PERUVIAN UNIVERSITY OF

APPLIED SCIENCES - UPC

Course: Execution Workshop IV

Low Mention

CREOLE AND AFRO-PERUVIAN BASS METHOD

Presented by

Joshua David Baltazar Espinoza

Music student

LIMA NOVEMBER 8, 2016

Index

• Basic method for bass performance and musical reading

• Introduction to Afro-Peruvian music

• Creole Music from the Central Coast of Peru

• Afro-Peruvian Music from the Central Coast of Peru

• Transcripts

• Creole and Afro-Peruvian music patterns on Slapping and Tapping techniques

• Interviews with the most representative bassists of Creole and Afro-Peruvian music

• Compositions

• Conclusions
1. Basic method for bass performance and musical reading
We believe that many of the people who obtain this bass manual have never played
music on the bass before or have never read sheet music, so a basic method for playing
the electric bass and then basic concepts will be developed in a simple and
understandable way. about music theory, in order to understand this entire manual
and meet its expectations.

1.1 Instrument recognition

First of all, before you start playing the first notes on the electric bass,
we must recognize the parts of this instrument. Next, the parts of the electric bass:

Parts of the electric bass

Body

Identification of notes
The musical notes are the following: Do, Re, Mi, Fa, Sol, La, Si. These are replaced in an
American and universal cipher by the following: C, D, E, F, G, A, B respectively. On a 4-
string electric bass we can easily find these 4 notes: G, D, A and E. For example, the
note G would be the first string, the thinnest of all and with the highest sound. Then,
the second string D follows, the third is A and finally, the thickest and deepest sound is
E.
 In addition to the notes C, D, E, F, etc., there are other intermediate notes such as C#,
D#, F#, G#, A#, B#, Bb, Ab, Gb, Eb, Db and Cb. For now, we will focus on recognizing all
the notes along the neck, since in the next point we will explain in detail about music
theory.

1.2 Basic music theory

In order to understand this Criollo and Afro-Peruvian bass method in its entirety, we
must have the following basic concepts regarding musical theory.

Notation
Musical notations are always written on staves, here is an example:

The staff consists of 5 lines and 4 spaces.

Since this is a bass method, we will use the bass clef, which is why it is important to
recognize where the notes are on the staff.
Now we will explain about the accidental alterations that above gave added value to
the musical notes. Accidental alterations are therefore used to alter the pitch of the
notes on the staff, for example:

Flat: The next note will be altered downwards.

# Sharp: The next note will be altered upwards.

d
Bsquare: the alteration of the note, whether flat or sharp, is cancelled.

Hues and armor

Tonality is a hierarchical system between the pitches of musical notes with respect to a
tonal center. The tonality of a piece of music is determined based on the key signature.
Key signatures are always found at the beginning of the staff with a specific number of
sharps # or flats, .
Musical figures
Musical figures are those that give a certain time value to the musical notes within a
staff. So it is very important to learn the name of each one of them and their duration
value to then be able to understand this method and, consequently, execute them on
the instrument.

We can notice that the “Round” lasts 4 beats, so you can check it by counting “1, 2, 3,
4.” The “White” figure is equivalent to 2 beats. The “Black” is equivalent to half of a
White, that is, it would be worth 1 beat and thus the following musical figures are
worth half of the one that precedes it. That is, the “Quaver” is worth ½ beat, that is,
half of the Quarter Note and successively with the other figures.
In the following graph we can see the equivalences of the figures.

Round ------------------------ either

White---------------either either
Black --------• J • J

Eighth note — •1.

*tm — a •0 •
.

Pit _ mmmm

simple compass
The simple or binary subdivision compass is when each of its pulses or beats can be
subdivided into halves. In this case, the most common simple time signature meters are
2/2, 2/4, 3/4 and 4/4, especially the latter 2 will be seen in the patterns and
transcriptions chapters.

Here is an example of 2/4 on a staff.

