BEYONDSALSAPIANO

THECUBANTIMBAPIANOREVOLUTION

VOLUME1BEGINNING
THEROOTSOFTHEPIANOTUMBAO

KEVINMOORE
audioandvideocompanionproductsavailableat
www.beyondsalsa.info/purchase

photographybyTomEhrlich
coverphotosubject:IvnMelnLewis

REVISION1.22009,2009,2013BYKEVINMOORE
SANTACRUZ,CA
ALLRIGHTSRESERVED
Nopartofthispublicationmaybereproducedinwholeorinpart,orstoredinaretrieval
system,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopy,
recordingorotherwise,withoutwrittenpermissionoftheauthor.
ISBN10:1439265844
ISBN13/EAN13:9781439265840
www.beyondsalsa.info
www.timba.com/users/7
kevin@timba.com
@twitandotimba
H

TableofContents
IntroductiontotheBeyondSalsaPianoSeries ...................................................................................... 6
Part1:TheFiveIntroductoryVolumes .............................................................................................. 6
Part2:IndividualArtists ..................................................................................................................... 7
CorrespondingBassTumbaosforBeyondSalsaPiano ...................................................................... 8
AudioandVideoHowBeyondSalsaisOrganizedandMarketed ................................................... 9
IntroductiontoVolume1..................................................................................................................... 10
Chapter1:TheRootsofTumbao ......................................................................................................... 11
LearningfromHistory ...................................................................................................................... 12
Chapter2:Chang .............................................................................................................................. 13
4/4and2/2Notation ....................................................................................................................... 15
UnderstandingtheClickTrack ......................................................................................................... 15
BreakingDowntheChangGuajeoStyle........................................................................................ 18
TheRootsofChang:NengnandKirib ....................................................................................... 25
Chapter3:Rumba ................................................................................................................................ 27
Chapter4:Danzn................................................................................................................................ 30
DanznInstrumentationandCharanga ........................................................................................... 32
Chapter5:Son...................................................................................................................................... 33
ClaveandSonGuajeos ..................................................................................................................... 35
SextetoHabanero ............................................................................................................................ 37
Chapter6:ArsenioRodrguezandSonMontuno ................................................................................ 38
TheSubjectiveNatureofClave ........................................................................................................ 44
ClaveExercises ................................................................................................................................. 46
ClaveDirectionandtheIIVVIVProgression.......................................................................... 50

LookingAhead...................................................................................................................................... 57
Appendix1:FrequentlyAskedQuestions ............................................................................................ 59
WhatistheroleofthepianoinaLatinensemble? ......................................................................... 59
WhatsTheDifferencebetweenatumbao,aguajeoandamontuno?................................. 59
Whyiseveryexampleshowninboth16thnotesand8thnotes? ..................................................... 59
HowcanIimprovemytimefeelandsenseofclave?...................................................................... 59
Appendix2:ForFurtherStudy ............................................................................................................. 61
SuggestedReading ........................................................................................................................... 61
SuggestedListeningtoPrepareforSubsequentVolumes ............................................................... 62
Appendix3:GlossaryGeneralTerms ................................................................................................ 64
CommonSuffixes ............................................................................................................................. 73
Appendix4:GlossarySpecificRhythmicTerms ................................................................................ 74
ExplanationofX&oNotation ......................................................................................................... 74
ANoteonTerminology ................................................................................................................ 74
TimeSignatureTerms ...................................................................................................................... 75
ClaveTerms ...................................................................................................................................... 76
DanceTerms..................................................................................................................................... 79
TermsfortheTypesofBeats ........................................................................................................... 80
Appendix5:HarmonyCharts&ExercisesforVolume1...................................................................... 87
UnderstandingtheHarmonyCharts ................................................................................................ 87
WhyRomanNumeralsaresoImportant ..................................................................................... 87
HarmonyExercise1 ..................................................................................................................... 87
UnderstandingRomanNumeralNotation ....................................................................................... 88
Chart1:MostCommonChordsinMajorKeys ............................................................................ 89
Chart2:MostCommonChordsinMinorKeys ............................................................................ 89

HarmonyExercise2 ..................................................................................................................... 89
AHarmonicReviewofVolume1...................................................................................................... 90
UnderstandingChart3................................................................................................................. 90
Chart3:HarmoniesofVolume1Tumbaos.................................................................................. 90
Acknowledgments................................................................................................................................ 91
AbouttheAuthor ................................................................................................................................. 92
TheBeyondSalsaCatalog2013 ........................................................................................................ 93

IntroductiontotheBeyondSalsaPianoSeries
TheBeyondSalsaPianoseriesisdesignedtobeusedeitherasastandalonepianocourse,orasa
companionseriestoBeyondSalsaBass,enablingyoutopracticeeachexercisealongwithafriendor
bandmemberwhoplaysbass.
That said, each bass series book is much longer than its piano counterpart, and quite a bit more
ambitious,especiallythefirstfourvolumes.Theresacorresponding basstumbaoforeverypiano
tumbaocoveredinthisseriesbuttherearealsomanyadditionalbasstumbaosandseveralchapters
of conceptual exercises that go beyond the piano books. Music history is also given significantly
more space and attention in the bass series. But before you contract a case of bassistenvy, note
thatthefirsteightbooksofthepianoseriesarealsoovermuchlessexpensive,andifyouintendto
purchasebothbooks,youcanemailmeforadiscount.

Part1:TheFiveIntroductoryVolumes

scheduledfor
releasein2014

scheduledfor
releasein2014

Each series begins with five volumes that start at the beginning level and work their way
systematicallythroughhistory,finallyarrivingatthemoderngenreoftimba.
BeyondSalsaPiano

Volume

BeyondSalsaBass

chang,rumba,danzn,son,sonmontuno

chang,rumba,danzn,son,sonmontuno

danznmambo,charangas,conjuntos
andbigbandsofthe1950s

sonmontuno(continued)danznmambo,
charangas,conjuntosandbigbandsofthe1950s

Cubanmusicfrom19601989,Part1

salsa,Cubanmusicfrom19601989,descargas
andotherantecedentsofLatinjazz

Cubanmusicfrom19601989,Part2

Introductiontotimba

Introductiontotimba

Advancedtimba,reguetn,bachata,Cubanrock

As you can see, Volumes 1 and 2 match up almost perfectly, except that the bass series adds an
extensiveadditionalsectiononArsenioRodrguezandsonmontunoinVolume2.Volumes3and4
of the piano series are combined in Volume 3 of the bass series, which also has a section on the
6

salsaandpresalsamusicofPuertoRicoandNewYork.Salsawasnotcoveredinthepianoseries,as
salsa piano has already been thoroughly covered by Rebeca Maulen in her Salsa Guidebook and
101 Montunos. The bass series covers timba in two volumes instead of one because the bassist
playssuchapivotalroleintherhythmsectiongears.

Part2:IndividualArtists

TopLeft:PupyPedroso,LowerLeft:TirsoDuarte,Center:AlainPrez,TopRight:CalixtoOviedo,LowerRight:MelnLewis
TirsophotobyPierreVignaca,AlainphotocourtesyMarkbass,otherphotosbyTomEhrlich

FromVolume6onwards,eachvolumeofeachseriesisdevotedtothestyleofonemusician.These
volumeshavetheirownphilosophyandgameplan:

Find the very best musicians. As of this writing, the bass series features Alain Prez, the
percussionseriesfeaturesCalixtoOviedo,andthepianoseriesincludesMelnLewis,Pupy
PedrosoandTirsoDuarte.

Avoidaskingthemusicianstoselfanalyzeorparticipateinthepedagogicprocessanymore
thannecessary.

Onacasebycasebasis,findthemostnatural waytocaptureeachmusiciandoingwhathe
orshedoesonrecordingsandatconcerts.

Convert these captured performances whether MIDI, audio, or video into bitesize
exercisesthatcanbeeasilystudied,understoodandassimilatedbyanonCubanmusician.

Neveraskthereadertolearnanexercisewithoutdemonstratingexactlyhowitrelatestoa
givengenre,band,songorthestyleofaspecificmusician.

Volumes 69 of each series are directly linked because their subjects Meln Lewis (piano) and
Alain Prez (bass) played sidebyside in the legendary 19961998 Issac Delgado Group. Each is
arguablythegreatestplayerofthetimbaeraonhisrespectiveinstrument.
The songs covered are identical (until Volume 9, when Meln left Issacs group) and the video
products include the two musicians playing along with each other. Melns tumbaos are also
presentinonechanneloftheaudioproductsfortheAlainbooks.

scheduledfor
releasein2014

scheduledfor
releasein2015

Thefollowingchartsummarizesallofthisinformation.

CorrespondingBassTumbaosforBeyondSalsaPiano
BeyondSalsaPiano BeyondSalsaBass
Volume1 Volume1
Volume2 Volume2
Volume3 Volume3
Volume4 Volume3
Volume5 Volume4,Volume5
Volume6 Volume6
Volume7 Volume7
Volume8 Volume8
Volume9 Volume9

With the Pupy Pedroso (Volumes 10 through 13) and Tirso Duarte piano books (beginning with
Volume14),Ibeganincludingthebasstumbaosinthepianobooks,sothelinkagebetweenthetwo
series ends after Volume 9. I have sufficient MIDI material for books on Rolando Luna, Rodolfo
PeruchnArgudn,JuanCarlosGonzlezandothers.AdditionalvolumesofBeyondSalsaBasswill
coverbassartistsyettobedetermined.Feelfreetosendinyoursuggestions.

