BeyondSalsaBass Vol1 KevinMoore SAMPLE PDF

BEYONDSALSABASS
THECUBANTIMBAREVOLUTION

VOLUME1FORBEGINNERS
FROMCHANGTOSONMONTUNO
KEVINMOORE
audioandvideocompanionproducts:www.beyondsalsa.info

coverphoto:JiovanniCofiosbass2013photobyTomEhrlich
REVISION1.0
2013BYKEVINMOORE
SANTACRUZ,CA
ALLRIGHTSRESERVED
Nopartofthispublicationmaybereproducedinwholeorinpart,orstoredinaretrieval
system,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopy,
recordingorotherwise,withoutwrittenpermissionoftheauthor.
ISBN10:1482729369
ISBN13/EAN13:978148279368
H
www.beyondsalsa.info
H
H
www.timba.com/users/7
H H
kevin@timba.com
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TableofContents
IntroductiontotheBeyondSalsaBassSeries...................................................................................... 11
CorrespondingBassTumbaosforBeyondSalsaPiano .................................................................... 12
IntroductiontoVolume1..................................................................................................................... 13
Whatisabasstumbao? ................................................................................................................... 13
Sidebar:TumbaoLength .................................................................................................................... 1
DifficultyLevels ................................................................................................................................ 14
Fingering........................................................................................................................................... 14
AboutClave ...................................................................................................................................... 14
32sonclaveAudioTracks001a&001b ................................................................................ 15
23sonclaveAudioTracks002a&002b ................................................................................ 15
NotationandTablatureinthisBook ................................................................................................ 16
AudioandVideoHowBeyondSalsaisOrganizedandMarketed................................................. 17
Books........................................................................................................................................ 17
Audio ........................................................................................................................................ 17
Video ........................................................................................................................................ 17
Chapter1:The16GenericClaveNeutralBassTumbaoRhythms....................................................... 18
ToNameorNottoName................................................................................................................. 18
ChordProgressions .......................................................................................................................... 19
GenericTumbao11:boleroAudioTracks101a&101b........................................................ 19
GenericTumbao12:tresilloAudioTracks102a&102b ....................................................... 20
GenericTumbao13:habaneraAudioTracks103a&103b................................................... 21
GenericTumbao14:guarachaAudioTracks104a&104b ................................................... 22
TheAnticipatedBass(AB) ................................................................................................................ 23
GenericTumbao15:bolero(AB)AudioTracks105a&105b................................................ 26
GenericTumbao16:tresillo(AB)(orbomboponche)AudioTracks106a&106b ............... 27
GenericTumbao17:habanera(AB)AudioTracks107a&107b ........................................... 28
GenericTumbao18:guaracha(AB)AudioTracks108aand108b ........................................ 28
TheDoubledPonche(DP) ................................................................................................................ 29
Sidebar:RhythmicTerminology......................................................................................................... 1
GenericTumbao19:bolero(DP)AudioTracks109a&109b............................................... 30
GenericTumbao110:tresillo(DP)AudioTracks110a&110b ............................................ 31
GenericTumbao111:habanera(DP)AudioTracks111a&111b ........................................ 31
GenericTumbao112:guaracha(DP)AudioTracks112a&112b......................................... 32
GenericTumbao113:bolero(ABDP)AudioTracks113a&113b ........................................ 33
GenericTumbao114:tresillo(ABDP)AudioTracks114a&114b........................................ 33
GenericTumbao115:habanera(ABDP)AudioTracks115a&115b ................................... 34
GenericTumbao116:guaracha(ABDP)AudioTracks116a&116b.................................... 35
LookingAhead.................................................................................................................................. 36
Chapter2:TheHistoryoftheBassTumbao ........................................................................................ 37
TheEuropeanInheritance................................................................................................................ 38
Tumbao21:OstinatoforPachelbelsCanonAudioTrack201 ............................................... 39
TheAfricanInheritance.................................................................................................................... 40
Tumbao22:BassAdaptationofGuaguancAudioTracks22a&22b .................................. 41
TheMissingLink:Chang................................................................................................................ 43
Tumbao23:BassAdaptationofChangMarmbulaAudioTracks23a&23b..................... 44
UnderstandingtheChangTimeFeel......................................................................................... 44
TheChangGuajeosofBeyondSalsaPiano,Vol.1 .................................................................... 46
Chapter3:Danzn................................................................................................................................ 47
Whyisdanznsoimportant? .......................................................................................................... 47
GettingIntoDanzn ......................................................................................................................... 47
FurtherListeningRecommendationsforDanzn ........................................................................ 48
UnderstandingDanznForm ........................................................................................................... 49
Baqueteo(giro)AudioTracks31a&31b.............................................................................. 49
GenericdanznAsection(giro)AudioTracks32a&32b .................................................... 50
Sidebar:DanznandClaveDirection................................................................................................. 1
GenericdanznAsection(bass)AudioTracks33a&33b ..................................................... 51
Danznmontunotumbao1AudioTracks34a&34b ............................................................ 52
PuttingItAllTogether ...................................................................................................................... 55
CompleteDanznBassArrangementAudioTracks38a&38b.............................................. 56
Chapter4:BigBandsorJazzbands....................................................................................................... 68
JazzbandTumbao41AudioTracks41a&41b ...................................................................... 68
JazzbandTumbao42AudioTracks402a&402b .................................................................. 69
JazzbandTumbao43AudioTracks403a&403b .................................................................. 70
Chapter5:Son...................................................................................................................................... 72
SextetoHabanero ............................................................................................................................ 74
SonTumbao51AudioTracks501a&501b........................................................................... 76
SeptetoNacional.............................................................................................................................. 82
SonTumbao510AudioTracks510a&510b......................................................................... 83
Other1920sHavanaSextetos.......................................................................................................... 87
SoninNewYork ............................................................................................................................... 89
SonTumbaosforCompatibilitywithBeyondSalsaPiano,Vol.1 .................................................. 100
SonTumbao526AudioTracks526a&526b....................................................................... 100
SonTumbao527AudioTracks527a&527b....................................................................... 101
Chapter6:ArsenioRodrguezandSonmontuno .............................................................................. 102

