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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.......................................................................................................................................... -
El Corazón De Cuba Educational Program Curriculum
International Bicycle Fund 4887 Columbia Drive South, Seattle WA 98108-1919 USA +1-206-767-0848 ~ [email protected] ~ www.ibike.org A non-governmental, nonprofit organization promoting bicycle transport, economic development and understanding worldwide. El Corazon de Cuba Educational Program Curriculum Small group, multidiscipline, educational program. The objective of the program is to strengthen your knowledge to better enable you to participate in important public policy discussion on a wide range of topics that affect your life. The program provides and opportunities to comparing and contrasting the work environment, quality of life, social programs, political structure and policies, economic policy and structure, environment, and culture that you are familiar with, to those of Cuba. Day-to-day, on an ongoing basis throughout the program there will be opportunities to meet people, small group discussion with Cubans and excursions and presentations on history, architecture, culture, ethnic diversity, social systems, gender rights and roles, politics, agriculture, mining, industry, fisheries, music, language, religion, geology, botany, and ecology. The following curriculum fails to include literally hundreds of serendipitous people-to-people encounters when we purposefully visit small towns and villages to by snacks and refreshment to talk to people, and ask questions and strike up conversations. Ironically, some of the most meaningful and enlightening people-to-people contacts are the hardest, and virtually impossible, to document. Day 1: “Anatomy of the capital of the Capital: Introducing information on the history and change of Havana, and specifically Vedado ”: architecture (residential and commercial), use patterns (park boulevard, parks, residential and commercial), public institutions (schools, hospitals (8, including cardio and oncology)), religious institutions (churches, convents and two synagogue), monuments and statues (John Lennon, socialist world leaders, military, politician, intellectuals, Jose Marti) and transportation. -
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House Music Direction by Andres Levin and CuCu Diamantes Produced by BAM Co-Produced with Paul Heck/ The Red Hot Organization & Andres Levin/Music Has No Enemies Study Guide Written by Nicole Kempskie Red Hot + Cuba BAM PETER JAY SHARP BUILDING 30 LAFAYETTE AVE. BROOKLYN, NY 11217 Photo courtesy of the artist Table Of Contents Dear Educator Your Visit to BAM Welcome to the study guide for the live The BAM program includes: this study Page 3 The Music music performance of Red Hot + Cuba guide, a CD with music from the artists, that you and your students will be at- a pre-performance workshop in your Page 4 The Artists tending as part of BAM Education’s Live classroom led by a BAM teaching Page 6 The History Performance Series. Red Hot + Cuba is artist, and the performance on Friday, Page 8 Curriculum Connections an all-star tribute to the music of Cuba, November 30, 2012. birthplace of some of the world’s most infectious sounds—from son to rumba and mambo to timba. Showcasing Cuba’s How to Use this Guide diverse musical heritage as well as its modern incarnations, this performance This guide aims to provide useful informa- features an exceptional group of emerging tion to help you prepare your students for artists and established legends such as: their experience at BAM. It provides an Alexander Abreu, CuCu Diamantes, Kelvis overview of Cuban music history, cultural Ochoa, David Torrens, and Carlos Varela. influences, and styles. Included are activi- ties that can be used in your classroom BAM is proud to be collaborating with and a CD of music by the artists that you the Red Hot Organization (RHO)—an are encouraged to play for your class. -
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. -