AudioandVideoHowBeyondSalsaisOrganizedandMarketed
With the exception of the Understanding Clave and Clave Changes book and audio package, each
volumeoftheBeyondSalsaseriesconsistsoftwoorthreeseparatelysoldproducts:
1. abooklikethisonewithtextandmusicalnotation(hardcopyoreBook)
2. downloadable MP3 audio files demonstrating the musical examples, accompanied by a
claveclicktrack,atfullspeedandinslowmotion,withtheleftandrighthandspannedhard
leftandright(andwithbasstumbaosinthecaseofthePupyPedrosopianobooks)
3. when available, downloadable computer video files and physical DVDs showing a Cuban
pianistperformingeachmusicalexampleatfullspeed,inslowmotion,andwithvariations
Youcanchooseanycombinationofthethreetofityourpersonalstyleoflearning.

Book
Thebookyourereadingnowcanbepurchasedonwww.createspace.com/1000252022asahard
copy, paperback book. Alternatively, it can be viewed online and/or printed on your computers
printer from the website www.latinpulsemusic.com/albums/show/353. The books contain music
notationforeachexerciseinboth8thnotes(Americanstyle)and16thnotes(Cubanstyle),aswellas
explanatory text and historical information. If you dont read music and arent interested in the
explanationsandhistory,youcanchoosetobuyonlytheaudioand/orvideoproducts.

Audio
Theaudiofilesdonotcomewith the book.Theyreavailableasseparate,downloadableproducts
frombeyondsalsa.info/purchase.Thelinksthereshouldleadyoutopreviewaudio,oryoucanemail
forfreesamplestobesureyoulikethetracksbeforepurchase.Foreachnotationexample,there
are two ultrahigh quality MP3 files made directly from 24bit wave files. The first is recorded at
normaltempoandthesecondinslowmotion.Thepianolefthandispannedhardleftandtheright
handispannedhardright.Thisway,youcanusethebalancecontroltolearnonehandatatime.
TheaudiofilescanbeburnedtoaudioCDsorplayedonanMP3playerorcomputer.
H

Video
Like the audio products, the videos are sold as separate downloads. Video downloads are only
provided for later books focusing on individual artists. So there is no video for this book. Theres
currentlyvideoofMelnLewis(piano),AlainPrez(bass)andCalixtoOviedo(drumsandtimbales).
YoucansamplesomeofitonYouTubeorbyfollowingthelinksatbeyondsalsa.info.
AttheendofthisbookistheBeyondSalsaCatalogandPriceListforallproductsreleasedtodate,
with pictures, links and content descriptions. The most current catalog with all links and more
detaileddescriptions,canalwaysbefoundatwww.beyondsalsa.info.

IntroductiontoVolume1
Chapter

Description

Chapter1 TheRootsofTumbao
Chapter2 Chang
Chapter3 Rumba
Chapter4 Danzn
Chapter5 Son
Chapter6 ArsenioRodrguezandSonMontuno

Volume1hasdualpurposes:tochronicletheearliestancestorsofthepianotumbaoandtoprovide
exercises for beginning pianists to develop the technique necessary to play salsa and timba piano
tumbaos. We start with piano adaptations of tres guajeos from the seminal folkloric genre of
chang,whichpredatesthefirstCubanrecordings.
Next we study the danzn and son genres of the 19001940 period to look for early roots of the
modernpianotumbaointhetresandviolinparts.
Thevolumeconcludeswithanextensivestudyofthevarioustypesofsonmontunotresandpiano
tumbaospioneeredbyArsenioRodrguezinthe1940s.
Thismaterialisidealforabeginningmethodbookfortworeasons:
1. The patterns were original played on stringed instruments, they
canbelearnedveryeasilybyabeginningpianist.
2. The source material is also the beginning historically the first
instancesoftumbaosinLatinmusic.
Depending on your style of learning, you may want to start by reading the explanatory text to
absorb the big picture, or you may want to dive right in and learn the music, after which the
explanationswillhavemuchmoremeaning.Youcanlearnthepatternsbyreadingthemusicorby
ear,butifyoulearnthembyreading,youshouldmemorizethemasquicklyaspossible.
The material in Volume 1 is arranged chronologically, but for beginners, I suggest studying the
tumbaosinorderofdifficulty:son,danzn,sonmontuno,chang.
History Genre
beganbefore1900 chang
firstrecordedaround1906 danzn
firstrecordedin1918 son

DifficultyLevel
mostchallenging
easy
veryeasy

firstrecordedin1941 sonmontuno moderatelyeasy

10

Chapter1:TheRootsofTumbao
Theideaofmusicbasedontumbaoswhichwelldefineasshort,syncopated,repeatingmusical
phrases can be traced back hundreds of years to the tuned drums and vocal chants of Africa.
BroughttoCubabyWestAfricanslaves,theconceptwasappliedtoinstrumentsotherthandrums,
anditwaslargelythroughtheinfluenceofCubanmusicinNorthAmericathattheylatercametobe
usedinrock,soulandfunkmusic.Thus,forexample,whileheavymetalisnotconsideredaCuban
genre, the most essential part of almost every heavy metal song is a perfect example of our
definitionofatumbao:ashort,syncopated,repeatingmusicalphrase.InEnglish,itsaguitarriff.
InCubanSpanish,itsatumbaoorguajeo.NorthAmericansalseroscallitamontuno.Regardlessof
thename,orlanguage,orgenre,itsthesamemusicalconceptandthatconceptispreciselywhat
thisseriesofbooksisabout.
The following chart shows the main types of instrumentation used in Cuban secular music,
categorizingtheinstrumentsthatplaythetypesoftumbaosthatwellbestudyinginthiscourse.

lowfrequencytumbaos

midfrequencytumbaos

otherinstruments

rumba

tumba(lowconga)

segundo(middleconga)

quinto(highconga),claves,guagua

chang

marmbula(largekalimba)

tres(guitarlike
instrument)

bong,maracas
gira(metalgiro)

danzn(charanga)

bass

stringsection,piano

timbales,giro,flutelatercongas

earlyson
(sexteto,septeto)

botijuela(primitivewind
instrument),or
marmbula,orbass

tres

bong,guitar,maracas,clave,
trumpet

jazzband
(bigband)

bass

piano

trumpets,trombones,saxophones,
drumset,variouspercussion

laterson(conjunto)

bass,piano

piano,tres

addedcongas,moretrumpets

songoandtimba
(varioussubsetsof:)

bass,synthesizer

piano,synthesizer,tres,
violins,electricguitar

trumpets,trombones,saxes,kick
drum,drumset,variouspercussion

Low frequency tumbaos are usually much sparser than midfrequency tumbaos, but not always.
From Arsenio Rodrguez to songo to timba, bass tumbaos can be found that use almost as many
notesaspianotumbaos.
When twoinstrumentsplaytumbaosinthelowfrequencyrange,theyusuallydoubleeachother.
Forexample,manyarrangementsfeaturepassageswherethepianodoublesthebasstumbaoa
mode called motivo by some Cuban musicians. When two lowfrequency tumbaos with different
rhythmsoccur,oneofthemisusuallytheunpitchedkickdrum.Thepresenceofthekickdrumasan
independent voice is a critical component of timba and songo. In contrast, two or more discrete
midfrequencytumbaosarelayeredontopofeachotherquiteoften.Forexample,charangagroups
oftenfeaturethepianoandstringsplayinginterlockingtumbaosofdifferentshapesandrhythms.In
Volume2,wellfind1950scharangagroovesthataddadistinct,songspecificbasstumbaotocreate
11

Tumbao2cusesallthreevariationdevices.Tumbaosofthislengthwereveryrareuntilthe1990s.
Chang tumbao 2c - tracks 11 & 12

r
& .. .

? R ..
.
&
?

.
.

..


..

Chang tumbao 2c - tracks 11 & 12

j
j
j
j
& .. J . j j j .
? J .. J . J J .
J
J J
J
j
j j
& j j
? J J J
J
J

j j j j j j

J
J

J J

J J
J
J J

j .

.
J

J J ..

ChangTumbao3a,arareexampleofachangfigurewithnostringsofoffbeatswhatsoever,adds
chromaticpassingtonestothemix.

& #
? #

..
..

& #

..

? #

..

.

# .

# ..
Chang tumbao 3a - tracks 13 & 14

Chang tumbao 3a - tracks 13 & 14

Inthestyleof:HomenajeJosLuis

20

.

# .


# ..

Pueblo Nuevo se pas, also strongly clavealigned, begins with the standard guaguanc de saln
guajeobutSonMontuno13fromthemontunosectionisbasedonabeautifulmelodyplayedin
10thsbythebass,piano,andtres.

& ..

? ..

..

.
.

Son Montuno 13 - tracks 75 & 76

j
& ..

? ..
j

Son Montuno 13 - tracks 75 & 76

j ..

j ..

