Latin Jazz Piano Technique _ TECHNIQUE . OLIGARIO. DIAZ 18.95 = — =ABOUT THE AUTHOR MR. OLEGARIO DIAZ Mr. Diaz studied at the Berle Collegs of Music, earting & Bachelor in Composition, aad the Man- ‘hatian School of Minsic, and holds a Muster in fazz Suxdien. ‘Be has performed piano in the New York and West Coast aroas with such artists as Tito: Puente, ‘Willie Bote. Celia. Cruz, Johnay Pacheco, Willie Colon, Joné Fajardo, Luiz Ramires, Afro-Cubans, ‘Mario Bawa Big Band, Paquito de Rivers, Victor Pez, Daniel Ponce and many others Mr. Diaz still playain the New ‘York area with many different Latin and Jas banda. The Inte 19405 saw the emergence of a new schicl of drummers who combined many influences Afro-Cuban and Latin rhytiems, imported into te Dizzy Gillespie Band by the late Cano Pogo in [48 yeempely wimp, ic «fe yee in ems sym eed esting ts the authenticity af juz, could be dotected at one jpoint ex another in almost every performance by ep eeavov hussain of ati sgt eb nba pty odjerce toa Ot packet unfamiliar percussive sounds. Latin Music is founded ona two-measure rhythm paitern,» formula played on a pair of thick hard ‘wood stick known as the “claves.” This is the continunen of all Cuban rmmiée, Authentic mambo melo- Siow are “ia clave,” thats, Uhair iin accents correspernd with the accent of this two-meamare artery, ‘Fundamentals rch as rhamis, mambo, merengue and cha-cha constitute a diversity of accentuationa, applied to te mibdivisio of a foursfour measure into eight notes. ‘The piano plays.a Yery important role in this music, for the chords are broken in continuous hoo- phonic unison, This s called “Montuno.Guajeo” or "tumbacy”in the Latin vocabulary. Mosstunca are ‘usually performed with botl hanes in unison, fet fsind coupled with right hand om the octave. Hiarmo- ny chord structures ar written the samess jaz. “This book will explain to the student how to play Latin rbythes from any particular chord inversion, according to the melody, whether instrumental or vocal. For best reaulls, amy individual or class using this boa should Limen tos much Latin music (hoth live and recorded?) aa posite ‘Olegurio Dix aaa ine ba Goes: ene Shien Wher Bdlseln hn Wied ate VamentaChapter I ‘Progressions on the I-TV, ¥7 Major ce I, lim, V7 Minor srere commonly played in the SOs'by Cuban ‘und, and ts well known a3 “Son Montano,” “Challis,” “Charnnga Chords,” or '“Tipico Style ‘These patiornsare playd in major or minor tomalities; right hand will couple unison at the octave ‘vith the left bas, ‘The bass player will play the notes of bass clef TheleA hand and right hand will piay the sare uni- ‘son at the Ba. These particalar exercises should be played in all keys, andl meraorined for @ good kenawiedige of the material, “Please be simple and specific when playing the Montano. otherwise the harmony vill be dense.(Clave 2-3) Fn Bi m6 SS 5 S _ = = =te? ChaChaChapter IT Inversions Over the Dominant 7 Chord In thitchapier we ‘will analyze the dominant seventh chord fram all ts pain is, ax well as Majer aiid sninor cbords, Venves marelaty ate one dorninant chewd: called “Descarga Latina." We will change. : Montenoa over the Dominant 7 chor. Some tkme can be integrated over the iim7, ‘VT situation, and we will write Montunos over 12 bar blues stractures:as well ‘The eft ancl will play mame as right hand, Sea unison: base player plays the bau line. Like Chapeer T, benimple and specific when playing atherwise the harrnony will be dense These exercises should be cover many’C7 CheChe a = — ss ~ = _ = = = = C7 ChaCha D7 co Di7 — = ——, ve a, — Same — = DS e — Fs 3_| a - = = = — = = ae 7 D9 orDT ‘ — ~ (lFor Intros = ee maj? oatChapter TI ‘type of Montuno contains many harmonic chord cha-npes ns we play io the Jarzidiom; iim, V7 advaihionrunen terials amen, dominant and major chord. Thess are Latin Jazz Progrensions in Montuno style. The feft tad will play same ax right fund, va uniscin: the tex player phys the bass fino. These ‘Montunos can be used for Jaxx changes and will be called Latin-Jarz plano. They can als be played by, vihraphianas and puitars ix subetitution for keyboards. Mont unos can be inverted from the? and b3 Major or elinor ofall chanda oa Llin7, V7, IamajT0r vi, Play these oxerciscs as in Chapters | nd II: learn in ll kes to be played aver chord chaniges without notesAe 7 Bem?Asmit ‘Db mt GemDescending Meise Seconett tixa?-VI -L major?Major xeventh chords arcand circleChapter IV Rhythms We will comp the iaimo way as the rhythm ‘till indicate: These are similar’ ‘ct ais maa different accents to inchoate the haste rhythm, tore for he syle sree vewad, ag Rikythms for Bossa anf SambsC6 Mil out CH GN out =C6 Mout 6 fiiout