Sidebar:ForFurtherStudy ................................................................................................................. 1
Overview:TheBassTumbaosofArseniosCubanPeriod.............................................................. 104
SongspecificversusGenrespecific ........................................................................................... 105
GenericSalsaAudioTracks6exa&6exb .............................................................................. 105
ClavealignedTumbaos .............................................................................................................. 106
Chapter6TumbaoSummary ......................................................................................................... 108
SonMontunoTumbao61AudioTracks601a&601b......................................................... 109
SonMontunoTumbao610AudioTracks610a&610b....................................................... 116
Sidebar:ThoughtsontheRelationshipofClavealignedandSongspecificTumbaos ...................... 1
LookingAheadtoBeyondSalsaBass,Volume2................................................................................ 137
Appendix1:ChangBassTumbaos .................................................................................................. 138
BassTumbaosfortheChangGuajeosofBeyondSalsaPiano,Vol.1 ......................................... 139
ChangTumbao1AudioTracksapp01a&app01b............................................................. 139
ChangTumbao9AudioTracksapp9a&app9b................................................................. 143
ChangTumbao10AudioTracksapp10a&app10b........................................................... 144
Appendix2:GlossaryofCubanMusicTerms..................................................................................... 147
Appendix3:CommonSuffixes ........................................................................................................... 156
Appendix4:SpanishExplanationsforEnglishSpeakers .................................................................... 156
Pronunciation................................................................................................................................. 156
SpanishLetterCombinationswiththeSamePronunciation ......................................................... 157
AccentMarksinSpanish ................................................................................................................ 157
TestYourSkills ............................................................................................................................... 158
CapitalizationinSpanish ................................................................................................................ 158
Appendix5:OtherStyleConventionsinthisBook ............................................................................ 158

Italicization ..................................................................................................................................... 158
Appendix6:RhythmicTerminologyGlossary .................................................................................... 159

ExplanationofX&oNotation....................................................................................................... 159
ANoteonTerminology .............................................................................................................. 159
TimeSignatureTerms .................................................................................................................... 160
ClaveTerms .................................................................................................................................... 161
DanceTerms .................................................................................................................................. 164
TermsforTypesofBeats................................................................................................................ 165
ForFurtherStudy ............................................................................................................................... 172

SuggestedReading ......................................................................................................................... 172
SuggestedListening........................................................................................................................ 173
Acknowledgments.............................................................................................................................. 175
GraphicsCredits ............................................................................................................................. 175
EditingandConceptualGuidance .................................................................................................. 175
AbouttheAuthor ............................................................................................................................... 175

TheBeyondSalsaCatalog2013 ...................................................................................................... 177
10

IntroductiontotheBeyondSalsaBassSeries
TheBeyondSalsaBassseriesacompanionseriestoBeyondSalsaPiano,includingbasstumbaosfor
eachpianotumbao,butalsoaddingextrafeaturesandmanyadditionaltumbaos.
Thefirstfivevolumescoverthesamematerialasthepianoseries,fromtwodifferentapproaches:
I. Achronologicalsurveybasedonclassicrecordings,butplayablebynearbeginners:
Volume1: rumba,chang,danzn,son,sonmontuno(beginning)
Volume2: sonmontuno(cont.)danznmambo,charangas,conjuntosandbigbandsofthe1950s,salsa
Volume3: salsa(cont.)andpostrevolutionCuba(songo,batumbat,piln,mozambique,etc.)
Volume4: Introductiontotimba(1989tothepresent)
Volume5 Advancedtimba,reguetn,bachata,Cubanrock,etc.
II. Asystematicsurvey,categorizingbasslinesbytheirstylesandrhythms:
Volume1: The16Fundamental2beat,ClaveneutralBassTumbaos
Volume2: 4beatTumbaos,SingingBass,andClavealignedTumbaos
Volume3: 8beatTumbaos
Volume4: BasicConceptsofTimbaTumbaos
Volume5 TheRoleoftheBassinTimbaGears
FromVolume6onwards,eachbookofeachseries isdevotedtothestyleofonemusician.These
volumeshavetheirownphilosophyandgameplan:
Findtheverybestmusicians.ThesubjectofBeyondSalsaBass,Volumes69isAlainPrez.
Avoid asking the musicians to selfanalyze or participate in the pedagogic process any more than
necessary.
Onacasebycasebasis,findthemostnaturalwaytocaptureeachmusiciandoingwhatheorshe
doesonrecordingsandatconcerts.
Convert this captured data whether MIDI, audio, or video into bitesize exercises that can be
easilystudiedandassimilatedbyanonCubanmusician.
Neveraskthereadertolearnanexercisewithoutdemonstratingexactlyhowitrelatestoagiven
genre,band,songorthestyleofaspecificmusician.