Inthestyleof:PuebloNuevosepas1948tempo=74bpm23clavepiano:LilMartnez

ClaveDirectionandtheIIVVIVProgression
Apurrenmemujeres,whichusesthesameclavealignedrhythmasTumbao9,revealsthefallacy
intheoftenrepeatedurbanlegendthatLatinmusicsmostcommonchordprogression,IIVV
IV,shouldalwaysbeplayedin23clave.

b
& b ..

? b ..
b
b
& b ..

? b b ..

Son Montuno 14 - tracks 77 & 78

Son Montuno 14 - tracks 77 & 78

Inthestyleof:Apurrenmemujeres1948tempo=63bpm32clavepiano:LilMartnez

..
..

..
..

ApurrenmeusesthefamousIIVVIV(BbEbFEb),isveryclearlyin32clave,andswingslike
theresnotomorrow.Asthechartonthenextpageshow,Abuscarcamarn(audiotrack51)and
Cangrejo fue a estudiar (audio track 59) offer two more clave orientation options for the classic
progression.Intheend,allisfairinlove,war,andhowthechordprogressionisjuxtaposedagainst

50

Appendix2:ForFurtherStudy
SuggestedReading
OtherBeyondSalsaVolumes:
BeyondSalsaforBeginnersbyKevinMoore
BeyondSalsaBass,Vols.67AlainPrez,byKevinMoore
BeyondSalsaPiano,Vol.1TheRootsofthePianoTumbao,byKevinMoore
BeyondSalsaPiano,Vol.2EarlyCubanPianoTumbaos:19401959,byKevinMoore
BeyondSalsaPiano,Vol.34CubanPianoTumbaos:19601989,byKevinMoore
BeyondSalsaPiano,Vol.5IntroductiontoTimba,byKevinMoore
BeyondSalsaPiano,Vol.69IvnMelnLewis,Pts.123,byKevinMoore
BeyondSalsaPiano,Vol.1011CsarPupyPedroso,byKevinMoore
BeyondSalsaPercussion,Vol.13CalixtoOviedo,byKevinMoore
UnderstandingClaveandClaveChanges,byKevinMoore
BeyondSalsaforEnsemble,Vol.1,byKevinMoore
BooksonCubanBassPlaying:
ACollectionofBasslines,byFelicianoArangoandCherinaMastrantones,createspace.com/3739479
AContemporaryBassTechnique,byFelicianoArangoandCherinaMastrantones,
createspace.com/3671152
RootsofTimbafreeonlinebookcoveringbasstumbaosofArsenioRodrguez,RitmoOriental,etc.
CubanMusicOverview:
www.timba.com
CubaanditsMusic,byNedSublette,ChicagoReviewPress
TheClaveMatrix,byDavidPealosa,BembeBooks
TheSalsaGuidebookand101Montunos,byRebecaMaulenSantana,SherMusic

CubanMusicDiscography:http://latinpop.fiu.edu/discography.html
BooksandVideosonAfroCubanFolkloricMusic,RumbaandChang:
Chang:OriginsofCubanMusicandDance,byBenjaminLapidus,ScarecrowPress
TheCongaDrummersGuidebook,byMichaelSpiro,SherMusic(alsoatwww.latinpulsemusic.com)
RumbaQuinto,byDavidPealosa,BembeBooks
TheAfroCubanFolkloricMusicalTradition,byRobertFernndez,LeisurePlanetMusic
AfroCubanPercussionWorkbook(andDVDproduct),byJosEladioAmatandCurtisLanoue

TripstoCuba:
ChuckSilvermanwww.chucksilverman.com
PlazaCUBAwww.plazacuba.com

61

SuggestedListeningtoPrepareforSubsequentVolumes
**indicatesalbumdownload(w/fullbooklet)isavailableonwww.latinpulsemusic.comasof2009
Thislistischosenforbothoverallmusicalqualityandrelevancetothetumbaosandpianistsoffuturevolumes.

GROUP

ALBUM

PIANIST

LABEL

PaulitoFGysulite

Conlaconcienciatranquila

SergioNoroa

NuevaFania**

PaulitoFG(Elbuenosoyyo)

EmilioMorales

NuevaFania**

Bamboleo

Yonomeparezcoanadie

LzaroValds

AhNam**

Yanohacefalta

LzaroValds

AhNam**

o!

LzaroValds

AhNam

CharangaHabanera

HeyYouLoca

JuanCarlosGonzlez

MagicMusic**

PaqueseentereLaHabana

JuanCarlosGonzlez

MagicMusic**

Tremendodelirio

JuanCarlosGonzlez

MagicMusic**

Charangueromayor

TirsoDuarte

CiocanMusic**

LiveintheUSA

TirsoDuarte

CiocanMusic**

ChanChanCharanga

TirsoDuarte

CiocanMusic**

DannyLozada

Tantoleped

JuanCarlosGonzlez

IssacDelgado

Rarities(ExclusivoparaCuba)

IvnMelnLewis

CiocanMusic**

Elaoqueviene

IvnMelnLewis

RMM

Otraidea

IvnMelnLewis

RMM

Laprimeranoche

PepeRivero

ARTEX**

Lafrmula

RobertoCarlos

AhNam**

Manoln

Paramigente

ChakaNpoles

AhNam**

Debuenafe

ChakaNpoles

BlueMetro

Jaquemate

ChakaNpoles

Caribe

Elpuente

ChakaNpoles

CiocanMusic**

LosVanVan

DiscoAzcar

PupyPedroso

ARTEX**

Loltimoenvivo

PupyPedroso

QBADisc

Aydios,amprame

PupyPedroso

CaribeRecords**

Estoteponelacabezamala

PupyPedroso

CaribeRecords**

LlegVanVan

PupyPedroso

PimientaRecords**

Chapeando

RobertoCarlos

UnicornioRecords**

NGLaBanda

Enlacalle

PeruchnArgudn

QBADisc

SimplementelomejordeNG

PeruchnArgudn

ARTEX**

62


Klmax

Mirasitegusta

TonyPrez

Eurotropical

Juegodemanos

Huicho

Eurotropical

Oyecomova

MarcosCrego

Eurotropical

Klmax&Manolito

ConciertoEurotropicalI

Huicho/Manolito

Eurotropical

ManolitoysuTrabuco

Directoalcorazn

ManolitoSimonet

BembRecords

Contratodoslosprognsticos

ManolitoSimonet

Eurotropical

Marcandoladistancia

ManolitoSimonet

Eurotropical

ParaquebaileCuba

ManolitoSimonet

Eurotropical

Serompieronlostermmetros

ManolitoSimonet

Eurotropical

Hablandoenserio

ManolitoSimonet

EGREM

LosQueSonSon

Qucosastienelavida

PupyPedroso

EGREM

Labuenagente

PupyPedroso

PimientaRecords

Mitimbacerr

PupyPedroso

EGREM

Tranquiloqueyocontrolo

PupyPedroso

EGREM

RevysuCharangn

Sesiguecomentando

RoyAlainSain

BIS**

Fresquecito

WilfredoNaranjo,Jr.

BIS**

AzcarNegra

Andarandando

AisarSimn

BIS**

MichelMaza

Fieeesta

SergioNoroa

Envidia**

Quehablenloshabladores

SergioNoroa

Envidia**

AngelBonne

Circunstancias

ElMajMatos

EGREM

Bonne&BonneCo.

WilfredoNaranjo,Jr.

EGREM

Various

GraciasFormell

MelnLewis,
EmilioMorales

Ciocan**

Alsohighlyrecommendedareanyandallliveconcerts,livevideoorliveaudiorecordingsbyanyofthesegroups.

63

Appendix3:GlossaryGeneralTerms
Abaku
(abacu,abakw)

1.a12/8rhythmbroughttoCubafromtheCalabarRiverareaofWestAfrica
2.amysterious,allmale,mutualaidsociety

abanico

1.aspecialtimbalfigureusedtointroduceanewsection;originatedindanzn
2.Spanishforfan,femaledanzndancerswouldfanthemselvesduringtheAsections
ofdanzonesandthencollapsetheirfansontheirpartnersbacksjustastheBsection
began,perhapstheoriginalreasonforapplyingthetermtotimbales

aberkula

unconsecratedbatdrumsforuseinnonreligioussettings

ahnam

slangforahnadams(keepittherenomore),shoutedbysingersafterapassageor
attheendofasongthemeaningismorelikethatsperfectjustlikethat;sometimes
asnmissubstituted(likethat,nothingmoreisneeded)

akpn

theleadsingeranddirectorinatraditionalAfroCubanreligiousceremony

apodo

nicknamemanyCubanmusicianshavethemandthenicknameisoftenagoodnatured
jababoutsomephysicalattribute,e.g.,bombnforsomeonewhoisshortanddark
skinned,gordoorflacoforthefatandskinny,melnforsomeonewithabigroundhead
andsoon.Onlyrarelyisanapodocomplimentary,e.g.Changuito(asmallerversionof
therevereddeity,Chang).Otherapodosrefertoracialappearanceorskincolor,e.g.,El
Indio,Chino,Niche(darkblack),Chocolate,orpersonalitytraits,e.g.Tosco(rough,crude).