As we can see, the number 2 means that there are 2 pulses per measure and the
number 4 means that the musical figure that will represent each pulse will be the
“Quote”.
Here is an example of 4/4 on a staff.
As we can see, the time signature is 4/4, this means that the “numerator” which is the
number 4 means that there are 4 beats and the “denominator 4” means that the
representative figure of the beat is the “Black” figure.

compound time signature

The compound or subdivision compass or ternary subdivision is when each of its pulses
or beats can be subdivided into thirds or three parts. In this case, the most common
composite time signature meters are 6/8, 12/8. In this method we will see these
metrics in the patterns of the different styles of Afro-Peruvian music, however the 9/8
time signature indicator is included in one of the compositions.

Below is a 6/8 time signature shown on a musical staff:

As we can see, there are 2 pulses that are 2 quarter notes with a dot on the side. That is
to say, the quarter note is worth 2 eighth notes, but the point adds half of its value, in
this case the point would be worth one eighth note, which would add up to a total of 3
eighth notes. For this reason, the 6/8 indicator belongs to compound or ternary
subdivision measures.

Here is an example of 12/8, which is used in the Afro-Peruvian genres that we will study
in the next pages.

As we can see, this is a measure of 4 beats in which each of them is subdivided into 3
parts or 3 eighth notes.
1.3 Fingering exercises
To achieve good performance on the electric bass we need to practice fingering
exercises.

Let's number the fingers of the left hand. The index will be number 1, the middle finger
will be number 2, the ring finger will be number 3 and the little finger will be number 4.
In order to make the fingers of the left hand independent, we must practice the
following exercises.
The first exercise consists of assigning one finger per fret, for example, the finger will
play all the notes that are on fret 1 from the lowest string to the highest string and so
on for the other fingers. The exercise will begin with the following pattern:
• 1–2–3–4
On the lowest string you would be playing the notes F, F#, G and G#, with your index,
middle, ring and little fingers respectively.

The patterns can vary to give more dynamics to the exercise:

PERUVIAN UNIVERSITY OF 1
APPLIED SCIENCES - UPC 1
1. Basic method for bass performance and musical reading 3
1.1 Instrument recognition 3
Parts of the electric bass 3
Identification of notes 3
1.2 Basic music theory 4
Notation 4
Hues and armor 5
Musical figures 6
simple compass 7
compound time signature 8
1.3 Fingering exercises 8
Scales 10
Chords 12
2. Introduction to Afro-Peruvian music 14
2.1 The development of the bass in the musical accompaniment of Creole and Afro-
Peruvian music 14
 3. Creole Music from the Central Coast of Peru 16
3.1 Sailor 16
Bases 16
3.2 Tondero 18
Bases 18
3.3 Waltz 19
Bases 19
4. Afro-Peruvian Music on the Central Coast of Peru 21
4.1 Celebration 22
4.2 Landau 24
4.3 Zamacueca 27
4.4 Pan-relief 28
5. Transcripts 31
5.1 Creole Music 32
5.2 Afro-Peruvian Music 38
6. Creole and Afro-Peruvian music patterns on Slapping and Tapping techniques 43
7. Interviews with the most representative bassists of Creole and Afro-Peruvian music 46
7.1 Interview with Felipe Pumarada 46
7.2 Interview with Mariano Liy 47
7.3 Interview with Juan Rebaza 48
8. Compositions 50
Gu 24 --.-----,--,---2 53
9. Conclusions 60
•
You yourself can create your own patterns, in the previous exercise we have several
patterns created starting with the index finger, so we can start with the middle finger
as well and the other fingers.

Scales
The set of musical sounds or notes, whether tonal or atonal, is called musical scales.
These sounds are arranged in ascending order, from the lowest sound to the highest
sound, where each note within the scale is called degrees.

To understand where the patterns and bass lines of Creole and Afro-Peruvian music
come from, we must learn the musical scales well.
In this case we will start the scales from the note C, but we could also start
from any note.