11

CorrespondingBassTumbaosforBeyondSalsaPiano
BeyondSalsaPiano BeyondSalsaBass
Volume1 Volume1
Volume2 Volume2
Volume3 Volume3
Volume4 Volume3
Volume5 Volume4
Volume6 Volume6
Volume7 Volume7
Volume8 Volume8
Volume9 Volume9
Eachbassvolumealsocontainsmanyadditionaltumbaosnotinthepianoseries.
Volumes 69 of each series are even more directly linked because their subjects Meln Lewis
(piano)andAlainPrez(bass)playedtogetherinthelegendary19961998IssacDelgadoGroup.
Eachisarguablythebestplayerofthetimbaeraonhisrespectiveinstrument.Thesongscovered
areidentical(untilVolume9)andthevideoproductsincludethetwomusiciansplayingalongwith
each other. Melns tumbaos are also present in one channel of the audio products for the Alain
books.
scheduledfor scheduledfor
releasein2014 releasein2014
12

IntroductiontoVolume1
Whatisabasstumbao?
The primary job of the bassist in Latin popular music is to play a repeating figure that establishes
both a chord progression and a rhythmic groove. We call these figures tumbaos. A tumbao is
repeated sometimes with variations for a fixed or openended period of time, after which a
transitionleadstoanothersuchtumbao,andsoon.
Basstumbaosareusedsparingly(ifatall)duringtheopeningsectionofanarrangement(aka,the
cuerpo,orcanto)inwhichtheleadvocalistsingsapopularsong,itselfdividedintosubsectionsof
four to eight claves in length.1 The bass tumbaos come in during the second major section, (the
montunosection),comprisedofcallandresponsevocals(coros),instrumentalsolosplayedovera
repeatedbasstumbao,and,beginninginthe1940s,sectionsfeaturinginstrumentalriffs(mambos).
In the earliest years of son and danzn there was no montuno section at all, but over time, the
montunosectionhasgrownlongerandlonger.Today,thecuerpocomprisesonlyasmallpercentage
oftheoveralllengthofanarrangement,especiallyinconcert.
Sidebar:TumbaoLength
At their core, tumbaos are about repetition. A catchy musical idea is repeated over and over, creating a
trancelikegroovethatcriesouttobedancedto.Theshorteratumbaois,themorequicklyandpowerfullyit
can produce its groove, but a longer tumbao offers geometrically more possibilities for originality and
variation.Conversely,ashorttumbaorunstheriskofgettingboringwhileanextremelylongorvariedtumbao
candilutethepowerofthegrooveitsbeendesignedtoproduce.Theartoftumbaocreationliesinstrikinga
balancebetweenthetwo.
Itsveryimportanttorealizethatthelengthoftherhythmicpatterncanbedifferentfromthelengthofthe
harmonicpattern.Forexample,inLatinJazz,arelativelyshortrhythmicpatterncanbeappliedtoalengthy
jazz standard such that the harmonies take up to 32 times as long to repeat as the rhythms. Conversely, a
Latin chord progression lasting only one clave can use a different rhythm every other time, extending the
overalltumbaolengthto8beats.

1 th
ThesebooksusethetermclaveasameasurementoflengthordurationbecauseLatinmusicissometimeswrittenin4/4(16 notes)
th
andsometimesin2/2(8 notes).Thetermsmeasurearebar,therefore,areunusable.Aclaveisonebarof4/4ortwobarsof2/2.
13

