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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.......................................................................................................................................... -
Guitar Music from Cuba
555887bk Cuba USA 24/12/2003 07:56 pm Page 5 GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08 8.555887 5 555887bk Cuba USA 24/12/2003 07:55 pm Page 2 Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936. -
Raza Criolla Anuario 201 1 Vol
ANUARIO 2011 ANUARIO RAZA CRIOLLA RAZA VOL. 100 tapafinal.p65 3 2012-09-08, 12:51 ASOCIACION CRIADORES DE CABALLOS CRIOLLOS Consejo Directivo 2009 / 2011 Presidente Sr. Luis Amadeo Lastra Vicepresidente Dr. Alejandro Gustavo Aguerre Vicepresidente 2º Ing. Enrique Tronconi Secretarios Sr. Raúl Freire ANUARIO Dr. Roberto Ceruti DE LA ASOCIACION CRIADORES DE CABALLOS CRIOLLOS Tesorero Director: Lic. Claudio R. Dowdall Sr. Luis Amadeo Lastra Pro-tesorero Presidente de la Comisión de Publicaciones: Dr. Alfonso De Laferrere Sr. Raúl Etchebehere Vocales Titulares Fotografías: Ing. Mariano W. Andrade Sr. Carlos Bartolomé Allende, Sr. Daniel Sempé, Sr. Ricardo J. Braida Socios, Criadores y Expositores Cdor. Horacio J. España Sonvico Sr. Hugo J. González Selección fotográfica: Cdor. Ricardo Mathó Meabe Dr. Mariano Oneto Vocales Suplentes Morfología y Funcionales Arq. Eduardo Pieroni, Cdor. Sebastián España Cdor. Gustavo Marchesini Sr. Martín Díaz Rivero, Sr. Mariano Gómez Quiroga Esc. Miguel Roque Solanet Sr. Hernán Carrillat Recopilación y corrección de material recibido: Sr. Carlos Oscar Salto Comisión Revisora de Cuentas Titulares Sr. Felipe S. Amadeo Lastra Ing. Alberto Grimaux Foto de Tapa: Eduardo Rocha / 4C con Adaptación y Diseño de Yanina Staricco Srta. Cecilia Planes Las opiniones que se emiten en los artículos que contiene la presente Revisor Suplente publicación son de responsabilidad exclusiva de quienes las formulan. Se autoriza la publicación de temas parciales, con especial mención Sr. José Luis Amadeo Lastra de su procedencia. Gerente Producción Editorial e Impresión: PUBLICIDAD NORTE / A. STARICCO Sra. Magdalena Silveyra de Soria San Martín 424, p. 6º - of. 17 (1004) Cdad. de Bs. As. Tel: (011) 4325-7753 / 4326-5801 [email protected] Larrea 670 - (1030) - Cdad. -
The Role of Bell Patterns in West African and Afro-Caribbean Music
Braiding Rhythms: The Role of Bell Patterns in West African and Afro-Caribbean Music A Smithsonian Folkways Lesson Designed by: Jonathan Saxon* Antelope Valley College Summary: These lessons aim to demonstrate polyrhythmic elements found throughout West African and Afro-Caribbean music. Students will listen to music from Ghana, Nigeria, Cuba, and Puerto Rico to learn how this polyrhythmic tradition followed Africans to the Caribbean as a result of the transatlantic slave trade. Students will learn the rumba clave pattern, cascara pattern, and a 6/8 bell pattern. All rhythms will be accompanied by a two-step dance pattern. Suggested Grade Levels: 9–12, college/university courses Countries: Cuba, Puerto Rico, Ghana, Nigeria Regions: West Africa, the Caribbean Culture Groups: Yoruba of Nigeria, Ga of Ghana, Afro-Caribbean Genre: West African, Afro-Caribbean Instruments: Designed for classes with no access to instruments, but sticks, mambo bells, and shakers can be added Language: English Co-Curricular Areas: U.S. history, African-American history, history of Latin American and the Caribbean (also suited for non-music majors) Prerequisites: None. Objectives: Clap and sing clave rhythm Clap and sing cascara rhythm Clap and sing 6/8 bell pattern Dance two-bar phrase stepping on quarter note of each beat in 4/4 time Listen to music from Cuba, Puerto Rico, Ghana, and Nigeria Learn where Cuba, Puerto Rico, Ghana, and Nigeria are located on a map Understand that rhythmic ideas and phrases followed Africans from West Africa to the Caribbean as a result of the transatlantic slave trade * Special thanks to Dr. Marisol Berríos-Miranda and Dr. -
Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
The Singer As Priestess
-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. -
Between Rock and a Hard Place