Major scale or Ionic mode: C major

Doric Scale or Doric mode: Doric C

Natural minor scale or Aeolian mode: C

Aeolian

Harmonic minor scale: C harmonic minor

Mixolydian scale or mixolydian mode: C

mixolydian

Minor pentatonic scale: C minor pentatonic

Major pentatonic scale: C major pentatonic

Chromatic scale: Chromatic C

Blues scale: C blues

Chords
A chord is the set of 3 or more notes that are played simultaneously. On the musical staff
they are written vertically. Below, the most used chords in Afro-Peruvian and Creole music.

major triad chord Major chord 7

minor triad chord Minor chord 7

Dominant 7 chord
opipusdsns pJODV
2. Introduction to Afro-Peruvian music
Before going to the practical part, it is of utmost importance that we know the
rhythmic roots on which Afro-Peruvian music is built today. Afro-Peruvian music has a
great African influence, which is why its name indicates it and begins as “afro.” The
black slaves from Africa brought all these customs in the 16th century that would later
be transformed into a musical expression.

In principle, this musical expression was based on the first Afro-Peruvian key, which is
the following:

This Afro-Peruvian base or ancient key would serve as the basis for what would be
developed later.
Later, this key underwent a minimal modification in the 90's, thanks to the new
proposals of Afro-Peruvian music, therefore the current new key of Afro-Peruvian
music is the following:

2.1 The development of the bass in the musical accompaniment of Creole

and Afro-Peruvian music
Many years ago the accompaniment of these genres was very simple but over time it
has taken on its own identity, its own stamp that characterizes it from the others. The
bass has been evolving in the musical accompaniment of our Creole and Afro-Peruvian
music, that is why today we can see that any band or orchestra format of said genre
will always include an electric bass. The bass is the fundamental instrument that will
mark the rhythmic-harmonic basis of any musical ensemble, it is the heart of the band
along with the percussion or drums. In other words, the bass has become indispensable
when we talk about Creole and Afro-Peruvian music.

Since the arrival of the electric bass, Creole music evolved considerably thanks to the
contribution of bassist Juan Rebaza, who contributed to all the recordings of Don Oscar
Avilés and “el Zambo” Cavero. The bass initially doubled certain melodic lines of the
guitar, but then it began to detach itself from them, reaching the limits of such an
elaborate musical accompaniment for those times.
It is good to highlight that over the years, Afro-Peruvian and Creole music has stopped
being performed exclusively by Afro-descendants. All this is due to the promotion of
our main Afro-Peruvian cultural manifestations in Peru.
3. Creole Music from the Central Coast of Peru
In this chapter we will learn about the 3 styles of Creole music from the Central Coast
of Peru. To do this, we have attached audiovisual material that can be reviewed in the
chapters for better learning.

3.1 Sailor
La Marinera is a style of Creole music born in the Lima region, belonging to the Central
Coast of Peru. The counterpoint Marinera or “jarana song” is made up of 3 quatrains,
slippery and fuga (the latter may have more). Musically, this musical genre can be
performed in a major or minor key. In order to perform marinera the minimum
instruments required must be a guitar, voice box and clapping.

Formerly this genre was called the handkerchief dance, zamacueca; Until the day of the
beginning of the Pacific War the name was generalized as “Chilean”. Later, this was
renamed by Abelardo Gamarra as “Marinera” or “Dance of the Marinera”, in homage
to the Peruvian Navy and Miguel Grau.

Bases
Next, we will see bass patterns to play Marinera and some bases transcribed and
performed by different bassists.

Pattern I, super basic to execute a Sailor.

Pattern II of a Sailor:

Pattern III for a Sailor:

This pattern is an excerpt from the bass lines recorded by bassist Felipe Pumarada, in
the song “Que viva el Perú, Señores” for the renowned singer Eva Ayllón.

Below, Pattern IV for a Sailor:

This pattern is a great contribution from bassist Felipe Pumarada, in terms of the
rhythm of the style.
3.2 Tondero
The tondero is a musical genre originating in the North of Peru, in Morropón de Piura.
Like the Marinera, the Tondero is also a dance.
This genre is characterized by its cadence at the time of being performed, unlike the
Lima Marinera or Waltz.

The most significant influences for this genre are gypsy, African and Andean music.

Bases
Below are the basic patterns for bass performance.