Arar

1.anAfroCubanethnicgroupfromDahomeywhosemusic,drumsandreligionhave
beencarriedoninWesternCuba
2.aspecialbatrhythmadaptedfromtheararrepertoireforusewithspecifictypesof
songs

Bant

anAfroCubanethnicgroupofCongoleseorigin;moreslaveswerebroughtfromthis
regionthananyother;principalmusicalgenresarepalo,makutaandyuka

BPMorbpm

BeatsPerMinutetheunitofmeasurementfortempo(thespeedofthemainbeats)

backbeat

subdivision5;thesecondmainbeatofeachsideoftheclave;thesubdivisioncommonly
playedbythesnaredruminNorthAmericanmusic;asopposedtofrontbeatthefirst
mainbeatofeachsideoftheclave

baqueteo

1.theprincipaltimbalandgirorhythmofdanzn
2.(general)arhythmplayedbyastickorbaqueta

basicstep

asixstepdancemovementlastingoneclaveinduration

bajo

Spanishforbass;bajistaisSpanishforbassist

bat

1.oneofthreesizesofhourglassshaped,doublesidedrumsusedinYorubanmusic
2.themostextensivelypracticedandstudiedAfroCubanreligiousgenre

batera

Spanishfordrumset

bemb

1.afamilyofYorubandrumsinCuba
2.oneofthefourmainYorubanmusicgenresofAfroCubanfolkloricmusic

bloque

moderntermforalongerrhythmicbreakplayedbytwoormorerhythmsection
musicianswithnoonekeepingtime(asopposedtoefecto,ashorterrhythmicbreakin
whichbassand/orpianousuallykeepstime)(seecierre)

64

bolero

1.atypeofslowsongwithromanticlyrics,verypopularthroughoutthe20thCentury
2.aspecificrhythmicpatternoften,butnotalways,usedtoaccompanybolerosongs

bomba

1.alargefamilyofPuertoRicanfolkloricrhythms,includingbombasic
2.anultrahighenergytimbagearinwhichthebassplaysthumpsandslidesanddancers
danceapartfromeachother,withshouldersandhips,andwithrecklessabandon

bombo

1.subdivision4;themiddlestrokeofthe3sideofclave
2.Spanishtermforbassdrum

bong

apairofsingleheaded,openendeddrums,attachedtoeachother,heldbetweenthe
kneesandplayedwiththehands;thebongoriginatedinCuba

bongosero

amusicianwhoplaysbong(andalsothehandbellinmostgenres)

bongbell

asynonymforhandbellorcampana

bongdemonte

averylarge,lowbongusedinchang

bota

1.amemberofthesongofamilyofrhythmsthatstressessubdivision6and8ofeach
sideoftheclave;createdbyJosLuisChanguitoQuintana
2.Spanishtermforboot(asinkickinguptheenergyoftheband)

botijaor
botijuela

alargejugusedasabasswindinstrument;replacedbythemarmbulainchangand
earlyson,andlaterreplacedbythecontrabassinson

cabildos

culturalpreservationsocieties,somestillinexistenceinCuba,datingbackhundredsof
yearswhentheywerepermittedbythegovernmenttoallowAfricanslavestopreserve
theirculture

caja

1.thelowestdruminmanyfolkloricensembles,oftenusedforimprovisation
2.Spanishforsnaredrum

cajn

1.oneofafamilyofdrumsservingasimilarroletoacongaortumbadorabutwithboth
thebodyofthedrumandtheplayingsurfacemadeofwood
2.Spanishtermforbox

campana

1.Spanishtermforbell(anybell)
2.aspecificbell,thehandbellorbongbell;thelowestofthethreecommonbellsof
salsaandtimba

campaneo

1.Spanishtermforapatternplayedonanybell
2.aspecificandextremelycommonpatternplayedonthehandbell

cscara

1.acommonrhythmiccellplayedwithsticksontheshellsofthetimbalesalsocalled
cascareo
2.Spanishforshell

cscarapulse

aterminventedforthesebookstoprovideadescriptivenameforsubdivision6,whichis
heavilyaccentedonbothsidesoftheclaveinthecscaraorcascareorhythm
alsoknownasCubanstylesalsainthedancesense;atermforthetypicalwaythat
Cubansdancetosalsaandtimba.IntheUnitedStatescasinoisoftendistinguishedfrom
LAandNYstyleSalsaasbeingmorecircularandlesslinear.
anyofavarietyoffolkloricinstrumentsusedfortimekeepingandconsistingof
hardwoodstruckwithsticks;alsocallguagua

casino

cat
cencerro

Spanishtermforacowbell;synonymforcampana

chach

thesmallerheadofabatdrum(thelargerheadiscalledtheen)

65

chachach

aCubangenrecreatedinthe1950s,originallyplayedbycharangagroups,withaspecial
characteristicdancestep

chachalokefn

animportantsecularbatrhythm,usedinvocalmusic,andhavingatimefeelsimilarto
changandotherpopadaptations(manyspellings,Africanlanguagederived)

chabell

asmallhigherpitchedbell,usuallymountedonthetimbalerosstand(campanade
chachach)

Chang

oneofthemostcelebratedSanteradeities,theorichaofthunderandlightning;
associatedwiththecolorred;dancedbyasinglemaledancerwithanax(seep.204)

chang

aseminalCubangenrefromtheeasternregionofCuba

charangafrancesa

agroupthatincludesviolins,flutes,giro,andtimbales,butnotbongorhorns;now
calledsimplycharanga;itsoriginalprimarygenrewasdanzn,thendanznmambo,
thenchachach,butthetermreferstotheinstrumentation;examples:Orquestas
Aragn,Sublime,Sensacin,Amrica,Rev,RitmoOriental,Melodasdel40,Arcao,
Fajardo,etc.

charangatpica

anearlytypeofcharangafeaturingbrassinstruments(aka,orquestatpica)

chkere

apitchedgourdwithbeadsnettedaroundtheoutside,playedwiththehands
(sometimesspelledshkere);aprimaryinstrumentintheYorubangirogenre

cierre

earlytermforalongerrhythmicbreakplayedbytwoormorerhythmsectionmusicians
withnoonekeepingtime(asopposedtoefecto,ashorterrhythmicbreakinwhichbass
and/orpianousuallykeepstime)(seebloque)

cinquillo

1.animportant5strokecellbuiltaroundthe3sideofclavenotequallyspaced
2.literally,aquintuplet,agroupoffiveequallyspacedstrokes

clave

1.oneoftwosticksplayedtogether(claves)
2.oneofseveral5strokerhythms,regularlyalternatingbetweentwosides,onemore
syncopatedthantheother,andaroundwhichmostCubangenresarebuilt

clavealigned

arhythmiccellofatleast4beats,withadifferentrhythmforeachofitsinternal2beat
halves,suchthatone2beatcellismeanttobeplayedagainstthe2sideofclaveandthe
otheragainstthe3side.Ifthelistenerhasexperienceinthegenreandstyletheclave
alignedcellshouldestablishtheclavedirectioneveniftheactualclaveisnotpresent.

columbia

thefastestofthethreeoriginalrumbagenres;in12/8;featuringavirtuosicsinglemale
danceraggressivelydancingwithknifesandotherimplementsandinteractingwiththe
quintoorleaddrum

comparsa

acarnavalparadecelebration,withfloats,commonalloverCuba,featuringavarietyof
fast,densecongarhythmsandsexydancinginelaboratecostumes

conga

1.atall,rounded,singleheadedCubandrum,playedwiththehands,alsocalled
tumbadora
2.aspecificsizeddrumofthecongafamily,largerthanthequintoandsmallerthanthe
tresdosandtumba
3.afastCubancarnavalrhythmplayedbycomparsagroups

conjunto

agroupwithtrumpets,tres(optional),andbongbutnottimbales;itsoriginalprimary
genrewassonmontunobutthetermreferstotheinstrumentation;e.g.Arsenio
Rodrguez,Chappottn,RobertoFaz,ConjuntoCasino,Rumbavana,Son14,etc.