DifficultyLevels
If youre a professional bassist in another genre seeking to get up to speed on Latin music, youll
havenoproblemworkingthroughthisbookasitswritteninchronologicalorder.Ifyoureatrue
beginner,ontheotherhand,youllfindthatthedifficultylevelvaries.Thefirstchapterisveryeasy,
as are Chapter 4 on jazzband (aka, big band) bass tumbaos and Chapter 5 on son. Some of the
danznandsonmontunotumbaosarejustaseasy,butothersarequitechallenging,sofeelfreeto
skiparound.Ifyouhitatumbaothatstoohardforyou,dontassumethattherestofthebookwill
beequallydifficult.Thereareextremelyeasytumbaosineverysection,eveninthelatervolumes.
Myadviceisalwaystostartwiththelowesthangingfruit.
Fingering
Thereareseveralwaystoplaymostnotesonthebass.Howyouchoosetofingeragiventumbaois
apersonaldecisiondependingonthetypeofbass,thesizeofyourhand,thetypeoftonedesired
andyourstyle.Hereareafewgeneralguidelinestoconsider:
Allotherthingsbeingequal,mostCubanbassistswillchooseafingeringsuchthatthe
lefthandisclosesttotheheadstock,or,toputitanotherway,suchthatthephysical
lengthofthevibratingstringisaslongaspossible.
Open strings work well on upright bass, but only work as short passing tones on
electricbass.Feelfreetosubstituteanyfingeringthatworksbetterforyou,andifyou
play upright or baby bass, you should definitely alter the fingerings shown in the
tablaturenotationtouseopenstringswhenpossible.
AboutClave
I dont know how you, faithful reader, got interested in Latin music, but Id be willing to bet that
whenitwasfirstintroducedtoyou,someonetoldyouinhushed,reverenttonesthatthesecret
toLatinmusicisclave,themysteriouslifeforcethatgovernsandexplainsallthings.Well,whatisit
then?,youprobablyasked,andthusbeganthefirstofmanylongandconfusingdiscussionsabout
numbers,sides,directions,jumps,flips,cruzao,son,rumbaandGodonlyknowswhatelse.
Claveisaveryinterestingandcomplexsubject,andawordthathasmanyvaliddefinitions,butthe
reason its so critically important has to do with only one of these many definitions, and that
definition,boileddowntothesimplestpossibleplainEnglish,wouldgosomethinglikethis:
clave:arhythmicgroovelastingfourtapsofonesfootthat
consistentlyalternatesbetweentwocontrastingrhythmicfeels.

14

I use the terms groove and feel because as soon as the definition gets more specific, we
suddenly encounter exceptions, caveats and more confusing terms, each with its own exceptions
andcaveats,eachrequiringmoreconfusingtermstoexplain.Iintentionallyusetapsofyourfoot
forterminologicalreasonsthatareexplainedinAppendix6.Thecorrecttermismainbeats.
Thebestwaytolearntofeelthisfundamentalcoreprincipleofclaveistoputonanysalsa,son,or
timba record and dance in place: leftrightleft, rightleftright. Dont think, just keep your feet
movingandlisten.Themusicwillconsistentlyfeeldifferentontheleftsideofyourdancestepthan
itdoesontheright.Thatsit.Thatstheforest.Everythingelseistreesandleaves.
Mostofthebasstumbaosinthisbookrepeattheirrhythmseverytwomainbeats(i.e.,everytwo
tapsofyourfoot).The claverhythmlastsfourmainbeats.Asyoucansee,suchabasstumbaois
incapable of creating a consistently alternating groove, so we call these twobeat bass tumbaos
claveneutral.Ofcourse,thesongsinwhichthesetumbaosareusedareverymuchinclave,asis
almostallLatinpopularmusic.Theclaveissimplyexpressedbythevoicesandbyinstrumentsother
than the bass. Even today, we can still find many claveneutral bass tumbaos especially in salsa
andintheopeningminutesofmanytimbaarrangements.
WhenwegettoChapter6,wellstarttoencountersituationswherethebasstumbaoisverydirectly
involved in creating the feeling of clave. And by the time we get to Volume 4, well regularly
encountersituationswherelisteningforthebassisthequickestandmostreliablewaytofindthe
clave.Butfornow,welljustlearntoclaptwopatternstoprepareyoutoplayalongwiththeaudio
exercises,mostofwhichuseaclaveclicktrack.
32sonclaveAudioTracks001a&001b
32sonclave
44 .. . ..
32sonclave XooX ooXo ooXo Xooo

22 .. . ..
X o o X o o X o o oX o X o o o
23sonclaveAudioTracks002a&002b
23son
44 .. . ..
ooXo Xooo XooX ooXo

23onclave
22 .. . ..
o o X o X o o o X o o X o oX o
15

NotationandTablatureinthisBook
Everyexerciseisshowninfiveways:
matrixnotation(=note,emptysquare=rest)
bolero
X&onotation(X=note,o=rest)
bolero Xooo XoXo Xooo XoXo

standardnotationin4/4i.e.,16thnotenotation,morecommoninCuba(topline)
? 4 .. ..
b 4
T
A
.. 3 3 ..
B 3 3
1 1

th
standardnotationin2/2i.e.,8 notenotation,morecommonoutsideCuba(topline)
? 2 .. ..
b 2
T
A
.. 3 3 ..
B 3 3
1 1

tablatureonelineperstringwithnumbersforfrets(bottomline)
? 2 .. ..
b 2
T
A
.. 3 3 ..
B 3 3
1 1