Pattern I, super basic to execute a Tondero.

Pattern II, for the Tondero:

 Pattern
III

Pattern
IV

3.3 Waltz
The waltz has a European origin, as it arrived in Lima under the name Waltz in the year
1850. This was of an instrumental type, was used in a ballroom dance context and was
aimed at the aristocratic sector. Later, popular musicians took these musical pieces and
then covered them, since they did not feel identified with the style and touch coming
from Europe.
Popular musicians changed the piano and the band for a guitar and later included the
cajon. This change in instrumentation gives it a quite different touch in which they felt
identified.
Already in the 60s, it was recorded for the first time only with a cajon and later, at the
end of this decade, a guitar was added, thus achieving a guitar-cajon duo for the musical
accompaniment of the waltz.

Bases
The musical accompaniment of the bass in the Waltz has been greatly influenced by
what the percussion, in this case the cajon, can perform. That is, the bass has to do with
rhythm.
Next, we will be able to notice the patterns of a Waltz for the bass, from the most basic
to the most complex, thanks to the contribution of bassist Juan Rebaza.
 Pattern I: This ledger is more like that of a Viennese Waltz, super basic, for what we now
know as a Peruvian Waltz.

Pattern II: This is a variation of the first base.

Pattern III: Extract from the song “Every Sunday at Twelve” by “Zambo” Cavero, recorded
by bassist Juan Rebaza.
Juan Rebaza Cad ¿Sunday at ¿oce"
Pattern IV: This is a fragment of the song “Rebeca” also by “Zambo” Cavero, in which maestro
Juan Rebaza participates in the bass recording.

Pattern V: another fragment of the song “Rebeca”.

Pattern VI: this is a bass line recorded by bassist Walter Fuentes, in the song “Bandida”.

4. Afro-Peruvian Music on the Central Coast of Peru

In this chapter we will talk about Afro-Peruvian music genres such as Festejo, Landó,
Zamacueca and Panalivio. It is suggested to practice the exercises together with the
PDF sheet music and audios.
 4.1 Celebration
The Festejo is the most widespread among the other genres of Afro-Peruvian music. As
its name says “Festejo”, it comes from the word Fiesta, therefore it is festive in nature
and is performed at fast tempos, ranging between 110 bpm to 150 bpm. The time
signature for this genre is 12/8, meaning it has 4 beats subdivided into 3 eighth notes
each.

Next, some basic patterns will be presented on how to accompany a celebration on the
electric bass.

Pattern I: This is the classic carried out of a celebration in the bass in a major key.

Pattern II: Likewise, this is a celebration pattern widely used in Afro-Peruvian music.
Pattern III: This pattern is from a fragment of the song “Que se quema el Zango”, in
which bassist Felipe Pumarada participated by recording the bass lines.

Pattern IV: This pattern is mostly used in other Latin genres, but what makes it fit well
with percussion and in this genre, are not the low notes, but the high notes. As the
score indicates, this is a fragment of the song “Agúzate” by the Cosa Nuestra orchestra,
where Felipe Pumarada recorded the bass lines.
Preferably listen to the audio and videos.

Felipe Pumarada
Pattern IV "Sharpen up"

Electric Bqss

TO
Mr

3
He. b. -

Patrón V: This is a fragment of the song “El que no tiene by Inga”, also covered by Cosa
Nuestra and the bass lines were recorded by Felipe Pumarada.
Pattern VI: Fragment of the song “Raíces del festejo” where the bass lines were recorded by
bassist Mariano Liy.

Pattern VII: Fragment of the song “Como cantan, como bailan”, where the bass lines were
recorded by Mariano Liy.

4.2 Landau
The Landó is the genre to which its predecessor is not defined. Thanks to Perú Negro,
who was able to develop it and put it on stage, we can still perform this genre.
This genre has a slow and rhythmic tempo, ranging from 60 bpm to 80 bpm. The Landó
is accompanied by well-synchronized percussion rhythm bases, which makes it become
tight along with the bass. This genre is also written in 12/8.
 Pattern I: This pattern is basic for playing Landó on the bass.

