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Salsa, Afro Cuban Montunos for Guitar. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful. Documents Similar To Salsa Afro Cuban Montunos for Guitar. Guitar Music of Uploaded by. kostas salsa guitar. Uploaded by. This Latin improvisation lesson uses an A minor montuno. A montuno is a unique accompaniment pattern often used in Latin America, especially in Afro-Cuban.

Salsa and afro cuban montunos for piano By Carlos Campos. IL. q Selected Discography: Afro Cuba Acontecer Afro Cuba Eclipse de Sol Grupo Afro Cuba 95 David. Salsa & Afrocuban Montunos for Piano - Carlos Campos - Free download as PDF File (.pdf) or read online for free. Scribd is the world's largest social reading and publishing site. Salsa Afro Cuban Montunos Piano. Mirko Schiappapietre. 95482845 Buena Vista Social Club Complete Book.

1. Salsa And Afro Cuban Montunos For Piano Pdf Sheet Music. Each track features a piano and rhythm demo section followed by a bass and percussion section for practice. There is an additional MP3 library consisting of percussion only audio tracks in 2-3 and 3-2 clave. The 22 percussion tracks vary in tempo from 132bpm to 212bpm.
2. Afro-Cuban salsa has been very male-dominated over the years. AFRO-CUBAN BASED JAZZ PIANO 1. THE HAL LEONARD KEYBOARD STYLE SERIES provides focused lessons that contain valuable how-to. Linda Leida Con Sabor A Montuno CD (SAR/Guajiro 1005), Released 1991. Befitting SAR's house style of stretching out Cuban son montunos. Here you can find cuban.

You can call it salsa guitar or playing montunos or trying to sound like a tres. Mambosonson-montunomontunocha-chasongotimbalatin jazz are some that are fairly well known styles.

At least enough so that I know about them. It also helps you focus on your time and groove. Plus you get to play salsa. Please note, that while I have some experience with the style, I am certainly by far not an expert!

So please check out the lesson, but please also monrunos you search for other sources of knowledge. A Tres One way to start is try to play what either a tres or cuatro is playing or to try an imitate part of what the piano is doing. Once you hear the different parts, you will be able to fit what you are playing into what the rest of the band is playing.

Salsa And Afro Cuban Montunos For Piano Pdf Lessons For Beginners

Before or simultaneous to learning a few starter riffs to play on guitar depending on who you talk montunoa, called montunos or tumbaos …definitely check out these different interlocking rhythms that really make salsa music what it is.

These interlocking patterns weave together to create an amazing, magical groove that gets people wanting to dance. If you learn the different rhythms you can hear better where you fit in, plus understand the accents, and also get a better feel for everything. It goes like this:. We will come back to the clave.

For now, just tap the beat with your foot and the clave with your hand. Tumbao can have different meanings but here we are talking about the bass part that was adapted from the tumbao drum part in more traditional styles of Afro-Cuban music. The orange highlights signify the tumbao in the diagram below.

Check out playing tumbao and a montuno, salsa guitar lesson. It shows how to play a tumbao bass line and a montuno at the same time. Cascara means shell and the patterns are usually played on the shell of the timbales. You could also play them with a bell. There are few different patterns that are traditionally played with the bell. They relate to the clave.

You can read an in depth discussion on bell patterns at Wikipedia. Watch this video on YouTube Learning to dance salsa Half the fun and beauty of salsa is the dance. And, dancing helps your time! Watch this video on YouTube You can count dancing as practice timetoo!

Playing Tumbao and a Montuno, Salsa Guitar Lesson

Pick a slower song or a cha-cha-cha and just dance the mambo slowed down to practice and just groove on the basic step. You can sing and play the different parts like the clave, the cascara, and the tumbao if you want more of a challenge. Like the needle said to the record: And remember to make sure your feet are hitting the floor in time to the music. Watch this video on YouTube This song includes a tres playing the main montuno.

Watch this video on YouTube. Watch this video on YouTube Montuno patterns for salsa guitar Video lesson of montuno section. Watch this video on YouTube One chord montuno.

So we will start with a montuno in just A minor.

You can pick any note from the chord but play with the following rhythm. So follow the rhythm of the tao sign in green. The numbers above are the two bar count.