66

contracampana

alongflatbellmountedonthetimbalerosstand,alsocalledtimbalbell,ormambobell

contracampaneo

aspecificpatternplayedonthecontracampanabell

contratiempo

literallyagainstthebeatusedtorefertodancingon2

cornetachina

adoublereedwindinstrumentusedincomparsa,especiallyinEasternCuba

coro

1.arepeatingcallandresponsevocalriffsungduringthemontunosection
2.thewholesectionwherearepeatingcoroandleadvocalguasorpregonesaresung

cubanismo

theessentialqualityofbeingCuban

cuerpo

1.thelowervolumesong,orverse,sungbytheleadvocalistaloneatthebeginningof
mostLatinarrangements;thebodyofthesong
2.Spanishtermforbody

Dahomey

1.anAfricankingdominandaroundpresentdayBenin;someDahomeyanswere
broughtdirectlytoMatanzasandHavana(calledArar);otherscametoEasternCubavia
Haiti
2.aseculargenrefromtheVodfamily,broughttoEasternCubafromHaitibypeopleof
Dahomeyandescent

danzn

seminalCubangenredatingfromthelate19thCenturythatcombinedclavebased
rhythmswithEuropeanorchestralinstrumentsandtheEuropeancontradanza;thefirst
danznwasLasalturasdeSimpsonbyMiguelFaldein1879

despelote

anoncouplestyleofsexy,undulatingdance,performedtotimbagears;literally,tostrip
offorthrowdown;fromdespelotar

danzonete

a1930smodificationofthedanzn,addingvocalstocompetewiththepopularityofson;
thefirstdanzonetewasRompiendolarutinabyAnisetoDazin1929

descarga

ajamsessionfromtheverbdescargartodischarge,tounload,ordescargarseto
unburdenoneself

diablo

ArsenioRodrguezstermfortheconcludingsectionsofhissonmontunoarrangements,
withrepeatinghornriffsjuxtaposedagainstcorosandsometimessolos;adirect
predecessorofthemambo

diana

afreeformvocalsungbytheleadsinger,withnonverbalsyllablesinsteadofwords,at
thebeginningofaguaguanc.Thedianasetsthemoodandkeybeforethecuerpo
begins.

duplepulse
structure

musicinwhicheachmainbeatisfeltasbeingsubdividedintotwoorfourparts;most
Cubanpopularmusicisinduplepulsestructure

efecto

arhythmicbreakplayedbytwoormoremembersoftherhythmsection,usuallywhile
eitherbassand/orpianoiskeepingtime(moderntermformambito(1950s).

en

thelargerheadofabatdrum(thesmallerheadiscalledthechach)

estribillo

ingeneral,arepeatedvocalchorus;usedspecificallyasapartofadanznarrangement

frontbeat

subdivision1,thefirstmainbeatoneachsideoftheclave,asopposedtobackbeat,the
secondmainbeatoneachsideoftheclave

gear
(gearchanges)

atermcoinedbytheauthortodescribeanyspecificrhythmsectionorchestrationthat
themembersoftherhythmsectionhaverehearsedandcanswitchinanoutofoncue.
Allgenreshavegears,buttimbahasauniquegroupofgearsinvolvingtheabsenceofthe
basstumbaoandoftenaccompaniedbychangesinthedancemoves.

67

guagua

1.apieceofhardwoodorcane,playedwithsticks,creatingawoodblocklikesound,used
inrumbaandotherfolkloricgenres;alsocalledcat
2.Cubanslangforbus

guaguanc

oneofthethreegenresoftheseminalCubanfolkloricrumbacomplex;characterizedby
aspecificmatingritualdance;incrediblyinfluentialonallCubanpopularmusicgenres

guajeo

asyncopated,loopedfigureusedforaccompaniment;guajeoisprimarilyusedforviolins
andtresbutalsosometimesusedforpiano;synonymsaretumbaoandmontuno

guajiro/guajira

1.apersonfromthecountry(alsocampesino/campesina)
2.guajiraatypeofvocal/guitarfolkmusicwithminimalpercussion,fromthesame
familythatincludestrova,cancin,boleroandpuntoguajiro.
3.guajiraaspecialmediumslowtypeofarrangementpopularinNuyoricansalsa

guaracha

originallyatypeofCubansongusedinoperettas,featuringcomicalwordsandfast
tempos,lateradoptedbysonandcharangagroups

guarapachangueo

amoderntypeofguaguancaddingcajonesandsometimesbatstotherumba
ensemble;thetermwascoinedbyafriendofLosChinitos,who,uponfirsthearing,and
notimmediatelycomprehending,theirrhythmicinnovations,famouslyandpejoratively
questioned:whatsallthisguarapachangueo?

guataca

ametalhoebladeusedasabellinmanyfolkloricgenressuchaspaloandgiro

guayo

atypeofgiro(serratedgourdtimekeepinginstrument);usedinchang

gira

ametalgirolikeanopenendedmetalthermoswithahandle;usedprimarilyin
Dominicanmerengueandbachata,butsometimesinCubanmusic;wasplayedby
musicaldirectorJoaqunBetancourtinIssacDelgadosmid90sband

giro

1.aserratedgourdplayedwithastick(likeawashboard);oneoftheprincipaltime
keepersinLatinmusic;sometimescalledguayo
2.anAfroCubanfolkloricgenre(Yorubancategory)usingmultiplechkeres

habanera

1.ahistoricallyimportantrhythmiccell;sometimescalledtango
2.aSpanishadjectivemeaningHavanan,orofHavana(habaneroformasculine)
3.afemalepersonfromHavana(theSpanishtermforHavanaisLaHabana)

hembra

thelargerbong,conga,ortimbalinagroupoftwo(thesmallerbeingcalledmacho);
literally,hembrameansfemaleandmachomeansmale
twosmallcymbals,facingeachother,thatcanbeopenedandclosedwithafootpedal,
and/orplayedwithsticks

hihat
hook

ashortmusicalideathatdrawsalistenertoanewpieceofmusic,thatsticksinthemind
suchthatthelistenerwantstohearthesongagain.Ahookcanberhythmic,melodic,
harmonic,accompanimental,orlyricalusuallyacombination.

ittole

themiddlesizeddrumofthethreebats

iy

thelargestofthethreebats,playedbytheleader,whocuestherhythmicchanges

iyes

1.oneoffourmaingenresofYorubanmusicwithitsowntypeofdrums
2.aspecificrhythmadaptedforuseinbatmusic

jamblock

originallythebrandnameforarectangularinstrumentofredorblueplastic,producinga
veryloudclavelikesound,usedprimarilytoplaytheclaverhythmandmountedona
drumortimbalessetnowthetermisusedgenericallyforanysuchinstrument

68

jazzband

(pron:yahzbahng);agroupwiththeinstrumentationofaNorthAmericanbigband,or
asubsetthereof,thatlateraddedLatinpercussion,e.g.OrquestasRiverside;Casinodela
Playa,ChepnChovn,BenyMorsBandaGigante,TitoPuente,Machito,etc.

jimagua

1.the2sideofclave
2.Spanishfortwin

kickorkickdrum

abassdrumplayedwithafootpedalinCubanmusicsometimesplayedfroma
standingpositionbyatimbalero

kirib(orquirib)

asimplefolkloricgenrefromthemountainsofEasternCuba;alongwithnengn,oneof
theprecursorsofchang,andbyextension,son

Lucum

1.atermforCubansofYorubanancestry
2.thelanguageandreligioninheritedbyCubansofYorubandescent

macho

thesmallerbong,conga,ortimbalinagroupoftwo(thelargerbeingcalledhembra)

mainbeats

Thefourequallyspacedbeatsofonecycleofclave.Thesearethebeatsonwhichyoutap
yourfoottothemusic.Theirspeedisthetempoofthesong.Thefirstandthirdmain
beatsarecalledfrontbeatsinthisbookandthesecondandfourtharecalledbackbeats.

makuta

oneofthethreemainBantgenres,withitsowntypeofdrums(similartocongas),anda
fertilityritedanceconsideredaprecursorofguaguanc

mambito

ashortrhythmicfiguresharedbythefluteandpercussionincharangamusic(seeefecto)

mambo

1.asectionofaLatinarrangementfeaturingrepeatinghornriffs,oftenwith
contrapuntalrepeatingvocalriffs,orcoros
2.aCubangenre,withacharacteristicdancestep,createdinthe1950s

mambobell

synonymforcontracampana,thelargeflatmountedbellplayedbythetimbalero

manoteo

thelessaccentedstrokesofacongamarchaorbongmartillo,usedtofillinthe
subdivisionsfortimekeepingpurposes;alsocalledrelleno

maracas
Maraca

1.apairasmallgourdswithhandles,filledwithbeads;oneoftheprincipaltimekeeping
instrumentsinLatinmusic
2.thenickname(apodo)ofOrlandoValle,flutistandbandleader,whoasayoungman
wasverythinandhadahugeafro,thusresemblingthemusicalinstrument

marcha

1.arepeatingcongapatternusedforaccompaniment
2.afamilyofrhythmsectiongearsthatalwaysincludesasteadybasstumbaoandconga
marchaandhasdifferentpercussioncombinationsdependingonthepartofthe
arrangementitsusedfor

marchaabajo

atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforcuerpos;usescscaraandusuallybong,butwithnobells.

marchaarriba

atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforcoros,withtwointerlockingbellparts

marchade
mambo

atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforhornmambos,withbells,cymbalsandlotsofpercussionfills

marchademuela

atermusedinthesebooks(andtosomeextentelsewhere)tomeanthetypeofmarcha
gearusedforlowintensitybreakdownsinwhichthesingerinteractswiththecrowd

marmbula

alargewoodenboxwithpitchedstripsofmetal,likealargekalimbaorlamellophone;
usedasthebassinstrumentinchangandearlyson

69

martillo

1.theprincipaltimekeepingpatternofthebong
2.literally,Spanishforhammer

masacote

atermforatimbagearwithoutbasstumbao,butwithsomesortofcongamarcha

merengue

afastDominicangenrethatbecamepopularinCubaninthe1980s,spawningvarious
hybridssuchasChanguitosmerensongo

meter

theregulargroupingofmainbeats,e.g.,4/4,2/2,12/8etc.Thefirstnumberisthe
numberofbeatspergroupandthesecondisthedurationusedinstandardnotationfor
onebeat.12/8isacompoundmetermeaningthateachgroupof3isfeltasonebeat,
suchthat12/8hasfourmainbeats,eachfeltwiththreesubdivisionsperbeat.