Tablatureisanintuitivewayofwritingbassmusicthatusesonelineforeachstringandanumber
denotingthefretinsteadoftheusualovalnotehead.
Becausemostuprightbassplayersaretrainedtoreadstandardnotation,thetablatureshowninthis
book usually represents the most common way to play the tumbao on electric bass. As explained
above,thetablatureismerelyasuggestionandyoushouldfeelfreetouseotherfingeringsasyou
andyourteacherseefit.
ForVolumes1through3,weusefourstringtablature.WhentimbaisintroducedinVolume4,well
switch to fivestring tablature. Among the leading timba bands theres an approximately equal
division between the use of fourstring upright baby bass and 5 or 6string electric, with some
bassists switching between the two from song to song during a typical performance. The higher
sixthstring,whenoneispresent,isonlyusedforsolos,butthelowBstringisveryimportantforthe
electricbassstylesoftimba.
16

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.
Books
Thebookyourereadingnowcanbepurchasedat www.createspace.com/4201012 asahardcopy,
H H
bound paperback book. Alternatively, it can be viewed online and/or printed on your PCs printer
fromthewebsite www.latinpulsemusic.com/albums/show/437 (theeBookversiondoesntworkon
H H
MaciBooksandKindleareplannedforthefuturewhenallvolumesoftheseriesaredone).
Audio
Theaudiofilesdonotcomewith the book.Theyreavailableasseparate,downloadableproducts
from beyondsalsa.info/purchase.Afreesampletheofaudiofiles,containingthefirstfourtracksof
H H
each chapter can be downloaded at www.latinpulsemusic.com/albums/show/438. For each

H
notationexample,therearetwoultrahighquality MP3filesmadedirectlyfrom24bitwavefiles.
Thefirstisrecordedatnormaltempoandthesecondinslowmotion.Whenapianopartisincluded,
thepianoandbassarepannedhardrightandleftrespectively.Thisway,youcanusethebalance
controltosolothepianoorplayalongwithjustthebass.TheaudiofilescanbeburnedtoaudioCDs
orplayedonanMP3player.
Video
Like the audio products, the videos are sold as separate downloads. Video downloads are only
providedforlaterbooksfocusingonindividualartists.Sothereisnovideoforthisbook.Thevideo
ofAlainPrez(BeyondSalsaBass,Volumes69)istremendous,Imightadd.Youcansamplesomeof
itonYouTube.
AttheendofthisbookistheBeyondSalsaCatalogandpricelistforallproductsreleasedtodate,
withpictures,linksandcontentdescriptions.
The most current catalog with all links and more detailed descriptions, can always be found at
www.beyondsalsa.info.
17

Whenadaptingtheseanticipatedbasstumbaorhythmstochordprogressions,remembertochange
tothenewchordonthelastnotebeforethechordchange.
GenericTumbao16:tresillo(AB)(orbomboponche)AudioTracks106a&106b
tresillo(AB)(orbomboponche)
oooX ooXo oooX ooXo

.
tresillowithanticipatedbass
? 4 .. ..
b 4 .
.. . ..
T
A
B
1
. 3
3
3
1
? 2 .. ..
b 2
T
A
.. 3 ..
B 3 3
1 1

ExamplesofGenericTumbao16(anticipatedtresilloorbomboponche)inClassicRecordings
Artist Song Source Example Key Tempo
OrquestaRomeu Lindacubana Eldanzn,Vol.1Balboa 2:38 F 82
RayBarretto Indestructible IndestructibleFania 1:49 Dmi 118

Tpica73 Lamujerdominicana EncendidaInca 0:59 C 157
Cachao Cgeleelgolpe HavanaSessionsYemayRecords 1:24 Gmi 110
Our third anticipated bass tumbao, Generic Tumbao 17, removes the first note from Generic
Tumbao13(habanera).Itwasverycommoninthe1940sand50sandisfrequentlyusedbyLosVan
Vansleaderandbassist,JuanFormell,althoughheusuallycombinesitwithotherrhythmstocreate
alongertumbao.WellcoverLosVanVaninmuchgreaterdetailinVolumes3,4and5ofthisseries.

JuanFormellwithLosVanVan2010Yoshis,SanFranciscophotosbyTomEhrlich
27

Tumbao 69 is very songspecific. The first three notes double the coro exactly (adiv). Then the
coristassingnawhilethebassrests.Whenthecoristassinglothebassplaysthesamerhythm
ontherootofthenewchord(E).Thislastnotebecomesthefirstoftheansweringphrase.
SonMontunoTumbao69AudioTracks609a&609b
songspecific
songspecific XoXX oooX oXXX oooo

? 4 ..
4 ..
T
A
B
.. 2 4 5
2 2
1 4
..