Base Lnq
Pattern I

Pattern II: This pattern has slight variations compared to the first.

Pattern III: This is a fragment of the song “María Landó” in which Mariano Liy recorded
the bass lines.
Pattern IV: Here is another variation of the previous pattern.

Pattern V: This base was originally created by Felipe Pumarada, who recorded the bass
lines for the song “No Valentín”, in a version by Marco Romero.

Felipe Pumarada
"Not Valentine"

Pattern VI: We can notice in this Pattern how the bass line seeks to be compact with
the percussion. We can check it in the audio. This pattern is a fragment of the song
“Toro Mata”, in which the bass lines were recorded by Felipe Pumarada

Felipe Pumrada
"Toro Mata"
 Pattern VII: These bass lines were recorded by bassist David Pinto, in the song “Negra
Presuntuosa” by Susana Baca.

David Pinto
"Presumptuous Negro "

4.3 Zamacueca
The origin of Zamacueca probably dates back to the 16th and 17th centuries, in the
neighborhoods of Lima, in the Rímac, Barrios Altos. Before, the Landó was played only
with the Lute, now it is played with the nylon acoustic guitar.
Years ago, Zamacueca marked an enormous difference between Marinera and is
differentiated by its influences of Afro-Peruvian rhythms.

Below, some Zamacueca patterns to be played on the bass.

Pattern I:
Pattern II:

Pattern III: This is a fragment of the song “Se me vas los pies” where David Pinto,
recorded the bass lines.

Pattern IV: This pattern is extracted from the song “A Ronaldo” by the group Perú
Negro, in which the bass lines are recorded by Felipe Pumarada.

Bse Z^mgcuec^ Felipe Pumarada

Pattern IV
"To Ronaldo”
Major Key

g
Electric Bass 22
8

4.4 Pan-relief
Unlike the other Afro-Peruvian genres that are written in compound time, Panalivio is
the only one that is written in simple 4/4 time.
The speed or tempo of the style is not defined yet, since there are slow and fast
Panalivios. As for the rhythmic bases, the cajon, for example, plays semiquaver and
eighth note figures. Another detail to take into account is that Panalivio is not a musical
genre that is asynchopated, but rather flat in terms of rhythm.
 There is no better guide to bass patterns than the bass lines themselves recorded by
the leading bassists of Afro-Peruvian music. Below are some examples of Panalivio
patterns on the bass.

Pattern I:

Pattern II: Fragment taken from the song “Negrito” by the group Perú Negro, in which
Felipe Pumarada recorded the bass lines.

Felipe Pomarada Negrito"

Pattern III: Fragment taken from the song “Tamalito”, in which Felipe Pumarada
recorded the bass lines.

Pattern IV: Fragment taken from the song “13 de mayo”, where David Pinto recorded
the bass lines.
5. Transcripts
In this chapter we can see 6 themes, between well-known and sought-after Creole and
Afro-Peruvian music, in which the bass line has been transcribed from beginning to end, in
order to understand the development of the bass in the musical accompaniment of these
genres and the application of all the bases of Creole and Afro-Peruvian music set out
above.
5.1 Creole Music
The next song is a Tondero, called “ Esta Es Mi Tierra” , in Eva Ayllón's version.
ihhrishiy
This song is a Waltz called “Every Sunday at twelve” , composed by Augusto Polo Campos,
performed by Zambo Cavero. The bass lines were the collaboration of bassist Juan Rebaza.

AASSBGT
 L0
OraHINI

his 20

"V
5.2 Afro-Peruvian Music
The following songs are of the Afro-Peruvian genre, the first is a Celebration and is
called “Chacombo” by Zambo Cavero & Oscar Avilés.
The next song is a Landó called “ Negra Presuntuosa” by Susana Baca
Lastly, we have this Panalivio , called “ Negrito” from Perú Negro.
6. Creole and Afro-Peruvian music patterns on Slapping and Tapping
techniques
In this chapter we will demonstrate how celebration patterns can be executed with
Slapping and Tapping techniques. For a better reference, check the links attached on
the last pages, where you can access audiovisual material and also have an overview.