moa

1.atypeofhornriffsimilartoamambo;sometimesinventedonthespotinlive
performance
2.CubanslangforrecentNorthAmericanR&BandCubanpopinfluencedbyit

montuno

1.asopposedtothecuerpo,thelonger,moreintensefinalsectionofaLatin
arrangement,featuringcoros,mambos,muelas,gearchanges,andsolos
2.atermusedoutsideofCubaforpianotumbao

mozambique

agenreofbriefbutextremepopularitycreatedbyPelloelAfroknintheearly1960sand
basedoncomparsa;arareexampleofpopularmusicwithnobassorchordinstruments,
althoughelectricguitarwaslateradded;notrelatedtothecountryofthesamename;
inspiredadifferentgenreofthesamenameinNewYork,ofwhichtheprincipal
proponentwasEddiePalmieri

muela

1.alowintensitybreakdownduringaliveperformancewherethebandplaysmore
softlyandthesingerengageswiththeaudience
2.Spanishtermfortooth(asinchewingthefatwiththecrowd)

nengn

asimplefolkloricgenrefromthemountainsofEasternCuba;alongwithkirib,oneof
theprecursorsofchangandbyextension,son

note

apitchedsoundcreatedbyamusicalinstrument(asopposedtostroke,asound,of
optionalpitchornopitch,usedinapercussionpattern)

nuevoritmo

anameusedbyArcaoandCachaotodescribethenewtypeofmontunosectionadded
tothedanznformatinthe1940s;sometimesalsocalledmambo

oknkolo

thesmallestofthethreebatdrums

on1,on2,on3

termsreferringtothedancecountonwhichthelongerstepawayfromthebodyoccurs

pachanga

amerengue/sonflavoredgenreplayedprimarilybycharangasthatbecameverypopular
inthelate1950s

pailas

synonymfortimbales;literally,Spanishforfryingpans

paseo

the5th,6thand7thbarsofadanznAsectionandthedistinctivetimbal/girofigureused
toaccompanythem;paseorepeatstherhythmofthe3sideofclave3timesinarow
andisalwaysfollowedbyabreak(aka,bloque,cierreorefecto)

pegao

popular,orinstyle;literallystuck;ahitsongoraverypopularartistispegao;
contractionofpegado,fromtheverbpegar,tostick,ortohit

piln

1.alongpoleusedtostirroastingcoffeebeansinacircularmotion
2.agenreanddancebasedonthismotion,createdbyEnriqueBonneandPachoAlonso
intheearly1960s;seldomplayedtodaybutstronginfluenceonsongoandtimba

70

platillo

1.Spanishtermforcymbal;literallylittleplate
2.occasionallyusedtermforsubdivision8,thelastsubdivisionofeachsideofclave

ponche

1.Spanishtermforpunch
2.subdivision7,thenexttolastsubdivisionofeachsideofclaveandthethirdstrokeof
the3sideofsonclave

pregn

animprovisedphrasesungbytheleadsingerinbetweencoros;asopposedtogua,a
similar,butnonimprovisedphrase;synonym:soneo;originallytheexclamationthata
streetvendor(pregonero)usestoadvertisehiswares

pregonero

astreetvendorwhosingsadvertisementsforhisproducts;oftenthesubjectoflyrics

presin

adramatictimbabreakdowngearwherethebassdropsoutorplayspedaltonesandthe
congamarchaandbellsdropout;alsocalledpedal,whenthebassplayslongtones

quinto

theleaddruminrumba(alsothesmallestandhighestpitchedofthecongafamily)

quintopulse

atermforsubdivision2,thesecondsubdivisionofeachsideofclave

rezo

literally,aprayerwhenusedinAfroCubanfolkloricmusic,thedrumsusuallyplayin
timewhilethesungprayerfloatsabove,outoftime

ride

apercussivefigureplayedoverandovertocreateagroove(alsousedinridecymbal,
thecymbalusedtoplayanimportantrideinjazz)

rueda(orrueda
decasino)

"wheel"inSpanish;acircleofcouplesdancingcasinoinwhichallcouplesperformthe
samemovementssimultaneouslyasdirectedbyacallerwhocuesthegroupverballyand
withhandsignalsoriginallydevelopedinthelate1950sorearly1960s.

rumba

acriticallyimportantCubanfolkloriccomplex,thegenresofwhichincludeyamb,
guaguancandcolumbia

rumbaclave

aformofclaveusedinguaguanc,songoandveryoftenintimba;alsocalledclavede
guaguanc

segundo

literallysecond;themiddledruminrumba,orinmanyfolkloricensembles

sello

literallysealorstamp;thetrademarkstyleofaband

slap

1.anaccentedspeakingtonestrokeoncongaorbong;unpitched,loudandsharp
2.anoccasionallyusedtermforsubdivision3,asubdivisiononwhichtheconguerooften
playsaslap;tapadoinSpanishdobletapadowhenamarchausestwoinsuccession

snaredrum

(orsnare)ashallowdrumwithmetalwiresonthebottomhead,usedinNorth
Americandrumsetplayingtoplaythebackbeat;cajainSpanish

sobadoorsobao

literallymassaged;referstothelefthandorstickplayingasoftaccompanimentonthe
timbaleswhiletherightstickplaysalouderbell,cscaraorwoodblockpart.

solar

anurbanCubanhousingproject,orlargeapartmentcomplex,withacentralcourtyard
whererumbasandothercommunalactivitiesoccur;plural:solares

son

aseminalCubangenredevelopedinthe1920s

sonclave

aformofclaveusedinson,salsa,sometimbaandmanyotherLatingenres

71

sonmontuno

1.agenrerepresentedbyanaugmentationoftheinstrumentationandarranging
possibilitiesofson;pioneeredbyArsenioRodrguez;playedbyaconjunto(asonsepteto
withaddedcongas,trumpetsandpiano)
2.anarrangementinthestyleofArsenioRodrguezandhisfollowers;mediumslowin
tempowithaconcludingdiablo(aka,mambo)sectionandahigherdegree(thanson)of
AfroCubaninfluenceinthelyricsandrhythms.

songo

1.theselfdescribedstyleofLosVanVan
2.afast,syncopatedrhythmicstyletypicalofLosVanVans1970sstyle
3.alargeandvariedfamilyofrhythmsdevelopedbyJosLuisChanguitoQuintana,
andincludingslower,R&Brelatedpatternsaswellasthebetterknownfastsongoabove

stroke

asound,ofoptionalpitchornopitch,usedinapercussionpattern(asopposedtonote,a
soundofveryspecificpitchcreatedbyamusicalinstrument)

subdivision

theshortest,orquickest,unitoftimeinarhythmicgroovesometimescalledpulse

traps

drumset,baterainSpanish

trapdrummer

adrumsetplayer,bateristainSpanish(istaisusedformaleorfemale)

tres

1.aguitarlikeinstrumentwiththreepairsofstrings,usedinchangandson
2.Spanishforthenumber3

tresdos

themiddledruminrumba,alsocalledsegundo

tresillo

1.athreestrokefigurewithunequaldurationsof332subdivisions
2.Spanishfortriplet,threeequallyspacedstrokes

triplepulse
structure

musicinwhicheachmainbeatisfeltasbeingsubdividedintothreeparts,e.g.,12/8

trova

troubadormusicwithlittleornopercussionanimportantinfluenceonson;nueva
trovawasamovementinpostRevolutionaryCubawithpoliticallyconsciouslyrics,
typifiedbyartistssuchasPabloMilansandSilvioRodrguez.
thelargest,lowestconga

tumba
tumbao

1.asyncopated,repeatingostinatofigureplayedbythepianoorbass
2.outsideCuba,aspecificcongamarchathatmarksthe3sideofclavewiththetumba
3.thepersonalqualityofhavingastrongsenseofrhythmormusicality,e.g.,tiene
tumbao(he/shehasagreatgroove)orIssacDelgadoslyricyayotenamitumbao
pegao(Ialreadyhadmymusicalstyleestablishedearlyinmycareer)

tumbadora

anothernameforthecongadrum;alsoappliedtotheCongoleseancestorsoftheconga

vacunao

thefamouspelvicthrustdancemoveinguaguanc

yamb

theearliest,slowest,andmostrestrainedoftherumbagenres;originallyplayedon
cajonesandusingsonclave,dancedbycouples,oftenfeigningoldage

