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Beyond Salsa Bass the Cuban Timba Revolution
BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering.......................................................................................................................................... -
Rotch LOOT 18 1993
01. -"OWN------- lo ii Timing is of the Essence: Perceptual and Computational Techniques for Represent- ing, Learning, and Reproducing Expressive Timing in Per- cussive Rhythm by Jeffrey Adam Bilmes Submitted to the Program in Media Arts and Sciences, School of Architec- ture and Planning in partial fulfillment of the requirements for the degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 1993 © Massachusetts Institute of Technology 1993. All rights reserved. Author.... ....... ......~.. .. ........ .. .............. .. .. .... Program in Media Arts and Sciences August 6, 1993 Certified by ..................... Barry L. Vercoe Professsor, Media Arts and Science Thesis Supervisor rfn Ir, Accepted by .................. V ............. .A.......S t ....... Stephen A. Benton Chairman, Departmental Committee on Graduate Students Rotch MASSACHUSETTS INSTITUTE OF TECMNO MY LOOT 18 1993 Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER NOTICE The accompanying media item for this thesis is available in the MIT Libraries or Institute Archives. Thank you. Timing is of the Essence: Perceptual and Computational Techniques for Represent- ing, Learning, and Reproducing Expressive Timing in Per- cussive Rhythm by Jeffrey Adam Bilmes Thesis Readers Thesis Reader.........,.................... ........ ......... ... Michael Jordan Associate Professor MIT Department of Brain and Cognitive Science ............... .. .... . -
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
¡Esto Parece Cuba!” Prácticas Musicales Y Cubanía En La Diáspora Cubana De Barcelona
Universitat de Barcelona Facultat de Geografia i Història Departament d’Antropologia Social i d’Història d’Amèrica i d’Àfrica Programa de Doctorat en Antropologia Social i Cultural Bienni 2003-2005 “¡Esto parece Cuba!” Prácticas musicales y cubanía en la diáspora cubana de Barcelona TESI DOCTORAL PRESENTADA PER IÑIGO SÁNCHEZ FUARROS codirigida pels Drs. Josep MARTÍ i PÉREZ i Gemma OROBITG CANAL Barcelona, 2008 A la memoria de mi padre, que se nos fue demasiado pronto. El exilio no es cosa del tiempo sino de espacios –por fundar, por huir, por conquistar- que cancelan la cronología de nuestras vidas. Iván de la Nuez, La balsa perpetua The exile knows his place, and that place is the imagination. Ricardo Pau-Llosa Imagination is not a place . You can´t live there, you can’t buy a house there, you can’t raise your children there. Gustavo Pérez-Firmat , Life on the Hyphen Tabla de contenidos Lista de ilustraciones 12 Prefacio 13 PARTE I – INTRODUCCIÓN 23 1. PRÓLOGO : LA MERCÉ CUBANA 25 2. LA DIÁSPORA CUBANA EN ESPAÑA 29 2.1 Generaciones diaspóricas 33 2.2 ¿Comunidad cubana en Barcelona? 46 3. PRÁCTICAS MUSICALES Y CUBANOS EN BARCELONA 54 3.1 Música, comunidad y cubaneo 54 3.2 Imaginarios musicales de lo cubano 58 3.3 La escena musical cubana en Barcelona 67 4. METODOLOGÍA 75 4.1 Las ciencias sociales y la diáspora cubana en España 77 4.2 La delimitación del obJeto de análisis 82 4.3 Los espacios de ocio como obJeto de análisis 90 4.4 Observador y participante 100 PARTE II – LAS RUTAS SOCIALES DEL CUBANEO 110 1. -
Instrument: Bongos, a Drum Set for Dancing Country: Cuba (Ku-Ba)
ROOTS OF RHYTHM - CHAPTER 2: THE BONGOS FROM CUBA Instrument: Bongos, a drum set for dancing Country: Cuba (ku-ba) Flag: The star stands for independence. Size and Population: The country is 42,804 square miles with 2,100 miles of coastline. It is slightly smaller than Pennsylvania. The population of Cuba is estimated at 11,061,886 as of July 2013; ranked 77th in the world. Geography and Climate: The Cuban mainland is the largest and westernmost island of the West Indies. About 90 miles south of Florida, Cuba consists of one large island and more than 1,600 smaller ones. With towering mountains and rolling hills covering a quarter of the country, the rest consists of mainly gentle slopes and grasslands. The fertile soil is primarily red clay and provides rich farmlands for crops and pastures. The heavy forests, consisting mainly of pine trees, exist in the southeast. There are over 200 rivers and streams in Cuba, but most are not navigable. Among the 200 harbors, two important ones are at the capital, Havana, on the north coast and at the U.S. controlled Guantánamo Bay on the south coast. Cuba has a semi-tropical climate and breezes keep the island mild throughout the year. Temperatures range from 70° F in the winter to 80° F in the summer. The country’s dry season lasts from November to April and during the remaining wet season certain areas can get up to 54 inches of annual rain. Strong hurricanes often hit the islands during the fall months. Background and History: In 1492, Christopher Columbus landed in Cuba and claimed it for Spain. -
Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance. -
RMAL Folkloric Recommendations
