101 Montunos

Salsa has become quite a dance craze. Its popularity has grown from the Cuban and Puerto Rican community to include most of the Americas Europe and even Japan. New Salsa bands are forming everywhere from New York to Los Angeles from Tokyo to Paris. But despite its increasing popularity many musicians find that Salsa and the other genres of Afro Cuban Music are still very difficult to feel and play in an authentic relaxed way. This type of music with its unique concept of the Clave presents quite a challenge for the aspiring young performer. In the past the only way to learn how to play Salsa was to live in an area where Salsa was already very popular so that one mightconnect with as many authentic musicians as possible; learning one pattern here another there via a very slow learning process that could take years if not decades to accomplish. Even though the process of immersing oneself fully and experientially in the music style of our choosing is absolutely necessary for our musical growth the need for concise well written and organized materials written by someone who knows and lives this type of music is also essential. Mr. Campos' books are doing exactly that. ADG believe that he has done a great service by writing his first two books titled 'Salsa: Afro-Cuban Montunos for Piano' and 'Salsa: Further Adventures in Afro-Cuban Music' and now with his latest book 'Salsa: Afro-Cuban Montunos for Guitar'. Mr. Campos is helping to expand the area of Salsa studies to include all guitar players and students. Salsa and Afro Cuban Montunos for Guitar by Carlos Campos. Finally the first instructional book showing guitarists how to play Salsa styles. Following on from his highly successful Salsa piano/keyboard instructional books Carlos Campos has created a book for guitarists with over 400 examples (60 audio examples recorded) with each example for 2-3 and 3-2 clave. There is both written music and tablature These Salsa patterns can be used for Jazz Latin Jazz and Flamenco musical styles.

101 Montunos by Rebeca Mauleon-Santana, is one of the most comprehensive and authoritative books on Afro-Cuban Piano playing ever published. Rebeca has played and/or recorded with Tito Puente, Carlos Santana, Mickey Hart, and many of the most important and famous Latin stars! Going further than just theory and exercises, it also traces the whole history of Latin piano playing from its Cuban roots to its many current offshoots and derivatives as well as examining the influences of Salsa, Samba, Cuban Jazz and other Caribbean styles. The text is in English and Spanish and the accompanying CDs show you how each exercise should sound, making everything clear and understandable. An indispensable, practical reference book for any pianist wanting to learn this passionate and energetic music!

Par RONGIERAS GUADALUPE. La région de 'L'Oriente', à 800 km au sud-est de La Havane a été le creuset des musiques venues d'Afrique et d'Europe pour donner naissance aux différentes musiques cubaines qui sont restées à la fois authentiques et fortement présentes dans la vie des Cubains. Le carnaval de Santiago, exaltant une population laissée pour compte par la lointaine capitale, est l'un des événements populaires les plus marquants de la région. Carnaval de Santiago de Cuba est une série de cartes postales sonores, souvenir inoubliable de la foule des santiageros en liesse. I. Ouverture : 'Comme un rêve... qui devient... réalité' : 3 tempi différents pour le thème qui se précise à la fin. II. La Comparsa de los Muñecones : le groupe (comparsa) des muñecones (poupées géantes) danse tant bien que mal donnant une double impression de grâce et de maladresse. III. Cuba e Cuba : chant à plusieurs voix aux intervalles inouïs. IV. Carnavalito : rythme obstiné servant de trame aux festivités et qui fait battre à l'unisson de tous les coeurs santiageros. V. La corneta china : petit instrument à vent métallique, introduit par les migrants chinois au XIXe siècle. Son timbre strident (anche double) surmonte aisément le volume assourdissant des percussions. A force de talent et au ravissement de tous, le cornettiste défie les limites pentatoniques de l'instrument afin de citer des mélodies connues, bien que forcément altérées. VI. Montuno : section répétitive et syncopée permettant l'improvisation. C'est la fin joyeuse du défilé. / Classique / Répertoire / Guitare