Yoruba

oneofthefourmaincategoriesofAfroCubanfolkloricmusic;includesfourmaingenres:
bat,giro,iyesandbemb

yuka

oneofthethreemaingenresoftheBantcomplexofAfroCubanfolkloricmusic

72

CommonSuffixes
ao

contraction for ado, which is like ed in English, e.g., cruzao = cruzado = crossed; less
formal,likechangingplayingtoplayininEnglish

eo

therhythmicpatternplayedonacertaininstrument,orthestyleofplayingonacertain
instrument,e.g.,cascareo(patternplayedontheshellofthedrum),campaneo(pattern
playedonabell,baqueteo(patternplayedwithsticks)

ero,era

a person who has a specific job, origin or cultural identity (conguero, Guantanamera,
charanguera,bongosero,timbalero,etc.)eroismasculine,eraisfeminine

ista

likeeroandera,butusedwithdifferentroots(violinista,dentista,Sandanista,pianista,
bajista,trompetista,saxofonista,flautista);istaisnotgenderspecific

ito,ita

diminutive; a smaller version of something or someone, a person of small stature

seorita,timbalito,Manolito;canalsobeusedlikeJr.forexample,ChuchitoValds,
thesonofChuchoValds,isabout69;Cubanslovetoaddthissuffixtoalmostanyword.

abigger,bolderversionofsomething,e.g.,danzn,charangn,vaciln,rumbn,Robertn
(LosVanVansbearlikeleadvocalist)

RobertoCarlosCucuruchoValdsLosVanVan,IssacDelgado,PaulitoFG,CharangaHabanera
photobyTomEhrlich

73

AbouttheAuthor

KevinMoore(withMelnLewis)LosAngeles,2009

Kevin Moore (kevin@timba.com, @twitandotimba) is the cofounder and music editor of the
worldslargestCubanmusicwebsite, www.timba.com,towhichhehascontributedthefreeonline
multimedia book series, The Roots of Timba, dozens of extensive articles, discographies, record
analyses,interviewsand,forover10years,theCubanmusicblogLaltima.
H.

Intheearly2000sKevincowroteTheTomsCruzCongaMethod,VolumesI,II,andIII,acritically
acclaimedmethodbookusedasatextatvariouseducationalinstitutions.

TheTomsCruzCongaMethodVolumes1,2,&3

PublishedbyMelBayPublications,Inc.

Asmusicaldirector,composer,arrangerandviolinistoftheCaliforniabasedsalsa
bandOrquestaGitano,Kevincoproducedthe1998CDSalsaGitana,songsfrom
which have been used in various films and television shows. In addition to the
audiotracks,fullsalsabandchartsforthisalbumcanbepurchasedatLatinPulse
Music[Hwww.latinpulsemusic.com/albums/show/2]

92

TheBeyondSalsaCatalog2013
Beyond Salsa for Beginners alternates between
singing, dancing and clapping exercises and listening
tours covering the full history of Latin music. It also
containsanextensiveglossary,andalongsectionon
thespecialchallengesofAfroCubanfolkloricmusic.

www.createspace.com/4035244
www.latinpulsemusic.com/albums/show/433

www.createspace.com/1000252022
www.latinpulsemusic.com/albums/show/353

www.createspace.com/3419799
www.latinpulsemusic.com/albums/show/359

This book shares several chapters with Beyond Salsa

forPercussion,Vol.1.Thelattercontainsmanymore
advanced rhythms, but not the listening tours. The
two books can be purchased together for a reduced
ratebycontactingtheauthordirectly.Eachbookhas
both a free audio download and a $10 audio
download.
Beyond Salsa Piano, Volume 1 begins around 1900
and covers the origins of the tumbao concept using
exercises adapted from genres such as chang,
danzn, and son that predate the use of piano as
theprimaryinstrumentfortumbaosinCubanmusic.
This material is designed to be playable by near
beginners, musicians who play other instruments,
and arrangers seeking to acquire a basic facility on
piano.
Among the artists covered are Grupo Chang de
Guantnamo,SextetoHabanero,SextetoBoloaand
ArsenioRodrguez.
Beyond Salsa Piano, Volume 2 covers the period
from 19401959, during which the piano became a
constantanddominantpresenceinnearlyeveryLatin
rhythmsection,andduringwhichCubanmusichada
profound global influence on all forms of popular
music. The difficulty level ranges from beginning to
intermediate.
Artists covered include: Arcao y sus Maravillas,
Orquesta Aragn, Chappottn y sus Estrellas, Celia
Cruz y Sonora Matancera, Beny Mor, Prez Prado,
OrquestaSensacin,JosFajardoysusEstrellas,and
ConjuntoModelo.

93

Beyond Salsa Piano, Volume 3 begins our coverage

oftheeclecticperiodbetweentheCubanRevolution
andtheFalloftheBerlinWallfrom1959to1989.
Volume 3 covers mozambique, piln, chang68,
songo,andartistssuchasIrakere,RitmoOriental,Los
Van Van, Pacho Alonso, Orquesta Aragn, Opus 13,
Orquesta440,andAfroCuba.

www.createspace.com/3427343
www.latinpulsemusic.com/albums/show/361

Volume3alsocontainsanextensivesectiononAfro
Cuban folkloric rhythms and their application to
popularmusicpianoplaying.

Beyond SalsaPiano, Volume 4continues our survey

ofpostrevolution,pretimbaCubanpianostyles.
Styles covered include those of Elio Rev y su
Charangn,Rumbavana,Son14,Adalbertolvarezy
su Son, Orquesta Original de Manzanillo, Maravillas
deFlorida,OrquestaAliamn,andLosKarachi.

www.createspace.com/3427345
www.latinpulsemusic.com/albums/show/363

We also introduce the concept of controlled

improvisation,whichrunsthroughtheentireseries.

BeyondSalsaPiano,Volume5introducesthetimba
genrethatbeganinthe1990s.Volumeincludes:
ahistoryanddiscographyofthetimbaera
adetaileddescriptionofrhythmsectiongears
alistandanalysisofthe10mostimportant
pianoinnovationsofthe1990s
32instructionaltumbaosonthesamechord
progression,demonstratingtheseinnovations

www.createspace.com/3427349
www.latinpulsemusic.com/albums/show/363

aHarmonyAppendixwithhundredsoftimba
tumbaochordprogressionsinRomannumerals

94


BeginningwithVolume6,eachbookconcentrateson
the style of one Cuban pianist, with notefornote
transcriptions, based in most cases on MIDI files
performedbythevolumesfeaturedpianist.
Volumes6through9areonIvnMelnLewis,the
phenomenally innovative pianist who played with
TheIssacDelgadogroupfrom1995to1998.

www.createspace.com/3427351
www.latinpulsemusic.com/albums/show/364

Volume 6 begins with Melns biography and

discography and continues to indepth studies of his
piano style on the extended live concert versions of
NomemiresalosojosandLavidasinesperanza.

BeyondSalsaPiano,Volume7movesontoMelns
approach to two more live classics of the Issac
Delgado group: Luz viajera (arranged by Meln) and
Porqupar.

www.createspace.com/3427354
www.latinpulsemusic.com/albums/show/365

Intheprocessofdetailingthemanytypesoftumbaos
Meln uses in these extended live arrangements we
coverthetimbagearsofmarcha,muela,bombaand
presin and delve even more deeply into Melns
approachtocontrolledimprovisation.

Beyond Salsa Piano, Volume 8 continues our

chronologicalsurveyofMelnsuniquetumbaosand
improvisational live style with Deja que Roberto te
toqueandtheextremelypolyrhythmicBrindandocon
elalma.

www.createspace.com/3427355
www.latinpulsemusic.com/albums/show/366

La chica del sol is then used as a vehicle to present

exercises to understand how timba relates to salsa
andLatinjazz.

95

Beyond Salsa Piano, Volume 9, our final volume on

Ivn Meln Lewis, is the longest of the series and
includes his unusually sophisticated approach to
cuerpos as well as tumbaos. It begins with Melns
approach to the IIVVIV progression, using his
arrangement of Catalina as a jumpingoff point. We
then cover the remaining important live staples of
theDelgadorepertoireduringMelnstenure:Conla
punta del pie, Por la naturaleza, Se te fue la mano,
Paquetesalves,andLacompetencia(HitParade).

www.createspace.com/3427357
www.latinpulsemusic.com/albums/show/367

Finally,wecoverthetumbaofromMovimiento,from
Melns latest Latin jazz album, and a tumbao from
hisrecentworkwithManoln,elMdicodelaSalsa.

Beyond Salsa Piano, Volume 10 begins our study of

Csar Pupy Pedroso of Los Van Van and Los Que
SonSon.

www.createspace.com/3573344
www.latinpulsemusic.com/albums/show/406

Volume 10 begins with extensive biography and

discography chapters and covers piano tumbaos for
songsfirstreleasedbetween1979(whenPupybegan
to compose for Los Van Van) and 1983, including El
batedealuminio,Fallasteasacartucuenta,Despus
quetecasasteandmanyothers.OntheclassicHoyse
cumplen seis semanas, we present a full chart of
Pupysnewarrangementwithhiscurrentgroup,Los
QueSonSon.