? 2 .. ..
2
T
A
B
.. 2 4 5
2 2
1 4
..

inthestyleof:ArsenioRodrguez:AdivnalofromElalmadeCubaTumbaoCubanClassics
Tumbao610accompaniesthesamecoro,nowinthediablosectionwiththetrumpetsgettinginto
the act as well. The bass moves in contrary motion, going down while the coro goes up and
reinforcesthefourthcoronoteinsteadofthesecond.Listentotherawpoweroftheclosingminute
ofthistrackandrememberthatthisisonly1947.
SonMontunoTumbao610AudioTracks610a&610b
songspecific
.
XooX oXoX oXoo XXoo

songspecific
? 4 ..
n . ..
4
.. 7 . ..
T
A
B
10 9 8 7
. 9
9

? 2 .. n ..
2
T
A
.. 7 9
9
..
B 10 9 8 7

inthestyleof:ArsenioRodrguez:AdivnalofromElalmadeCubaTumbaoCubanClassics
116

Acknowledgments
GraphicsCredits
Photography(exceptasnoted):TomEhrlich
PhotoshopGuru:KrisFrster
FinaleGuru:PeterThomsen

EditingandConceptualGuidance
Orlando Fiol, Robert Fernndez, Ian Stewart, Emiliano Echeverria, Sue Taylor, Vak Greif, Ren
Lpez, Mike Lazarus, Sonny Bravo, Ivn Meln Lewis, Cherina Mastrantones, Feliciano Arango,
David Pealosa, Jiovanni Cofio, Paul de Castro, Edgar Hernndez, Javier Muiz, Toms Cruz,
WalfredodelosReyes,Sr.,CarlosCaro,KrisFrster,WendyBlack,MichelleWhite,GabrielWilder,
RyanMead,SidneyWeaverling,KeithJohnson,CurtisLanoue,RichardRobinson,MikeRacette,Ayla
Davila,JonathanPintoff,andRalPerales.
AbouttheAuthor

CarlosCaro,KevinMoore,AlainPrezBerkeleyApril,2012photobySueTaylor
KevinMoore(kevin@timba.com)isthecofounderandmusiceditorfortheworldslargestCuban
H H
music website, www.timba.com, to which he has contributed the free online multimedia book
H H
series,TheRootsofTimba,dozensofextensivearticles,discographies,recordanalyses,interviews
andtheCubanmusicblogLaltima,nownearingits10thyearofpublication.
In the early 2000s Kevin cowrote The Toms Cruz Conga Method, Volumes 13, a critically
acclaimed method book series used as a text at various educational institutions. More books on
Toms Cruz (including the longpromised volume on the adaptation of folkloric rhythms to timba
conga marchas), are planned for 2013 as part of the Beyond Salsa Congas series. Various other
importantcongueroswillalsobefeatured.
175

TheTomsCruzCongaMethodVolumes1,2,&3

PublishedbyMelBayPublications,Inc.
As musical director, composer, arranger and violinist of the Californiabased salsa band Orquesta
Gitano,Kevincoproducedthe1998CDSalsaGitana,songsfromwhichhavebeenusedinvarious
filmsandtelevisionshows.Inadditiontotheaudiotracks,fullsalsabandchartsforthisalbumcan
bepurchasedatLatinPulseMusic[Hwww.latinpulsemusic.com/albums/show/2]
176

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.
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
www.createspace.com/4035244 both a free audio download and a $10 audio
www.latinpulsemusic.com/albums/show/433 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

www.createspace.com/1000252022 Guantnamo,SextetoHabanero,SextetoBoloaand
www.latinpulsemusic.com/albums/show/353 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
www.createspace.com/3419799
ConjuntoModelo.
www.latinpulsemusic.com/albums/show/359
177

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.
Volume3alsocontainsanextensivesectiononAfro
Cuban folkloric rhythms and their application to
www.createspace.com/3427343 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.
We also introduce the concept of controlled

improvisation,whichrunsthroughtheentireseries.


BeyondSalsaPiano,Volume5introducesthetimba
genrethatbeganinthe1990s.Volumeincludes:
ahistoryanddiscographyofthetimbaera
adetaileddescriptionofrhythmsectiongears
a list and analysis of the 10 most important

pianoinnovationsofthe1990s
32 instructional tumbaos on the same chord

progression,demonstratingtheseinnovations
www.latinpulsemusic.com/albums/show/363 a Harmony Appendix with hundreds of timba
tumbaochordprogressionsinRomannumerals
178

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.
Volume 6 begins with Melns biography and

discography and continues to indepth studies of his
www.createspace.com/3427351 piano style on the extended live concert versions of
www.latinpulsemusic.com/albums/show/364 NomemiresalosojosandLavidasinesperanza.

BeyondSalsaPiano,Volume7movesontoMelns
approach to two more live classics of the Issac
Delgado group: Luz viajera (arranged by Meln) and
Porqupar.
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.
La chica del sol is then used as a vehicle to present

exercises to understand how timba relates to salsa
andLatinjazz.

179

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 Finally,wecoverthetumbaofromMovimiento,from
www.latinpulsemusic.com/albums/show/367 Melns latest Latin jazz album, and a tumbao from
his recent work with Manoln el Mdico de la Salsa

Beyond Salsa Piano, Volume 10 begins our study of
Csar Pupy Pedroso of Los Van Van and Los Que
SonSon.
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
www.createspace.com/3573344 Pupysnewarrangementwithhiscurrentgroup,Los
www.latinpulsemusic.com/albums/show/406 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.

180

Beyond Salsa Piano, Volume 12 is scheduled for
release in 2013 and will cover the remainder of
PupyscareerwithLosVanVan(19892001).