Please remember to try variations and different patterns. These are just ideas. Of course, learning from the music will always help a lot, too! PDF of some sample A minor montunos. Watch this video on YouTube Playing 4 chords. It may sound complicated but it is pretty straight forward once you start feeling the groove. Get some recordings to play along with and also get beatcraft programmed a clave and some of the other patterns so you can practice.

As you can hear there is so much more you can do. But being able to play a major groove and a minor groove are good places to start out.

This goes from G to F. Try figure out the bass lick. The bass and guiro start, then you hear the mambo clavethen trumpet! You can basically play the piano montuno. It comes in later 4: Learn the bass part, then listen again play the piano montuno back over the song.

How to Play Salsa Guitar

Try to play all the percussion parts. Play the conga solo on your guitar! The chords are Eb, Ab, Bb, Ab. Watch this video on YouTube Chan Chan. Watch this video on YouTube Candela.

Watch this video on YouTube Human Nature. Watch this video on YouTube Clocks. They montunso a lot of usefully and amazing information. I know that they certainly have helped me a lot except for the tres cubano book, which I have not read but would like to. This provides a great overview of how the different instruments fit together in a various salsa situations.

She also wrote montunos for pianowhich is a really good book. For Piano and Ensemble. This a great book to practice up different montunos. They have lots of common chord progressions with examples and play-alongs in both and clave. Salsa and Afro Cuban Montunos for Guitar. Tons of written and audio examples. But it looks good. Another great book by Rebecca! Remember to learn the songs as much as you can from the vinyl! But this book has tons of interesting songs. The Latin Real Book.

And also for guittar trees! A lot of the musicians i.

Latin Guitar: #4 Minor & Major Montuno – TrueFire Blog

Fania All-Stars that made salsa popular in the 70s were located in New York. They were mostly from Puerto Rico and Cubathough musicians came from many places i. Johnny Pacheco and Larry Harlow. Irakere was more latin jazz and songobut I feel like in the 70s, Cuban music was more inspired by jazz harmonies. Buena Vista Social Club is a good example of some of the old-school Cuban mohtunos of music that people usually associate with salsa.

Check out Afro-latin Afro-Cuban and Afro-Puerto-Rican musical styles to understand the deeper monthnos of salsa, son and mambo. The Mambo was a dance craze that hit New York in the 40s and 50s. Many bebop musicians Charlie Parker and Montnuos Gillespie incorporated Cuban and other Caribbean rhythms into their bebop compositions.

This, in my opinion, reflected upon mpntunos greater mambo popularity that occurred at the time. Of all the musical styles, to me, mambo is the main immediate precursor montunls salsa, if not really the first chapter of salsa music. It uses a lot of the same instrumentation, rhythms, and dance steps. If you go to dance salsa, the band or DJ may play some old-school mambo, too. Thanks for checking out the semi-secret section for those of you who watched all the credits.

Salsa And Afro Cuban Montunos For Piano Pdf Lessons Music

But check out how the guitar part outlines a clave. But really I love this montuhos track of Van Halen, so I just wanted an excuse to share it with you here.

It has a montuno-like guitar part. He starts by playing something like a shuffle-rock-clave- 2ndline -salsa. An iconic song by Tito PuenteI would suggest you check out a few versions of the song to get a feel for how all these great musicians adapted it to different musical settings. Irakere hails from Cuba and they are a genre-warping experience.

I recommend lovers of 70s music to schedule in some serious listening time to these guys. Watch this video on YouTube This version starts out with a rumba clave.

Watch this video on YouTube And please also.

Latin Styles

Latin Jazz, as the name implies, is Jazz that uses rhythms derived from Latin American music. There are two main categories of Latin Jazz:

• Afro-Cuban Jazz – based on Cuban music with genres like mambo, cha-cha and salsa & popular in the late 1940’s and early 1950’s (sometimes referred to as Cubop)
• Afro-Brazilian Jazz – based on Brazilian music with genres like the Bossa Nova and samba & popular in the 1960’s.

This lesson will discuss only the former.

I Got Rhythm

Some music genres, like the Blues and Boogie-Woogie, have such a well-known and icon groove or rhythmic pattern that they are instantly recognisable. Afro-Cuban Jazz is similar. It has a rhythmic pattern that is instantly recognisable as Afro-Cuban, which I’ll explain in a moment.

