CARIBBEAN DUETS I For Trumpet For Trombone By: Harry Rios 466 Spanish Trace Drive Altamonte Springs, FL 32714 LATIN MUSIC PUBLISHERS, INC.CARIBBEAN DUETS BY HARRY RIOS May 1994 Sunset Productions New Orleans, LASpecial Thanks There is always someone that will disappoint and discourage you from doing your God given purpose in life, Those you ignore or patronize, the best you can. Then, there is those that will change your life in a positive way, without even realizing that they did. Is to some of these individuals that | dedicate this first book. Luti Maldonado — You had no idea that that small trip to Burger King was going to teach me humility in the face of greatness. Victor Candelario — What a great and pleasant surprise was to find out that one of my heroes was also a wonderful human beign. Rafi Torres — That clinic you did about 100 years ago with your brother, in Ponce. Made me realize that some things not meant for the trombone ought to be tried anyway. Edgardo Morales — To realize that my “teen age" years heroes can become my most loyal friends is in itself a pleasure this life offered me. Kito Velez — | learned from one of the greatest! May God keep you in a special place for geniuses. Quiero Agradecer ‘Siempre habra alguien que te desilucione y te trate de quitar el emperio de cumplir con el propésito que Dios te ha encomendado. A esos los ignoras 0 les sigues la cortiente, sin hacerle caso. Pero estan estos que te cambian positivamente la vida, sin siquiera darse cuenta de que lo han hecho, Es a algunas de estas personas a las cuales dedico mi primer libro. Luti Maldonado — Aquel viajecito para Burger King me ensefié humildad en presencia de una leyenda como tu Victor Candelario — Que sorpresa mas agradable encontrarme que uno de mis heroes es tambien una persona maravillosa. Edgardo Morales ~ Quien diria que uno de mis heroes de juventud se podria convertir en uno de mis mejores amigos. Kito Velez ~ Aprendi con una de las glorias de la Musica Latina! Que Dios te tenga en un lugar especial separado para los genios. ‘Copyright 1994 by Sunset Production, Ine. Caibbean Duets is a registered trademark of ‘Sunset Productions, All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, ‘or transmitted, in any form or by any means, electonic, mechanical, photocopying, recording, or othersvise, without the prior coasent ofthe publisher.About the Book To tell you the truth, | started this book for my own amusement. The fact that there was not (still, o this day) a comprehensive book of “salsa” duets, the fact that | wanted to play duets, combined with the fact that | had too much time on my hands, lead me to the inevitable action of writing the second set of duets (11 to 20) and put them into a small, twenty pages or so. The fact that people started asking me for dozens (and later hundredths) of this books, and the fact that most of these people were teachers, made me go back and prepare this to be an educational experience as well The first 10 duets are the product of this project, called, in 1994, Caribbean Duets Il. Now, | have combined my first two works into one to bring you this book as a preamble to the new Caribbean Duets II, scheduled to be released by Latin Music Publishers and Broken Slide Music in just a couple of months after the release of this book. If you like this book, you are going to love the next, with advance techniques in performance and exercises. This book takes you to how the salsa music was written at the beginning. | recommend that you read the first lessons so you perform with an understanding of the rules of this spicy music. | want to thank Terry Baber and our pet project, www.brokenslidemusic.com for pushing me to release this work after all these years. Enjoy it! Acerca del Libro Para serles sincero, comenzé este libro como entretenimiento (para mi mismo). Lo que ‘ocurre es que no habia (hasta donde sé, todavia no hay) un libro de duos de “salsa”, que yo queria tocar duos de salsa, (y una combinacion de aburrimiento y exceso de tiempo), me llev6, inevitablemente a escribir lo que en este libro es el segundo set de duetos (11 al 20) y los puse en un panfletito de 20 paginas, mas o menos. Comenzaron a pedir docenas y luego cientos de copias. La mayoria de estas personas eran educadores. Esto me hizo revisar mi trabajo y presentar este material en una forma educacional. Los primeros 10 duos de este libro es actualmente el resultado de esta labor y basicamente el ‘Caribbean Duets II" original, del 1994. He combinado estos dos trabajos en uno como preparacion del nuevo Caribbean Duets II, pronto a salir, producto de “Latin Music Publishers” y “Broken Slide Music’, en unos cuantos meses despues de la salida de este libro. Si a usted le gusta este libro, le va a encantar el proximo, con tecnicas avanzadas de ejecucién y ejercicios. Este libro esta escrito en la forma tradicional de escribir musica latina (salsa). Recomiendo que lean las lecciones al principio de este libro para ejecutar con conocimiento de las reglas de este genero. Gracias a Terry Baber, y nuestro proyecto, www.brokenslidemusic.com, por su apoyo en continuar con el proyecto de este trabajo despues de tantos afios. Disfruten!ARTICULATION Accents are very important tools of expression for the arranger, because they indicate exactly how a note should be performed. Correct performance of these accents helps a musical paper to become a musical piece with life and artistic personality. Knowledge and correct use of these indications will allow you to execute the piece with the feeling that the author intended, bringing you to professionalism, regarding the style of music you are performing. ‘These are some of the accents used in this book: f VERTICAL ACCENTS - Attacked with force, performed louder than surrounding dynamic level. Short duration. f STACCATO - Duration about half. Short duration. ie TENUTO - Holds full value, to be performed with only a very slight break between notes to allow for the attack. Long duration. f HORIZONTAL ACCENTS - Attacked with force, performed louder than surrounding dynamic level. Long duration f - Performed in the dynamic level of the moment. Full duration. fot SLURRED - To be performed without interruption between notes. Maximum duration. You can also picture these accents in two groups, long and short duration. Immediate recognition is essential to execute the feelings that the author intended for the music, specially on a sight reading job. This is my short cut: LONG - HORIZONTAL ACCENT, TENUTO, SLURRED, NO ACCENT. SHORT - VERTICAL ACCENT, STACCATO. TIP: DYNAMICS ARE A VERY IMPORTANT FACTOR TO ACHIEVE MUSICALITY. -Al-SYNCOPATION When the attack of a note comes on a weak part of the beat it is called syncopation. It occurs when notes alter the normal or expected pattem of rhythm, accent or meter. Syncopation its not only a big part of latin music, but it characterizes the style, making it one of the hardest types of music to read and execute. This book is designed to heip you recognize certain pattems. Having this knowledge and recognizing those patterns on sight will bring you to play the rhythms with ease, and with little or no practice. A method in arranging popular latin music was used for the first part of this book, and I compare it with the usual ways that are used to see other styles of written music, We will start with these figures: py = 3. The dotted quarter rest is one of the most used figures in popular music, specially at the beginning of a phrase. It is very important to recognize this figure instantly. After constant use of the dotted quarter you acquire a feel for it, in the meantime a phrase of four syllables (with the fourth syllable as the note to play) will help you. (tu tu ku)ta | (tutucku) to Bo ps PREP. & This is an example in the traditional method: ‘This is how you would normally find it: The difference between the two ways of writing is the subdivision between 2 & 3 in a measure, and it is hidden. The general rule is to subdivide it, but for many years arrangers and composers of latin music omitted the subdivision, since in notes are played short (normally) and the occurrence is almost constant in these styles.