Beyond Salsa Piano, Volume 13, scheduled for
releasein2013,isourfinalvolumeonPupyPedroso,
willcoverhisworkwithhisowngroup,LosQueSon
Son, founded in 2001 and one of Cubas top groups
today.


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.

181

BeyondSalsaPercussion,Volume2:BasicRhythmsis
the first of two books on legendary
timbalero/drummerCalixtoOviedo,whoplayedwith
Pacho Alonso, Adalberto lvarez and the first timba
band, NG La Banda. The book begins with a long
biography 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
coveredare:danzn,chachach,mozambique,piln,
www.createspace.com/3500639 simalandupaupa.
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.
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:

www.createspace.com/3500640 marcha abajo, marcha arriba, marcha de mambo,
www.latinpulsemusic.com/albums/show/399 muela,presinandbomba.
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 Unlike the other books, the clave course absolutely
www.latinpulsemusic.com/albums/show/414 requires boththe audio files and book, sothe audio
filesareprovidedasafreedownloadtoanyonewho
buysthehardcopybookortheeBook.
182

BeyondSalsaforEnsembleVol.1,at368pages,with
464 audio files, is our most adventurous project to
date.
Part1:ThePointofDeparture:TheHomeGear
Explainsthedifferencesbetweensalsaandtimbaand
teachesthemostcommontimbagroove,fromwhich
allotherexercisesbegin.
Part2:Efectos36rhythmsectionbreaks,or
efectos,completelynotated,in23and32clave/
Part3:CompletePerformanceChartAmeticulous

notefornotetranscriptionofallinstrumentsforEl
www.latinpulsemusic.com/albums/show/419 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.

BeyondSalsaBass,Volume6willcloselymirror
BeyondSalsaPiano,withintroductoryvolumes
coveringthehistoryofCubanbass,startingatthe
beginninglevel,andcontinuingwithbooksabout
specificbassists.Theintroductoryvolumeswillbe
releasedinlate2012andearly2013.Volume6,
picturedhere,wasreleasedinMarch2012.

183

BeyondSalsaBass,Volume7Thesecondoffour
volumesonAlainPrez,Volume7isthebass
companiontoVolume7ofthepianoseriesandwill
bereleasedinmid2012.
Volumes8and9willbereleasedinlate2012and
early2013.

www.latinpulsemusic.com/albums/show/TBD
BeyondSalsaBongwillfeatureCarlosCaro,winner
oftimba.comsReadersPollforBestTimba
COMING Bongosero.Thesebookswillbeginwithinstructionin
IN technique,startingfromabeginninglevelandthen
2012 worktheirwayfromtheearlysonstylesofbong
playingtoCarostimbastylewithOpus13,PaulitoFG
andJacquelineCastellanos.
COMING BeyondSalsaCongasisinthedevelopmentstages.It
IN willhopefullyincludevolumesonTomsCruzaswell
2013 asothertopcongueros.
184

PRICELIST
TITLE Physical eBook Audio Video DVD
Book (PConly) Download Download
BeyondSalsaforBeginnersIntroductiontoLatinMusicforDancers&Listeners $30 $15 free/$10*
BeyondSalsaPiano,Vol.1BeginningTheRootsofthePianoTumbao $20 $10 $10
BeyondSalsaPiano,Vol.2IntermediateEarlyCubanPianoTumbaos194059 $20 $10 $10
BeyondSalsaPiano,Vol.3IntermediateCubanPianoTumbaos196079 $20 $10 $10
BeyondSalsaPiano,Vol.4IntermediateCubanPianoTumbaos197989 $20 $10 $10
BeyondSalsaPiano,Vol.5AdvancedIntroductiontoTimba $20 $10 $10
BeyondSalsaPiano,Vol.6IvnMelnLewisPart1 $20 $10 $10 $10
BeyondSalsaPiano,Vol.7IvnMelnLewisPart2 $20 $10 $10 $10
BeyondSalsaPiano,Vol.8IvnMelnLewisPart3 $20 $10 $10
BeyondSalsaPiano,Vol.9IvnMelnLewisPart4 $30 $15 $10
BeyondSalsaPiano,Vol.10CsarPupyPedrosoPart1 $30 $15 $10
BeyondSalsaPiano,Vol.11CsarPupyPedrosoPart2 $30 $15 $10
BeyondSalsaPercussion,Vol.1IntroductiontotheCubanRhythmSection $30 $15 free/$10*
BeyondSalsaPercussion,Vol.2CalixtoOviedoBasicRhythms $30 $15 $10 $10 *
BeyondSalsaPercussion,Vol.3CalixtoOviedoTimbaGears $25*
*DVDincludesbothVol.2andVol.3footage $30 $15 $10 $10
UnderstandingClaveandClaveChanges $15 $10 FREE
BeyondSalsaforEnsemble,Vol.1Efectos $40 $25 $10
BeyondSalsaBass,Vol.1ForBeginnerschang,son,danzn,sonmontuno $30 $15 free/$10
BeyondSalsaBass,Vol.6AlainPrezPart1 $30 $15 $10* $10
BeyondSalsaBass,Vol.7AlainPrezPart2 $30 $15 $10 $10
BeyondSalsaBong,Vol.1 TBD TBD TBD TBD
BeyondSalsaCongas,Vol.1 TBD TBD TBD TBD
*free/$10=freefilesdownloadableattimba.com/audioadditionalfilesavailablefor$10
Forthelatestnewsonnewproducts,pleasevisitwww.beyondsalsa.info
185