So the most important aspect and the defining characteristic of all Afro-Cuban music is the rhythm. To play in an Afro-Cuban style means to adhere to a particular rhythm. Without this rhythm, Afro-Cuban Jazz is just regular Jazz. This rhythm is the thing that holds the whole song and the whole genre together.

Traditional Jazz and Afro-Cuban Jazz are rhythmically different. The differences are defined in the below table:

In Afro-Cuban Jazz, every instrument is allocated a particular rhythm which they music play throughout the entire song, with little to no variation. All these different rhythms then mesh and combine together to create an Afro-Cuban feel or groove. And the most important of these rhythms is the clave rhythm – which is played on an instrument also called a clave – which are essentially just rhythm sticks.

This clave rhythm is the base rhythm of all Afro-Cuban Jazz – it’s like the foundation of a house. All other instruments are allocated a rhythmic pattern that complements and adds to this clave rhythm. It’s like building layers of different rhythms on top of your foundation clave rhythm to build a kind of rhythmic jigsaw puzzle where all the rhythms fit together to create a nice, tight groove.

Make sure you practice clapping and playing the clave rhythm so that you internalise it. It’s just like with swing rhythm in Traditional Jazz, you really have to feel it, and be comfortable with it, and internalise it.

Clave

The clave is a 2 bar pattern that is repeated throughout the entire song. And there actually isn’t a single universal clave rhythm. Instead, there are a number of different clave rhythms, which are all quite similar, but nevertheless distinct. These are depicted below:

Notice that:

• The 2/3 Clave (2 notes in bar 1 and 3 notes in bar 2) is just the reverse of the 3/2 Clave (3 notes in bar 1 and 2 notes in bar 2)
• The Rhumba Clave is very similar to the Son Clave but delays the last note of the 3 bar by ½ a beat
• There are also other Latin Jazz songs which follow a clave-like rhythm, but are not exactly the same as the Son or Rhumba Clave. Instead they are a slight variation on it. For example Chitlin’s Con Carne (by Kenny Burrell) is a Latin Blues which follows a clave-like rhythm

So the term ‘Latin Jazz’ is somewhat flexible in that you can have a number of different ‘clave-like’ patterns as your base rhythm and still call it ‘Latin Jazz’. But the Son Clave is by far the most common clave used today, so we will be restricting our discussing to the Son Clave.

Once the clave is established, it does not change for the whole song, or at least the section of the song. In fact, many Latin Jazz Standards have a Latin Rhythm Section A and a Swing Rhythm Section B. For example, have a listen to:

• On Green Dolphin Street
• Con Alma
• A Night in Tunisia
• Tin Tin Deo

The melody of the Latin Jazz song generally needs to adhere to this clave rhythm. And as I said before, every other instrument is then allocated a rhythmic pattern that complements the clave rhythm that they play through the whole song. A selection of these rhythms are outlined below:

Notice how these rhythms line up with and embellish the basic clave rhythm. This is what I mean by ‘all the other rhythms complement the base clave rhythm’. Right, so on top of our foundation clave rhythm we have built multiple layers of more complex rhythms, and all together they create an Afro-Cuban Latin Jazz feel. And these rhythms just repeat over and over again for the whole song. So each instrument’s individual part is actually quite simple and even a little boring. But they all fit together like a jigsaw puzzle and create a great and interesting sound.

Piano Montuno and Tumbao

Now, as pianists, the two most important rhythms are the:

• Montuno; and
• Tumbao.

A Montuno is essentially just a vamp. As the piano player you just play the same rhythm again and again for the entire song but outlining the chord progression. And Afro-Cuban bands are generally quite big and loud, with a number of horns, the bass and drums. So the Montuno is generally played two handed and doubled an octave apart to create a louder sound so the piano doesn’t get drowned out by all the other instruments.

If there is no bass player in the band, then the piano is in charge of playing both the montuno (in the right hand) and the tumbao (in the left hand).

So again, you can think of all these patterns as a kind of ‘rhythmic vamp’ that’s played through the entire song. And again, it’s important that you practice and internalise these rhythms – by clapping or playing them. They should become second nature and be entirely in your muscle memory.