RMAL Folkloric Recommendations From the Usenet Newsgroup rec.music.afro-latin comes this list of recommended folkloric CD's (with an occasional cassette or LP). It is confined to Afro-Puerto Rican and Afro-Cuban "roots" music that is predominantly percussive/vocal; so it does not include the equally rich folkloric genre called son. Toward the end is a list of music and instruction videos and book/CD's. For those of you who are new to this genre, categories PUERTO RICO and CUBA have an asterisk * by those CDs which we think should be among your first buys. Our thanks for their generous help to Jorge Ginorio, Stan Ginn, Mike "Yambu" Doran, Zeno Okeanos and "Califa". Please note that for a few of these, the label and/or release date information is unknown. These are marked with (?). If you happen to know this information, please send me appropriate comments. PUERTO RICO Canario y su Grupo Plenas (Ansonia HGCD 1232) (?) Anthony Carrillo Mis Races (DRS Musical Productions DRMP2) 1997 Encuentro de Bomba y Plena al Acetato (MCB9203CD) 1992 - Modesto Cepeda *Races de Bomba y Plena (MCB9504CD) 1995 - Legado de Bomba y Plena (MCB9705CD) 1997 *William Cepeda & Bombazo (Blue Jackel BJAC 5027-2) 1998 Grupo Afro-Boricua Rafael Cepeda El Roble Mayor (Balele Records 010) 1996 Cortijo y Kako Ritmos y Cantos Callejeros (Ansonia CD 1477) 1970 Dr.Emanuel Dufrasne Puerto Rico Tambien Tiene Tamb - Book Copyright by Author, Gonzalez 1994 *Paracumbe Tamb (Ashe CD 2005) 1997 Somos Boricuas,Bomba y Plena en N.Y. (Henry Street 0003) Los Pleneros de la 21 1996 Los -
Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P. -
Lecuona Cuban Boys
SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA. -
HAVANA HOP Fulfills the Following Ohio and Atw Victoria Theatre Association
2015-2016 Resource Guide Written, Choreographed, and Performed by Paige Hernandez APRIL 27, 2016 9:30 & 11:30 A.M. • VICTORIA THEATRE The Frank M. FOUNDATION www.victoriatheatre.com Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular elcome to the 2015-2016 Frank connections. Teachers and parents are encouraged to adapt all of the activities included in an M. Tait Foundation Discovery Series appropriate way for your students’ age and abilities. HAVANA HOP fulfills the following Ohio and atW Victoria Theatre Association. We are very National Education State Standards and Benchmarks for grades 2-8: excited to be your partner in providing English/Language Arts Standards Ohio Department of Education professional arts experiences to you and Grade 2- CCSS.ELA-Literacy.RL.2.2, CCSS.ELA-Literacy. your students! Drama/Theatre & Dance Standards RL.2.3, CCSS.ELA-Literacy.RL2.4, CCSS.ELA-Literacy. Drama/Theatre Standards RL2.5, CCSS.ELA-Literacy.RL2.6 I am excited for students in Dayton to Grade 2- 1CE-7CE, 1PR-3PR, 1RE-6RE Grade 3- CCSS.ELA-Literacy.RL.3.2, CCSS.ELA-Literacy. experience HAVANA HOP! Ms. Hernandez Grade 3- 1CE-5CE, 1PR-6PR, 1RE-5RE RL.3.3, CCSS.ELA-Literacy.RL.3.5, CCSS.ELA-Literacy. is a multifaceted artist, who is known Grade 4- 1CE-6CE, 1PR-7PR, 1RE-5RE RL.3.6 for her innovative fusion of poetry, hip Grade 5- 1CE-5CE, 1PR-5PR, 1RE-5RE Grade 4- CCSS.ELA-Literacy.RL.4.2, CCSS.ELA-Literacy. -
Cubam Rhythms for Percussion & Drumset
Aldo Mazza The Essentials:Mazza_Cuban Rhythms for Percussion & Drumset 03/01/2017 9:59 PM Page 2 Table of Contents Acknowledgements ..............................................................................................4 Cuban Rhythms for Percussion and DrumSet: The Essentials ......................5,6 About the Author ................................................................................................ 7 Legend Notation ..................................................................................................8 Instruments ..........................................................................................................9 Conga Technique ..............................................................................................................................10 Language Exercises..............................................................................................................11 Triplets ......................................................................................................................................12 Sixteen-Bar Exercises ..........................................................................................................13 Claves Essential Understanding, African Ternary....................................................................14 Various Clavé, Ternary, Binary ..........................................................................................15 Rhythms Cha-Cha-Cha: Percussion Section ..............................................................................................................16 -
Latin Rhythm from Mambo to Hip Hop
Latin Rhythm From Mambo to Hip Hop Introductory Essay Professor Juan Flores, Latino Studies, Department of Social and Cultural Analysis, New York University In the latter half of the 20th century, with immigration from South America and the Caribbean increasing every decade, Latin sounds influenced American popular music: jazz, rock, rhythm and blues, and even country music. In the 1930s and 40s, dance halls often had a Latin orchestra alternate with a big band. Latin music had Americans dancing -- the samba, paso doble, and rumba -- and, in three distinct waves of immense popularity, the mambo, cha-cha and salsa. The “Spanish tinge” made its way also into the popular music of the 50s and beyond, as artists from The Diamonds (“Little Darling”) to the Beatles (“And I Love Her”) used a distinctive Latin beat in their hit songs. The growing appeal of Latin music was evident in the late 1940s and 50s, when mambo was all the rage, attracting dance audiences of all backgrounds throughout the United States, and giving Latinos unprecedented cultural visibility. Mambo, an elaboration on traditional Cuban dance forms like el danzón, la charanga and el son, took strongest root in New York City, where it reached the peak of its artistic expression in the performances and recordings of bandleader Machito (Frank Grillo) and his big-band orchestra, Machito and His Afro-Cubans. Machito’s band is often considered the greatest in the history of Latin music. Along with rival bandleaders Tito Rodríguez and Tito Puente, Machito was part of what came to be called the Big Three.