Exercise 1 (Slapping)

Exercise 2 (Slapping)

Exercise 3 (Slapping)
Exercise 4 (Slapping)

Exercise 5 (Slapping)

Exercise 6 (Tapping)

Exercise 7 (Slapping)

Bse Zmcuec
Vile Patron
Exercise 8 (Slapping)

Exercise 9 (Slapping)

Exercise 10 (Slapping)
7. Interviews with the most representative bassists of Creole and
Afro-Peruvian music
In this chapter of interviews we will be able to learn unpublished data about the
electric bass from its arrival in Afro-Peruvian and Creole music to its evolution in
musical accompaniment. Interviews were conducted with 3 of the most important
bassists in the Lima music scene, who will answer some doubts about this process of
the electric bass in our music. The bassist exponents interviewed were Felipe
Pumarada, Mariano Liy and Juan Rebaza.

7.1 Interview with Felipe Pumarada

Felipe Pumarada, current bassist for Perú Negro, Cosa Nuestra (Salsa Criolla), Camdú,
among others, tells us about his musical influences.
Firstly, he had a great influence on traditional Cuban music thanks to his father, a
native of Cuba, who was a musician, trumpeter, and arranger. Felipe had very close
contact with the musicians as he accompanied his father to rehearsals and
presentations. On his mother's side, he was influenced by Creole music, since his
mother was a singer of this type of music and in the same way Felipe accompanied his
mother to presentations and recordings.

Felipe Pumarada started playing percussion and guitar thanks to a gift from his mother,
in order to study music. The guitar attracted more attention than the percussion, so
much so that he joined the parish choir to play and learn more about this instrument.
However, the guitar would not be the instrument he would stick with. Later, Felipe says
that his father had a meeting at the Cuban embassy, in which they showed him through
videos the band “Irakere”, and that is where he began to be very curious about this
group. He was so hooked on this band that he began to play Carlos del Puerto's bass
lines from his guitar. This led him to listen to a lot of Latin music, exploring other
bassists such as Salvador “Sal” Cuevas, bassist of the Fania All Stars. So, up to this point,
Felipe's two bassist influences were Sal Cuevas and Carlos del Puerto.

Some concepts that Felipe makes clear to us is that Afro-Peruvian music belongs to
Creole music. The word creole, in Peru, means the mixture of Afro-descendant with the
native Peruvian Inca and with the mixture of Spanish. The fact of making Afro-Peruvian
music contains the same characteristic. Creole music has the Waltz, Marinera,
Marinera Norteña, Tondero; while Afro-Peruvian music has Festejo, Landó, Panalivio,
Zamacueca.

The bass begins to be introduced into Creole music with the double bass executing the
musical figures such as “blancas con punto”. Felipe affirms that there were two
Argentine double bassists who played the Waltz a lot here in Peru along with Filomeno
Ormeño and Lucho de la Cuba, they taught at the Music Conservatory. For this reason,
it can be stated that the Peruvian Waltz also has influences from Argentine music such
as Tango, for example the typical ending of this musical genre is “a half note with a
point and then a round one” that ends the musical piece that on progress. This same
 musical ending is adopted in the traditional Peruvian Waltz.

Later, figures of other national double bassists appear, such as Joe Edi Roma along with
Pepe “ El Negro” Hernández. The latter uses another musical language for the Waltz
since it is Peruvian, using more passing notes and the most “tasty” way of execution. All
the bass recordings of “Los Morochucos” are by Pepe Hernández. After “Los
Morochucos” , maestro Avilés would form another show group called “Fiesta Criolla” ,
where they already use the cajon in the recordings and where maestro Carlos Hayre
appears on the double bass. Hayre is called for his afro appearance, for his swing on the
double bass. In addition to making his first recordings and presentations with “Fiesta
Criolla” , he would also participate in “Los Troveros Criollos” , where he recorded the
song “Carretashere is the tone” .
Up to here we have the Argentine double bassists, Joe Eddi Roma, Pepe Hernández,
Carlos Hayre who took place in all the recordings and presentations of Creole music, we
would also add the brothers Antonio Vergara and Guillermo Vergara.

