constitute a diversity ofaccentustions, applied to the subdivision ofa four-four measre into eight notes, ‘The piano plays a Very important role in this music, for the chords are broken in continuous heeno- ‘Phonic unison. This is called “Montuno-Guajeo” or “tumbas™ in the Latin vocabulary. Montunos are ‘usually performed with both Ihatids ia tinison, heft tanid coupled with right hand on the octave. Harmo- ay chord structures ar written the sagne aa jazz This book will explain to the student how to play Latin rhythms from any particular chord inversion, according to the melody, whether instrumental or vocal For best results, any individual or class using this book should listen 16 aa much Latin music (both live and recorded) as powsl ble. ‘Olegario Dia amy 10 9 Cm a, 3 Sh New Yo A DH inertness Caoy'gne Mera ‘at Nig NeerChapter T Frogsemions on the I-IV, ¥7 Major ce I, iim, V7 Minot were commonly played in the 50s by Cuban ‘bends, and is well known as "Son Montuno," *Guiiims,” “Charanga Chords.” or “Tipico ‘These pattorns aze playd in major or minor tonalities; right hand will couple tnison at the octave with the left hand. ‘The base player will play the notes of bass clef: The lef hand and right hand will play the sume uni- som atthe Bva. These particular exercises should be played in all keys, and memorized for & good Knowledge of the material, ‘Please be simple and specific when playing the Mantuno, otherwise the harmony ‘will be dense." te)yt fis) (Slt Be vm? > ¢ 6 * B Fmd ot zhChapter IT Inversions Over the Dominant 7 Chord ‘In this chapter we will analyze the dominant seventh chord from all its paints, ax well as Major and munor chords: called: Latina” We will _ ote nag Li br io i etn ont ne ~Descares -many different Montenos over the Dominant 7ebord. Same time can be integrated over the iim, ‘VT tution, end we wil rise Moetunve over 1a tar boss trecteressa well ‘The left hand will play same as right hand, Ove unison: bass player plays the bass line. Like Chapter T, be simple and specific when playing. otherwise the harmony will be dense. These exercises should beI2 ar Bluesf Db? D7 uChapter IT ‘This type af Montuno contains many harmonic chord changes ns we play in the Jazz idiom; tim?, V7 ee ee major chord These are Latin Jazz progressicas in Montuno style. ‘The left hand wil play sameas right hand, #vx unison: the bass player pluys the bass line, These ‘Montunos can be tised for Jaxx changes aod will be called Latin-Jazx piano. They can also 'be played by ‘vibraphones and guitars in substitution for keyboards. Montunes can be inveried from the b? and bi Major or minor of al chords of ilin?, V7, Imaj-or vi, ‘Play these exercises as in Chapters [innd IT; learn in all keys to be played over chord changes withouta= Fanj7 rcAT “27 beHae _— > es = ll = ee = nas Se Es aa | 2 SS SSDescending Major Seconds Um? - V7-t major?Pao ct esDomiltant seventh chords around circleMinor Blues changes Cm Cm? eo | | |‘Chapter IV Rhythms ‘We will comp the samo way athe rhythm ‘will indictite: These are similar to the jazz comp, but thete are many different accents to indicate the basic rhythm patterns for the style of music pperfarmed,C6 Gill out. ; C6 MowC6 fill ootte ee eeC6 AN out C6 flout C6 fil outlity i 3 F ii li #