This book is the latest addition to Carlos Campos? series of Afro-Latin books for keyboard. Mr. Campos? previous books in this genre are Salsa: Afro-Cuban Montunos for Piano, Salsa: Further Adventures in Afro-Cuban Music, Latin Jazz Piano Vol. 1, Ultimate Latin Riffs and Salsa: Afro-Cuban Montunos for Guitar. In Merengue Piano Styles, Mr. Campos delves into an aspect of the music of the Dominican Republic called merengue, known for its intricate rhythms and ultra fast tempos. Mr. Campos divides most of the examples in this book into ?Derecho? and ?Pambiche? styles. Selected examples are included in the accompanying CD, recorded at different tempos. Tracks containing bass and percussion only are also included. The complete set of recordings containing every example in this book are also available in high quality mp3 files (over 300 megabytes of mp3 files) and/or midi files, see below. While living in Boston, Carlos Campos spent many years studying and performing this particular genre with many merengue bands in the New England area. He later arranged, produced and recorded for several merengue artists. In the past, the only way to learn how to play the different styles of Afro-Latin music was to live in an area where that music genre was already very popular, so that one might connect with as many authentic musicians as possible, learning one pattern here, another there, via a very slow learning process that could take years if not decades to accomplish. Even though the process of immersing oneself fully and experientially into the musical style of our choosing is absolutely necessary for our musical growth, the need for concise, well-written and organized materials, written by someone who knows and lives this type of music is also essential. We at ADG believe that Mr. Campos? books have done a great service to the musical community by making Afro-Latin musical styles more accessible to students worldwide. We hope that this book and the rest of Mr. Campos? books find a special place in your musical world and that they become an integral part of your daily musical practice.

Bb Instruments. This is the only professional-level Latin fake book ever published! It features nearly 600 pages of the best in contemporary and classic salsa, Latin jazz and Brazilian music, with detailed arrangements, exactly as recorded, to help bands play in authentic Latin styles. Many tunes include bass lines for each section, piano montunos, and horn counter-lines. Includes a bilingual preface, song lyrics in Spanish, Portuguese and/or English, a drum and percussion appendix, and convenient spiral binding. Outstanding artists represented include: Ray Barretto, Eddie Palmieri, Ruben Blades, Puerto Rico All-Stars, Tito Puente, Irakere, Los Van Van, Ivan Lins, Tom Jobim, Joao Bosco, Milton Nascimento, Airto, Mario Bauza, Dizzy Gillespie, Daniel Ponce, Seis Del Solar, Chick Corea, Arsenio Rodriguez, Celia Cruz, Perez Prado, Orquesta Sensacion, and many more!/ Recueil / Instruments en Sib

World-renowned tresero (tres player) Nelson Gonzalez explains tuning and playing of the Cuban tres guitar offering tips for beginning to advanced players. As the instrument???s name implies the tres has three courses of double ortriple strings and is used both as a lead and an accompaniment instrument. The author thoughtfully includes instructions for converting a normal 6-string guitar to a tres guitar offering suggestions for appropriate string gauges. This may be the first book of its kind published outside of Cuba. The method contains Latin folksongs arranged for the beginning tres player plus examples of repeated often syncopated underlying vamps called montunos. Thebook also presents all principal chords and scale patterns plus notation fundamentals- all beautifully illustrated with clear photos diagrams and explanations. Written in standard notation only. Nelson Gonzalez is singularlyqualified to write this book. Known in Latin music circles as the ???Ambassador of the Cuban Tres Guitar??? he has toured or recorded with a virtual Who???s Who of Latin stars not to mention his own band Son Mudano. His tres masteryis featured on dozens of recordings with such artists as Tito Puente Gloria Estefan Andy Garcia Paul Simon and Marc Anthony to name only a few.

Par IRIZARRY NEFF. The most comprehensive book ever written on Latin jazz guitar playing ? from its roots in Afro-Cuban music to the great contemporary masters! Traditional lines from the Tres, cuatro and requinto adapted to the guitar in the style of Arsenio Rodriguez, Yomo Toro, El Güero Gil, etc. Piano adaptations and solutions for the guitar patterned after Bebo Valdes, Clare Fischer, Eddie Palmieri, etc. Step-by-step instruction on how to play guajeos, montunos and other Afro-Cuban styles on guitar Transcription and analysis of key guitarists, composers and arrangers such as George Benson, Chico O?Farrill, Clare Fischer, Stan Appelbaum, Cal Tjader and La Playa sextet Stylistic analysis of highly infl uential guitarists such as Juanito Marquez, Paul Alicea, Sonny Henry, Edgardo Miranda, Carlos Emilio Morales, Bobby Redfield, Carlos Santana and Steve Khan. Transcriptions and analysis of jazz guitar greats playing Latin music, like Wes Montgomery, Kenny Burrell, Attila Zoller, Danny Embrey and Steve Khan. And much more! Over 250 audio files of the author playing each exercise! / Date parution : 2022-02-10/ Etude / Guitare

