Manny Patiño - Afro-Cuban Keyboard Grooves [PDF]

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OARD GROOVES f

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by Manny Patiño and Jorge Moreno

=>ro¡ect Manager: Aaron Swr.g Cover Art: Odal•s Soto Engra·•er: Andrew Parks Muste Ens'a-.,ng "7'echniCl 3a: .; L3

.9 19~ 7 WA RNER BROS PL.BUCAT 0 '-S Al\ Right.s Reser,ed Any dupltC ard otht:; /\IIt1!les L;land.; strictly an Afro-

also influenced

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devebpment of Latin music. lts influence r.as been rr.ort> prominent in this

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me advent of phonograph recordings, radio and television. The Bi,? Band Er.a h ~ d a tremendous impad on Latín

b.1nds like Beny \1ore's Orchesrra of Cuba. And Jazz hannonies, R & B and Roer. & Roll beats have always hadan inr1uence on Latín Music. !n summary. Latin American Music implies many things. It is music bom of a Eu:o-Aho-American union enonnously

rich in rhythms and colors. The spectrum of musical frequencies range fro:n a poly-rhyth;nic percussion ensemble, or comp a rst--

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\.'otice that the Cinquillos fall on the 2nd and 4th bars of the melody. Of courst! the Cinquillos are not always as obvious as this one is. You will hear many examples of Cinquillos throughout this book.

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'Duczon: ls the nat10nal dance muslc of Cuba since the late 1800's.

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JNTROS & ENDINGS

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·lntros and endin~ in Afro-Cuban music are for the most part dependent on the clave: although sometimes rules are broken .11 the ver:•· ~nd of a tune. As a rule of thumb, endings are played on the las! accented note or notes of a phrase or on a do~·m btat. ,.:.m y times onl! part or both sectlons of the clave are played as the ending of a tune (E~ample A) . Endings usually (XCUr either on the last accent (quarter note) or the last two eighth notes of the "3" put of the clave (Example B) . AIL~ugh it is not very corr.monlyused, sorne endings occur on only the first quarter note of either meJ.sure of the cl.n·e . A more commonly used first beat ending is two accented eighth notes (Example C). Sorne endings outline p.ut of the clave (fxample 0), while adding notes in between the accents (Example E). There are a!so endings t!.at partially outline the clave (Example F).

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lntros for rhyth..-n se-:tion players are 'Tea ter\ much tl1e same way as endings. For instance. in a Son Montuno whe~i! :!-.e i.Hüst might begin a tumba o t>y himself for four or eight measures, the rest of the rhythm section will enter on the :.ast

~u.Hter note of the "3" sectic.r. of the clave (Example G) . lntros can vary depending on a possible p·~=-:Ussion bre.1k .:>r a

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melodic pick-up prior to beginning the groo\'e (Sxample H). Sorne intros are simply do·Nn beats. bti: more often ~'-...!n not. of the clave (Example I). .tl11:, intro usually accents.a part .

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_\JONTUNO

SON M01\:TIJl\:O or"SON" .is a very popu!J.: ;,;.., ~:~ ~i ,::.;·:.~n C:a;;ce mu~1c :hat originated primarily in the mountainous proúnce of Oriente. The \,·ord SON derives from the Spanish '' on"': · ·s.."-'!'\!~.:!$ - -..:hícr, are poe::-.s set to muste and ~101\:TI,;NO from the wbrd "Montaña" \\'hich means mountain. Son "km-:..xo or "So:-.gs from the ~1ountains" v.·ere played by the peasant farmers of these regions since the 1800's.

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Dueto the development of railroads ar.d other·ior:-:·:,.cf ?ublíc fransportation in Cuba during th¿ 1920's this muo;,c ,,·as exposed to the bigger markets in the majar cit·..:.':·. Matamoros" led by Miguel Matamoros.

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The examples that are presented here are in the dance bant!! style

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Notice that guaguancos are played with the conga drum amd thebass emp!,asizing a counterpoint against the .guaguan-:o clave. lf you wish to listen to other examples of Guaguanco we re.>;:omrre:~d recordings by Los Papines, Los Munequitos de

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MAiYIBO \Vhen theworc \1a;;-,!:;>o is mentione¿ thP firstnarr.e that comes to r.1ind is the famous Perez Prado and his or.:~~:ra. But Mambo has a n:y rich heriL:Ige in Cuba. ,The first M.ambo ·.-.·ritten ..:..·as done by hvo brothers, Orestes and Israel "Cachao" Lopez. in the early 1930's. At :..,e time ·

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they were playing piano and bass in }ose Arcano's band "Arcanos y S'JS Estrellas" in Ha vana. This band strictly pl.lyed DANZON music wr.ich was the m'Jst popular form of Cub=í'lj''j'

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CHA-CHA-CHA As the crea:o~ :JÍ tht!o;::..:sic Enrique Jorrin himseli says: " 1 named this music Chil-cha-cha beca use that was the sc ·.ll'ld 1 heard comir.g ::-om t:t! !eet of the dancers da!1cing on those smooth Spanish tiles in Havana's dance halls. " Cha-cha-cha

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alwa ::; ?layed in 4/-1 time with an t.:nsemble consisting of a rhythm section of ?iano. bass, conga,

timbales, gui:0 (scra;:e:-) together with string section of violins, cello anda Oute. Though it is in 4/4 tr!'!e it must be played with a bourcy :!/4 feel.

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Since Mr. Jorri:r.

hi~lf

was a pianist, more so than in other sty·les that are in this book, the piano vamps in Cha-cha·

cha dicta te the feel tcJt.he rest of the instruments. lt is important to keep this in mind when practicing the examples.

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Although Enrique Jcr.rin was the creator of this music, the great Cuban Charanga band "La Orquesta Aragon" has been its most innovative cmtributor. With such Cha-