Beyond Salsa Piano, Volume 11 covers the next

phaseofPupyscareer,19841988withLosVanVan,
including songs such as Si quieres que te llegue
pronto, Ya tu campana no suena, and Ser que se
acab.
Alsoincludedarecompletepianoandbasschartsfor
ElbuenagenteandCallacalla,basedonthemodern
LosQueSonSonversions.

www.createspace.com/3573347
www.latinpulsemusic.com/albums/show/407

96

Beyond Salsa Piano, Volume 12 is scheduled for

release in 2014 and will cover the remainder of
PupyscareerwithLosVanVan(19892001).

www.createspace.com/3573348
www.latinpulsemusic.com/albums/show/408

Beyond Salsa Piano, Volume 13, scheduled for

releasein2013,isourfinalvolumeonPupyPedroso,
willcoverhisworkwithhisowngroup,LosQueSon
Son, founded in 2001 and one of Cubas top groups
today.

www.createspace.com/3573349
www.latinpulsemusic.com/albums/show/409

BeyondSalsaPiano,Volume14isourfirstvolumeon
Tirso Duarte, covering his early tumbaos with
CharangaHabanera.Weexpecttohavethreeorfour
volumes in total on this phenomenally talented
pianist,writerandsinger.

www.createspace.com/4254312
www.latinpulsemusic.com/albums/show/440

97


BeyondSalsaPercussion,Volume1isforpeoplewho
are considering taking drum or timbales lessons and
want to learn to clap and sing the basic rhythms to
preparethemselves.
This book shares several chapters with Beyond Salsa
for Beginners before moving on to add more
advancedrhythms.Thetwobookscanbepurchased
togetherforareducedratebycontactingtheauthor
directly.

www.createspace.com/3500612
www.latinpulsemusic.com/albums/show/430

www.createspace.com/3500639
www.latinpulsemusic.com/albums/show/397

BeyondSalsaPercussion,Volume2:BasicRhythmsis
the first of two volumes on the legendary timbalero
anddrummerCalixtoOviedo,whoplayedwithPacho
Alonso, Adalberto lvarez and the first timba band,
NGLaBanda.Thebookbeginswithalongbiography
and discography section and presents Calixtos
approaches to six classic Cuban rhythms, ranging
from traditional timbales to various combinations of
timbales and drumset. The rhythms covered are:
danzn, chachach, mozambique, piln, simal and
upaupa.
Beyond Salsa Percussion, Volume 3: Timba Gears is
one of our longest and most adventurous books,
explaining what gears are and demonstrating the
almost endless ways that each can be orchestrated
ontimbalesanddrumset.

www.createspace.com/3500640
www.latinpulsemusic.com/albums/show/399

In addition to exhaustively detailing Calixtos styles,

the book explains how the various top Cuban bands
produce their signature rhythm section sellos by
dividing the rhythmic responsibilities creatively
between the percussionists. The gears covered are:
marcha abajo, marcha arriba, marcha de mambo,
muela,presinandbomba.

98

UnderstandingClaveandClaveChangesisaspecial
supplement to the Beyond Salsa series. Its divided
into four sections, and uses handson singing,
clapping and dancing exercises to become intimate
with clave and avoid the excruciating intellectual
confusion that results from trying to learn it with
onesleftbrain!

Part1:ForBeginnersWhatisClave?
Part2:DemystifyingClaveTerminology
Part3:IntermediateClaveDirection
Part4:AdvancedClaveChanges

www.createspace.com/3711464
www.latinpulsemusic.com/albums/show/414

Unlike the other books, the clave course absolutely

requires boththe audio files and book, sothe audio
filesareprovidedasafreedownloadtoanyonewho
buysthehardcopybookortheeBook.
BeyondSalsaforEnsembleVol.1,at368pages,with
464 audio files, is our most adventurous project to
date.

www.createspace.com/37164505
www.latinpulsemusic.com/albums/show/419

Part1:ThePointofDeparture:TheHomeGear
Explainsthedifferencesbetweensalsaandtimbaand
teachesthemostcommontimbagroove,fromwhich
allotherexercisesbegin.
Part2:Efectos36rhythmsectionbreaks,or
efectos,completelynotated,in23and32clave/
Part3:CompletePerformanceChartAmeticulous
notefornotetranscriptionofallinstrumentsforEl
buenagentebyPupyPedrosoyLosQueSonSon.

BeyondSalsaBass,Vol.1,isforbeginners.Itincludes
basspartsforallthepianotumbaosinBeyondSalsa
Piano, Vol. 1, but is a much longer book with many
additionalbasstumbaosfromthesametimegenres
chang,son,danzn,sonmontuno.
Theres also an lengthy introductory chapter
featuring a unique categorization system for the 16
mostcommongenericbasstumbaos.

www.createspace.com/37164505
www.latinpulsemusic.com/albums/show/419

99

BeyondSalsaBass,Volume2:Arsenio,Cachaoand
theGoldenAgeVolume2continuesthestudyof
ArsenioRodrguezbeguninthepreviousbookwitha
105chronologicalsurveyofArsenioscierresand
diablos.TheresanextensivechapteronCachaoand
Arcaoandafinalchaptercoveringalloftheartists
andtumbaoscorrespondingtoBeyondSalsaPiano,
Volume2.

www.createspace.com/4201019
www.latinpulsemusic.com/albums/show/443

Chapter1continuestheTumbaoTheoryapproach
beguninVolume1,extendingto1clavebass
tumbaosandastudyofthetechnicalaspectsof
creatingcierres.

BeyondSalsaBass,Volume3:Salsa,Songoandthe
RootsofLatinJazzVolume3coversthebass
tumbaosofPuertoRicoandNewYork,Cubanmusic
betweentheRevolutionandthetimbaera,andthe
descargasandChanoPozo/DizzyGillespie
collaborationsthatlaidthegroundworkforLatinjazz.

Scheduledforreleasein2013.

www.createspace.com/4435728
www.latinpulsemusic.com/albums/show/444

BeyondSalsaBass,Volume6willcloselymirror
BeyondSalsaPiano,withintroductoryvolumes
coveringthehistoryofCubanbass,startingatthe
beginninglevel,andcontinuingwithbooksabout
specificbassists.Asof2013,Volumes1,2,6and7
havebeenpublished.

www.createspace.com/3810546
www.latinpulsemusic.com/albums/show/421

100

BeyondSalsaBass,Volume7Thesecondoffour
volumesonAlainPrez,Volume7correspondsto
Volume7ofthepianoseries,coveringthesongsLuz
viajeraandPorqupar.
Volumes8and9willbereleasedin2014and2015.

www.createspace.com/3810550
www.latinpulsemusic.com/albums/show/TBD

COMING
IN
2013

BeyondSalsaBongwillfeatureCarlosCaro,winner
oftimba.comsReadersPollforBestTimba
Bongosero.Thesebookswillbeginwithinstructionin
technique,startingfromabeginninglevelandthen
worktheirwayfromtheearlysonstylesofbong
playingtoCarostimbastylewithOpus13,PaulitoFG
andJacquelineCastellanos.

COMING
IN
2014

BeyondSalsaCongasisinthedevelopmentstages.It
willhopefullyincludevolumesonTomsCruzaswell
asothertopcongueros.

101

PRICELIST
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BeyondSalsaforBeginnersIntroductiontoLatinMusicforDancers&Listeners

$30

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BeyondSalsaPiano,Vol.1BeginningTheRootsofthePianoTumbao

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BeyondSalsaPiano,Vol.2IntermediateEarlyCubanPianoTumbaos194059

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BeyondSalsaPiano,Vol.3IntermediateCubanPianoTumbaos196079

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BeyondSalsaPiano,Vol.4IntermediateCubanPianoTumbaos197989

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BeyondSalsaPiano,Vol.5AdvancedIntroductiontoTimba

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BeyondSalsaPiano,Vol.6IvnMelnLewisPart1

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BeyondSalsaPiano,Vol.7IvnMelnLewisPart2

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BeyondSalsaPiano,Vol.8IvnMelnLewisPart3

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BeyondSalsaPiano,Vol.9IvnMelnLewisPart4

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BeyondSalsaPiano,Vol.10CsarPupyPedrosoPart1

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BeyondSalsaPiano,Vol.11CsarPupyPedrosoPart2

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BeyondSalsaPiano,Vol.14TirsoDuartePart1

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BeyondSalsaPercussion,Vol.1IntroductiontotheCubanRhythmSection

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BeyondSalsaPercussion,Vol.2CalixtoOviedoBasicRhythms

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BeyondSalsaPercussion,Vol.3CalixtoOviedoTimbaGears
*DVDincludesbothVol.2andVol.3footage

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UnderstandingClaveandClaveChanges

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BeyondSalsaforEnsemble,Vol.1Efectos

$40

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BeyondSalsaBass,Vol.1ForBeginnerschang,son,danzn,sonmontuno

$30

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free/$10

BeyondSalsaBass,Vol.2IntermediateArsenio,CachaoandTheGoldenAge

$30

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BeyondSalsaBass,Vol.3IntermediateSalsa,SongoandtheRootsofLatinJazz

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BeyondSalsaBass,Vol.6AlainPrezPart1

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BeyondSalsaBass,Vol.7AlainPrezPart2

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BeyondSalsaBong,Vol.1

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BeyondSalsaCongas,Vol.1

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Forthelatestnewsonnewproducts,pleasevisitwww.beyondsalsa.info

102

FortheBeyondSalsaBlogandregularlyupdatedlinksandnewproducts:
www.beyondsalsa.info

Comments,questions,suggestions,requests:
kevin@timba.com
@twitandotimba
facebook.com/BeyondSalsaBooks

103