JJ

VARIATION 5

This is the rhythm of the typical guarachabassline and is often intermingled with the standardtumbao
"2" in this bass line createsa
in other styles u, *éll ir"" Chapter 2 for more on this). The presence of the
"and of 2" is usually the more strongly accentedof the two notes.
unioue feei, but the

CD One
TRACK #1I
2-3
Guaracha
t - q
\r^ l

(G,'rf) Gmre

E (c"l) cc G,*f cq Fmf F6 D?(î!)

ca

cc D' (tg)

Gmre- -,Ct Gmre c FMI F6

Gnnre cc Gnnre cc FMI

Gr*l cc D?(I3)
)

Gnrue cc

t - q
\rMl cc Gnrue cc FMI F6 D?(ig)

Gnrue cq G"re cc D?(ig)

Gnnre GMrq cc

Gnrue cc

ID
tr G",e cq Gnrl9 cs D?(t3)
ì
I
D
l) Gnrue cq Gmre cc F*7 F6 D7(TEI
D
rr
D
b Gnnf cc Gm,e C c FMI F6 D?ft8)
D
lt
ID
b Gmre cq G,rnl9 cc FMf FG D1(rtl
Ff
F
t Gn19 Cq G,rrug
b
b
ID
D
b
D
L-
j 3 5

Gmre cc Gmre ca FMI F6 D?ftg)

D7(ill

- Gr*re cc Gnuq cc FMI F6 D?(i!)

G,rru9 cc G,trf cq FMI F6 D7(trll

Gnnf cc G,rnf cc FMI F6 D7(ill

Gmre \rMl cc FMI D7(igl

Gnrue cc Gnnf cc FMI

Gr,nreCc Gmf cc FMI D?(i3)

Gmf cq G,r,rl9 Fmí D7(ill

Gmre cc G,,llt cc FMI F6 D1(itl

\
I
I G,r,rl9 ca FMI D,(IE)
I
)
) Gnrl FMI D7(frgl
I
I
)
t G^n'9 cc G,uf ca FMI D7(ill
D
D
ì
I G"f cs Gnnre cs FMd D7(rtl
D
I
t G^,rf cc Gmre cc FMI F6 D7(13)g^'r
f
D
I
t E to",t) 9^ r'
b
b
b (G"'e)
b

NC Gnrf

l'

Here are someof the variationsthat Oscaruseson this track. Try using them one at a time, along with a
regulartumbao,whenyou improviseyour own bassline on this exercise.