Alright, so the montuno is a rhythm, but what notes do you actually play? The goal of the pianist is to outline the chord using the montuno rhythm. And there are two main ways of playing the chords:

First, you can effectively arpeggiate each chord (so play broken chords). For example, below is a C6 and Cm6 played as a montuno. Double it in your left hand an octave lower or a 10th lower.

And you can play chord progressions like this. We can also add the tumbao in the left hand. The tumbao is the bass part and just needs to play chord tones –especially the root and the 5th – using the tumbao rhythm. For example, the following chord progression:

Second, instead of arpeggiating the chords, you can break them in two and play the montuno pattern. Let’s say we have a CMaj7 chord. You can start on any one of the chord tones (C, E, G, B) playing an octave, then play two of the other notes in between using that montuno pattern. This is demonstrated below:

Using this approach, you can add in the tumbao in our left hand and play a chord progression.

So to summarise:

• The Montuno is just playing broken chords; and
• The Tumbao is playing the root and/or 5th

Adding Complexity

But this is just the basic montuno. You can now embellish it by adding eighth notes to make it a bit more interesting; but still keeping general underlying basic montuno feel or rhythm going by still accenting the appropriate beats that correspond with the basic montuno.

You can add eighth notes at the start; at the end; in the middle; or everywhere to make the montuno slightly more interesting and complex.

Afro-Cuban Music vs Afro-Cuban Jazz

In Afro-Cuban music, the rhythmic aspect is more important than harmony or melody. So in most Afro Cuban (non-Jazz) music, the harmony is actually quite simple. They use pretty standard chord progressions and usually just use triads. You’re not often going to find many Phrygian chords, or polychords, or heavily altered dominant chords, or other complex chords in Afro-Cuban music. And chord progressions are also generally pretty simple – often just I-V-I-V’s, or I-IV-V-IV’s or II-V-I’s.

Now Afro-Cuban Jazz songs take this same rhythm, but apply to it slightly more complex chords and chord progressions.

Note also, that the distinction between Salsa and Afro-Cuban Latin jazz isn’t always clear cut. But very generally:

• Salsa is danceable, has less improvisation, has more vocalists, and uses complex chords; while
• Afro-Cuban Latin Jazz is less danceable (i.e. has a less driving rhythm), has more improvisation, is more instrumental, and uses complex chords

And each sub-genre of Afro-Cuban music (such as the Cha-cha-cha, Rumba, Mambo, Salsa, Son Montuno, Songo, etc.) has its own particular rhythmic patterns or idiosyncrasies.

Afro-Cuban Latin Jazz

So as I stated at the beginning of this lesson – Afro-Cuban music is all about rhythm. And you keep playing that exact same montuno and tumbao for the entire song – over and over again – just like a vamp. So unlike regular comping, where varying your rhythm is important. In Afro-Cuban Jazz, you shouldn’t vary your rhythm very much at all because the goal is to set up a tight groove and just keep repeating it.

And when it’s time to solo remember that rhythm is more important than melody or harmony. You want to keep your solo nice and simple. Play rhythmically, play loud, and use lots of octaves so that you are heard over the band, and keep to that clave and montuno rhythm.

And that’s really the basis of all Afro-Cuban music – it’s all about the rhythm. So Afro-Cuban ‘Jazz’ essentially just takes these rhythmic ideas – the Clave & Montuno & Tumbao – and applies them to Jazz Chords and then improvises over the top.

So if you want to play a Jazz song in an Afro-Cuban style:

• Change the melody so it adheres to the clave (either the 2/3 or 3/2 clave)
• Then play the chords in a Montuno rhythm with a Tumbao bass part – with all the other instruments playing their own corresponding rhythms if you’re playing with a band

Note, however, that this is just the basics. Each of the aspects that we just discussed can be changed and modified and manipulated to create countless variations on this Afro-Cuban ‘rhythm’ or ‘groove’. Each instrument’s basic rhythm can be embellished and made more complex, while still maintaining its general rhythm or feel.

Have a Listen to

• Machito
• Chano Pozo
• Mario Bauzá
• Chucho Valdez
• Tito Puente
• Gonzalo Rubalcaba
• Eddie Palmeri
• Michel Camilo
• Mongo Santamaria
• Cal Tjader