Rockin' Las Americas The Global Politics of Rock in Latin/o America EDITED BY DEBORAH PACINI HERNANDEZ, HECTOR FERNANDEZ L'HOESTE, AND ERIC ZOLOV University of Pittsburgh Press Published by the University of Pittsburgh Press, Pittsburgh, Pa., 15260 Copyright © 2004, University 01 Pittsburgh Press All rights reserved Manufactured in the United States of America Printed on acid-free paper 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Rockin' las Americas : the global politics of rock in Laing() America / edited by Deborah Pacini Hernandez, Hector Fernandez L'Hoeste, and Eric %ohm p. cut. — (Illuminations) Includes bibliographical references and index. ISBN 0-8229-4226-7 (cloth : alk. paper) — ISBN 0-8229-5841-4 (pbk. : aik. paper) 1. Rock music—Political aspects—Latin America. 2. Rock tousle— Social aspects—Latin America 1. Pacini Hernandez, Deborah. It. Fernandez Ulloeste, Hector I)., 1962— III. Zolne, Eric. IV. Illuminations (Pittsburgh, Pa.) M1.39I 7.1,27/263 2004 2003027604 Between Rock and a Hard Place Negotiating Rock in Revolutionary Cuba, 1960-1980 DEBORAH PACINI HERNANDEZ AND REEBEE GAROFALO In the mid-1960s, singer/songwriter Silvio Rodriguez was fired from his job at the Cuban Radio and Television Institute for mentioning the Beatles as one of his musical influences on the air. Some thirty-five years later, on De- cember 8, 2000, the anniversary of John Lennon's death, a statue of John Lennon was dedicated in a park located in the once-fashionable Vedado sec- tion of Havana. Present at the ceremony were not only Abel Prieto, Cuba's long-haired Minister of Culture, but Fidel Castro himself, who helped Rodriguez unveil the statue. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral
PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE EDUCACIÓN MUSICAL ALVARO MIGUEL ROSERO PONCE LA BOMBA DEL CHOTA, una explosión de saberes, propuesta para el aprendizaje integral. Director: Dr. Fernando Palacios Mateo. PhD QUITO, febrero 2019 PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR DECLARACIÓN y AUTORIZACIÓN Yo, ALVARO MIGUEL ROSERO PONCE, C.I.100152111-9 autor del trabajo de graduación titulado: “LA BOMBA DEL CHOTA, UNA EXPLOSIÓN DE SABERES, PROPUESTA PARA EL APRENDIZAJE INTEGRAL”, previa a la obtención del grado académico de LICENCIADO EN CIENCIAS DE LA EDUCACIÓN MENCIÓN EDUCACIÓN MUSICAL en la Facultad de Ciencias de la Educación: 1.- Declaro tener pleno conocimiento de la obligación que tiene la Pontificia Universidad Católica del Ecuador, de conformidad con el artículo 144 de la Ley Orgánica de Educación Superior, de entregar a la SENESCYT en formato digital una copia del referido trabajo de graduación para que sea integrado al Sistema Nacional de Información de la Educación Superior del Ecuador para su difusión pública respetando los derechos de autor. 2.- Autorizo a la Pontificia Universidad Católica del Ecuador a difundir a través de sitio web de la Biblioteca de la PUCE el referido trabajo de graduación, respetando las políticas de propiedad intelectual de Universidad. Quito, 14 de febrero de 2019 DIRECTOR: Dr. Fernando Palacios Mateos, PhD LECTORES Mgtr. Fernando Avendaño León. Mgtr. Marcelo Luje Morales. Agradecimientos Con este trabajo de investigación agradezco la gran oportunidad de estudiar y la generosidad con la cual me fueron compartidos muchos saberes, valores y conocimientos. A las personas que formaron parte de esta propuesta: dirigiendo, escuchando, leyendo, conversando, escribiendo, corrigiendo, fotografiando, tocando, jugando, soñando, construyendo, grabando para todos un abrazo. -
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 -
Cuban Jam Sessions in Miniature: a Novel in Tracks
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Cuban Jam Sessions In Miniature: A Novel In Tracks Diego Rincon University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rincon, Diego, "Cuban Jam Sessions In Miniature: A Novel In Tracks" (2009). Electronic Theses and Dissertations, 2004-2019. 4072. https://stars.library.ucf.edu/etd/4072 CUBAN JAM SESSIONS IN MINIATURE: A NOVEL IN TRACKS by DIEGO A. RINCON B.A. Florida International University, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2009 © 2009 Diego A. Rincón ii ABSTRACT This is the collection of a novel, Cuban Jam Sessions in Miniature: A Novel in Tracks, and an embedded short story, “Shred Me Like the Cheese You Use to Make Buñuelos.” The novel tells the story of Palomino Mondragón, a Colombian mercenary who has arrived in New York after losing his leg to a mortar in Korea. Reclusive, obsessive and passionate, Palomino has reinvented himself as a mambo musician and has fallen in love with Etiwanda, a dancer at the nightclub in which he plays—but he cannot bring himself to declare his love to her. -
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