Later, Maestro Avilés, when he got together with “ Zambo Cavero” , began to require
another style or touch of Creole music on the bass, with an electric bass, he needed a
bassist who would repeat the same musical lines as the main guitar. and give more
dynamics and style to Creole music. That's how Avilés called Walter Fuentes, who
owned a Fender Precision from the 70s, to record with Zambo Cavero. However, this
would not be to Avilés' satisfaction, so he called Juan Rebaza with whom he had great
harmony and understanding between them.

Finally, Felipe says that starting in the 90s, the celebration adopted a more Cuban or
“salsero” style. This is because they realized that the celebration sounded very flat from
start to finish. In salsa there are several sections where not everything is the same,
there are different dynamics, intentions, changes of rhythm. Then, this change of
intentions began to be tested in the celebration, the bass no longer did the basic
pattern from beginning to end, but changed as the song developed, according to the
change of intention in the entire percussion and that is where He applied the typical
“tumbao” of the Cuban bass. So, it can be stated that the celebration has a direct
relationship with Afro-Cuban music.

7.2 Interview with Mariano Liy

Mariano Liy has been greatly influenced by salsa and Creole music from Lima. In the
background, his other influence would be Brazilian music. I didn't listen to almost
anything rock. From a bassist point of view, speaking of salsa, his greatest influence has
been Salvador Cuevas and Bobby Valentín, and speaking of Creole music, Carlos Hayre
and Juan Rebaza.

Liy tells us that when he was already playing Creole music, they had already introduced
the bass and that he did not go through the process of incorporating it. However, he
states that many years ago the bassist exponents of Creole music were the Vergara
brothers, Carlos Hayre and Juan Rebaza. Mariano begins to follow Juan Rebaza thanks to
Avilés' music that he almost always recorded with him. He also tells us that the other
 generation of bassists are Felipe Pumarada, Mariano, Oscar Cavero and Lucho Montalvo.

It is rare that there are differences between Creole and Afro-Peruvian music because the
musicians are the same. Whenever someone makes Creole music they also know Afro-
Peruvian music. It is strange to find someone who dedicates themselves only to Afro-
Peruvian music without having first experienced Creole music. There are many Creole
people, however, black people have had a lot to do with the preservation of genders,
always in a peña there is an Afro-Peruvian present. Mariano went every Friday for 20
years to Abelardo's club, where they were cultists of Afro-Peruvian music, however,
Abelardo was super Creole.

An extra fact about Eusebio Cirio “Pititi”, who for many cajon players was the best, he
had great musical criteria, since he let people sing, he accompanied very well with the
cajon. He developed much more hearing due to his blindness.

Finally, there is a lot of communion regarding the relationship between the rhythmic
accompaniment of the bass and the percussion. There are several states musically, a
bass touch can suggest the touch of percussion and vice versa. Mariano Liy suggests that
bassists learn all percussion and all key types for any genre, be it Creole, Afro-Peruvian
or Latin. It is important to recognize the states of the song, that is, the structure, for
example knowing how to differentiate between the verses, the chorus, the fugue, etc.
The idea of knowing a genre is that you can learn from the traditional to the
contemporary.

7.3 Interview with Juan Rebaza

First of all, Juan Rebaza tells us that his musical influences were The Beatles, he had a lot
of attention towards British music or Rock. Later, he was influenced by Latin American
groups such as Los Iracundos, Ángeles Negros, etc. As the years go by, there comes a
stage in which he discovers tropical music, Afro-Antillean music, to be exact Cuban
music, which helps us a lot to take concepts of syncopation and kinship from our
Peruvian music.

His bassist influences were Jack Bruce from the band “Cream” , then Paul McCartney
caught his attention as he was a left-handed bassist and sang.