The Real Latin Piano authored by Kiki Sanchez teaches how to play the most important Latin rhythms on the Piano such as: Salsa Cumbia Gaujira Timba Cumbia Bolero and other styles. In addition the book explains clearly how to perform Latin Piano grooves on clave 2-3 and 3-2 as well as showing the traditional Salsa arranging structure and how to perform Piano montuno's using American Jazz Harmonies.Sanchez's vision is to expand your musical abilities and have a better understanding about how to play several Latin rhythms on the Piano. These will not only help you with your Piano abilities but will enrich your musical knowledge as a producer arranger and educator. In this book Kiki introduces a montuno from his native Peru called the Peruvian Festejo. As an educator Kiki has been working with Pati Vargas on the Latin America Musical Journey teaching music and the different cultures of Latin America in several public schools and colleges in the South Florida area.The CD that accompanies the book includes 50 audio tracks 114 mp3 files and 114 MIDI files

Le vrai piano latine rédigée par Kiki Sanchez apprend à jouer les rythmes latins les plus importants sur le piano, tels que: Salsa, Cumbia, Gaujira, Timba, Cumbia, Bolero et d'autres styles. En outre, le livre explique clairement comment effectuer des rainures Piano latines sur clave 2-3 et 3-2 ainsi que montrant la structure traditionnelle Salsa organisation et la façon d'effectuer Piano Montuno à l'aide d'harmonies jazz américains.Vision Sanchez est d'étendre vos capacités musicales et avoir une meilleure compréhension sur la façon de jouer plusieurs rythmes latins sur le piano. Ceux-ci seront non seulement vous aider avec vos capacités piano, mais permettra d'enrichir vos connaissances musicales en tant que producteur, arrangeur et éducateur. Dans ce livre Kiki introduit un montuno de son Pérou natal appelé le Festejo péruvienne. Comme Kiki éducateur a été de travailler avec Pati Vargas sur le voyage d'Amérique latine musicale, enseignement de la musique et les différentes cultures de l'Amérique latine dans plusieurs écoles et collèges publics de la région sud de la Floride.Le CD qui accompagne le livre comprend 50 pistes audio, 114 fichiers mp3 et 114 fichiers MIDI / Piano

Une latine cha-cha gorge à environ 132 BPM. Une hanche tutti montuno définit le cha-cha sentir dans l'intro suivie par la même montuno joué par le piano. Le tableau comporte écrit-out solos de sax ténor et trompette 2, et la gamme de trompette 1 est écrit à l'espace supérieur de E. Il est amusant, c'est latine et il sonnera super! / Ensemble De Jazz

Comme réalisée par Little Phat Band de Gordon Goodwin, l'instrumentation est sax ténor, trompette, trombone, piano, guitare, basse (électrique), et à la batterie. Une rainure latine avec des motifs montuno par la section rythmique, ce tableau s'anime et reste concentré d'énergie. Le tempo est de 125 BPM et les pièces en laiton sont exigeants. Toutes les pièces ont un espace en solo. Hot Latin. / Ensemble De Jazz

Essential Cuban Conga Rhythms. Par CRUZ TOMAS. II vise à deux catégories distinctes de lecteurs : les joueurs 1) intermédiaires qui sont prêts pour un éventail plus large de rythmes pour étudier et utiliser dans des situations de jeu direct - et congueros 2) expérimentés qui ont digéré Volume I et maintenant tenter de comprendre les racines de la cubaine moderne conga style. Après avoir assimilé le matériel dans le Volume I, l'étudiant doit être capable de jouer base Son Montuno, Salsa, Chachachá et Boléro. Volume II passe à la rumba, Iyesá, 6/8, Changüí, Afro, Mozambique, Pilón, Songo, Merengue, Bomba, Cumbia et autres rythmes qu'un conguero professionnel sera censé savoir. Chaque rythmique est accompagné d'un article qui reflète sur son histoire et son rôle dans la big picture de musique latine et offrant des recommandations écoute. Comme le Volume I, il utilise la méthode de DVD étape par étape. Un appendice spécial de 8 pages explique le sujet souvent infuriatingly complexe de ' clave ' avec un niveau sans précédent de clarté et de perspicacité. / Niveau : Intermédiaire / Latin American - Methods / Méthode / Conga