FortheBeyondSalsaBlogandregularlyupdatedlinksandnewproducts:
www.beyondsalsa.info

Comments,questions,suggestions,requests:
kevin@timba.com

186

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BEYONDSALSABASS

SonTumbaosforCompatibilitywithBeyondSalsaPiano,Vol.1 .................................................. 100

Chapter6:ArsenioRodrguezandSonmontuno .............................................................................. 102

SongspecificversusGenrespecific ........................................................................................... 105

GenericSalsaAudioTracks6exa&6exb .............................................................................. 105

ClavealignedTumbaos .............................................................................................................. 106

Chapter6TumbaoSummary ......................................................................................................... 108

SpanishLetterCombinationswiththeSamePronunciation ......................................................... 157

AccentMarksinSpanish ................................................................................................................ 157

TestYourSkills ............................................................................................................................... 158

CapitalizationinSpanish ................................................................................................................ 158

Appendix5:OtherStyleConventionsinthisBook ............................................................................ 158

Appendix6:RhythmicTerminologyGlossary .................................................................................... 159

ANoteonTerminology .............................................................................................................. 159

TimeSignatureTerms .................................................................................................................... 160

ClaveTerms .................................................................................................................................... 161

DanceTerms .................................................................................................................................. 164

ForFurtherStudy ............................................................................................................................... 172

EditingandConceptualGuidance .................................................................................................. 175

AbouttheAuthor ............................................................................................................................... 175

2) downloadable MP3 audio files demonstrating the musical examples, accompanied by a

each chapter can be downloaded at www.latinpulsemusic.com/albums/show/438. For each

oooX ooXo oooX ooXo

RayBarretto Indestructible IndestructibleFania 1:49 Dmi 118

Cachao Cgeleelgolpe HavanaSessionsYemayRecords 1:24 Gmi 110

songspecific XoXX oooX oXXX oooo

This book shares several chapters with Beyond Salsa

Beyond Salsa Piano, Volume 1 begins around 1900

Among the artists covered are Grupo Chang de

Beyond Salsa Piano, Volume 2 covers the period

Artists covered include: Arcao y sus Maravillas,

Volume 3 covers mozambique, piln, chang68,

Styles covered include those of Elio Rev y su

We also introduce the concept of controlled

a list and analysis of the 10 most important

32 instructional tumbaos on the same chord

Volume 6 begins with Melns biography and

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

Beyond Salsa Piano, Volume 9, our final volume on

Volume 10 begins with extensive biography and

This book shares several chapters with Beyond Salsa

Beyond Salsa Percussion, Volume 3: Timba Gears is

In addition to exhaustively detailing Calixtos styles,

Theres also an lengthy introductory chapter

BeyondSalsaforBeginnersIntroductiontoLatinMusicforDancers&Listeners $30 $15 free/$10*

BeyondSalsaPiano,Vol.1BeginningTheRootsofthePianoTumbao $20 $10 $10

BeyondSalsaPiano,Vol.2IntermediateEarlyCubanPianoTumbaos194059 $20 $10 $10

BeyondSalsaPiano,Vol.3IntermediateCubanPianoTumbaos196079 $20 $10 $10

BeyondSalsaPiano,Vol.4IntermediateCubanPianoTumbaos197989 $20 $10 $10

BeyondSalsaPiano,Vol.5AdvancedIntroductiontoTimba $20 $10 $10

BeyondSalsaPiano,Vol.6IvnMelnLewisPart1 $20 $10 $10 $10

BeyondSalsaPiano,Vol.7IvnMelnLewisPart2 $20 $10 $10 $10

BeyondSalsaPiano,Vol.8IvnMelnLewisPart3 $20 $10 $10

BeyondSalsaPiano,Vol.9IvnMelnLewisPart4 $30 $15 $10

BeyondSalsaPiano,Vol.10CsarPupyPedrosoPart1 $30 $15 $10

BeyondSalsaPiano,Vol.11CsarPupyPedrosoPart2 $30 $15 $10

BeyondSalsaPercussion,Vol.1IntroductiontotheCubanRhythmSection $30 $15 free/$10*

BeyondSalsaPercussion,Vol.2CalixtoOviedoBasicRhythms $30 $15 $10 $10 *

UnderstandingClaveandClaveChanges $15 $10 FREE

BeyondSalsaforEnsemble,Vol.1Efectos $40 $25 $10

BeyondSalsaBass,Vol.1ForBeginnerschang,son,danzn,sonmontuno $30 $15 free/$10

BeyondSalsaBass,Vol.6AlainPrezPart1 $30 $15 $10* $10

BeyondSalsaBass,Vol.7AlainPrezPart2 $30 $15 $10 $10