Regarding Creole music, Rebaza tells us that it was never Creole, but rather they made it
Creole. He began at a very young age to be a session musician in a recording studio. At
that time he had a lot of musical production and he had a diary full of recording dates. It
happened that one day he was called to record and replace a bassist. At that time, he
tells us that he did not ask, who was going to be recorded with and what was going to be
recorded since there was a movement that always revolved around tropical music, rock,
Creole, etc. At that time, the bassist exponents of Creole music were Don José
Hernández “El Negro” , Dr. Guillermo Vergara and the most notable of all, maestro
Carlos Hayre, being a masterful reference. There was another bassist named Di Roma,
who played piano and double bass. As Rebaza tells it, he says that he listened to them a
lot on the radio, especially at noon, that it was a tradition to listen to Creole music. Not
only did they play it on the radio, but in houses, neighborhoods, and alleys, they used to
play Creole music.

Juan Rebaza, at the age of 21, had never played Creole music, until the day Álvaro Pérez
from Sono Radio called him to record. He had a rock look and when he showed up at the
recording studio he noticed the style of the Creoles, who were always in their shirt, tie,
suit. Rebaza managed to meet the needs of the recording, it was a very pleasant
experience, so they called him again to record. At that time he recorded for all the
recording companies, Sono Radio, Iempsa, Virrey, Infopesa , etc.

The bass is an instrument that has gained notoriety in Creole music, in which all the
bassist exponents have contributed. Rebaza recommends listening to the production of
Zambo Cavero, at the beginning Rebaza listened to the instructions of maestro Avilés
when it came to making duets to the point where the bass was already moving and
managed to define a style. Avilés liked Juan Rebaza's proposal, so much so that in the
recordings he asked to put the bass in the foreground.

Rebaza makes an analogy of medicine with music. The bass has a lot to do with
percussion. The bass is the heart of the band, which needs good lungs, which would be
the percussion.

Finally, Juan Rebaza regrets that Creole music does not have the priority it deserves and
that it has not been foreseen. He regrets that there are not so many talented people and
that they make many combinations of music without some musical criteria.
Furthermore, he regrets that there are imitators of the great “glories” of Creole and
Afro-Peruvian music.”
8. Compositions
In this chapter 5 compositions will be presented where the bass is the protagonist or
plays a soloist role. Furthermore, in these compositions you can see how the patterns
of Afro-Peruvian music styles presented in the previous chapters are applied to the
creation of new music or unpublished material.
This first composition is called “Bassboy Begins”, it is a mix of Afro-Peruvian and Creole
styles, in which different time signatures are mixed in each style mentioned above.
The second composition is a Celebration called “9 o 12?” , since it contains time signatures of
9/8 and 12/8, which would not be so common to hear in a traditional celebration.
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The next song is called “Apá” and is a Panalivio composed for a duet with Bajo & Cajón,
refreshing the use of other sounds with the bass, in the use of chords with melody.
The third composition is a Landó and is called “Camino” . Something interesting in this
composition is that as the theme develops and sections advance, the style changes to
Zamacueca, which refreshes the rhythm of the song.
The last song is a celebration called “FestGroove” , in which although it is not as
complicated as “9 or 12” , since it requires a lot of Groove as its name says for it to
sound established, it requires that the band be well established.
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9. Conclusions
Consolidated information about the process of adaptation of the bass to the musical
accompaniment of Creole and Afro-Peruvian music is null. Unfortunately there is
nothing written, we do not have bibliographical references, nor information on the
web on this topic. However, we can still answer the answers and doubts to our
curiosities with the characters who are still in force and who contributed to this
adaptation process. They are the bearish exponents of the moment that we have
interviewed previously. Although it is true that they have contributed a lot to the
contemporary touch of the bass in our Creole and Afro-Peruvian music, they will
always mention exponent bassists who preceded them and who were really the
pioneers in including this low string instrument, the double bass. This method will be
very useful for all connoisseurs who want to know about our Creole and Afro-Peruvian
music. Just as in other genres such as jazz, Brazilian and Cuban music, there were no
bass methods or written information about them, since there has been for some time.
The idea of this method follows the same line, so that part of our musical culture is not
lost and that the next generations can continue this legacy, reaching a level of
evolution for our music.