Salsa And Afro Cuban Montunos For Piano is an extremely informative 100 page book containing over 400 musical examples showing you how to play in these aforementioned Latin styles. Campos who teaches a course in Latin piano styles at the Berklee School Of Music originates from Lima Peru and has studied. Dec 16, 2005. Three fiddles, piano, bass and TIMBALES. CONGA (COHN-ga) A major instrument in the SALSA rhythm section, the CONGA is literally. Though it is not fast, the Afro-Cuban SON MONTUNO has an intense, relentless quality highly suitable to the SALSA format. SONERO (soh-NEH-roh) In.

Contents • • • • • • • • • • History [ ] 'Spanish tinge'—the Cuban influence in early jazz [ ] Although true -based Afro-Cuban jazz did not appear until the mid-twentieth century, the Cuban influence was present at the birth of jazz. Began incorporating musical motifs in the nineteenth century, when the gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. The habanera rhythm (also known as congo, tango-congo,. Bladed Garrard Hassan Manual Meat.

) can be thought of as a combination of and the. Excerpt from 'Solace' by Scott Joplin (1909). Variations on the habanera rhythm.

For the more than quarter-century in which the,, and proto- were forming and developing, the habanera was a consistent part of African American popular music. Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the with the, observes that is the New Orleans 'clave'. Although technically, the pattern is only half a, Marsalis makes the important point that the single-celled figure is the of New Orleans music.

WC Handy age 19, 1892 ' (1914) by has a habanera/tresillo bass line. Handy noted a reaction to the habanera rhythm included in Will H. Tyler's 'Maori': 'I observed that there was a sudden, proud and graceful reaction to the rhythm.White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat.' After noting a similar reaction to the same rhythm in 'La Paloma', Handy included this rhythm in his 'St.

Louis Blues,' the instrumental copy of 'Memphis Blues,' the chorus of 'Beale Street Blues,' and other compositions.' Excerpt from 'St.

Louis Blues' by W.C. Handy (1914). The left hand plays the habanera rhythm. Considered the tresillo/habanera (which he called the ) to be an essential ingredient of jazz. The habanera rhythm and tresillo can be heard in his left hand on songs like 'The Crave' (1910, recorded 1938).

Now in one of my earliest tunes, “New Orleans Blues,” you can notice the Spanish tinge. In fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording). Excerpt from Jelly Roll Morton's 'New Orleans Blues' (c. The left hand plays the tresillo rhythm. The right hand plays variations on cinquillo.

() Although the exact origins of jazz syncopation may never be known, there’s evidence that the habanera/tresillo was there at its conception., the first known jazz musician, is credited with creating the big four, a habanera-based pattern. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Top: opening measures of ' melody. Bottom: common (2-3 ).

Other notables [ ] In early 1947 recorded 'Machito,' written by his collaborator / arranger. Some consider the piece to be the first Afro-Cuban jazz recording by American jazz musicians. John Storm Roberts observes that the piece 'has no Latino instrumentalists on it, a lack of that is obvious; the crisp, fast montuno with which the piece opens is weighed down by not-so-adept drumming from Shelly Mann.' Later, on December 6 of the same year, Kenton recorded an arrangement of the ' with members of Machito's rhythm section.