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. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
29TH ANNUAL SAN JOSE JAZZ SUMMER FEST Friday, August 10 – Sunday, August 12, 2018 Plaza De César Chavez Park, Downtown San Jose, Calif
***For Immediate Release: Thursday, May 17, 2018*** 29TH ANNUAL SAN JOSE JAZZ SUMMER FEST Friday, August 10 – Sunday, August 12, 2018 Plaza de César Chavez Park, Downtown San Jose, Calif. Event Info: summerfest.sanjosejazz.org Second Round -- Artist Lineup Announcement Featuring Standout Latin and Salsa Acts, and Much More: Changüí Majadero, Orquesta Son Mayor, Rumbankete, Boogaloo Assassins, Christian Tambuur and Dominick Farinacci, Wayne Wallace Latin Jazz Septet, Kristen Strom: Moving Day – The Music of John Shifflett, Aaron Abernathy Trio, Doug Beavers, SJZ Collective Reimagines Monk, Lydia Pense & Cold Blood With Fred Ross, Mitch Woods and His Rocket 88’s, Alastair Greene Band, Andre Thierry, Eddie Gale, Jessica Lá Rel, YASSOU, Ghost & the City, Eugenie Jones, La Tenaza Tango Son, Maxx Cabello Jr. and many others! San Jose, Calif. -- Silicon Valley’s premier annual music event, San Jose Jazz Summer Fest 2018 returns for its 29th festival season from Friday, August 10 through Sunday, August 12 in and around Plaza de César Chavez ParK in downtown San Jose, Calif. A showcase for jazz, blues, funK, R&B, salsa, world and related genres, SJZ Summer Fest is nationally recognized as one of the biggest Latin festivals in the country. Always guaranteed to be an ecstatic annual celebration of diverse Latin styles, the Salsa Stage is one of San Jose Jazz Summer Fest's musical and social pillars. For 2018, the stage's booKings are in the incredible hands of beloved national radio personality, Betto Arcos. Whether it's the traditional sounds of Changüi Majadero, the modern timba styling of Rumbankete or the Stage's titular salsa courtesy of Orquesta Son Mayor, Arcos has San Jose Jazz Summer Fest patrons covered for the most anticipated epic Latin dance party of the year. -
Rumba Rhythms, Salsa Sound
MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A THE SALSA SOUND MATT DOEDEN This Page Left Blank Intentionally MUSIC MILESTONES AMERICAN MS, RUMBA RHYTH ND BOSSA NOVA, A HE SALSA SOUND T MATT DOEDEN TWENTY-FIRST CENTURY BOOKS MINNEAPOLIS NOTE TO READERS: some songs and music videos by artists discussed in this book contain language and images that readers may consider offensive. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Doeden, Matt. American Latin music : rumba rhythms, bossa nova, and the salsa sound / by Matt Doeden. p. cm. — (American music milestones) Includes bibliographical references and index. ISBN 978–0–7613–4505–3 (lib. bdg. : alk. paper) 1. Popular music—United States—Latin American influences. 2. Dance music—Latin America—History and criticism. 3. Music— Latin America—History and criticism. 4. Musicians—Latin America. 5. Salsa (Music)—History and criticism. I. Title. ML3477.D64 2013 781.64089’68073—dc23 2012002074 Manufactured in the United States of America 1 – CG – 7/15/12 Building the Latin Sound www 5 Latin Fusions www 21 Sensations www 33 www The Latin Explosion 43 Glossary w 56 Source Notes w 61 Timeline w 57 Selected Bibliography w 61 Mini Bios w 58 Further Reading, w Websites, Latin Must-Haves 59 and Films w 62 w Major Awards 60 Index w 63 BUILDING THE Pitbull L E F T, Rodrigo y Gabriela R IG H T, and Shakira FAR RIGHT are some of the big gest names in modern Latin music. -
Cuba Rebecca Bodenheimer
Cuba Rebecca Bodenheimer LAST MODIFIED: 26 MAY 2016 DOI: 10.1093/OBO/97801997578240184 Introduction This article treats folkloric and popular musics in Cuba; literature on classical music will be included in the article entitled “Classical Music in Cuba.” Music has long been a primary signifier of Cuban identity, both on and off the island. Among small nations, Cuba is almost unparalleled in its global musical reach, an influence that dates back to the international dissemination of the contradanza and habanera in the 19th century. The 1930s constituted a crucial decade of Cuban musical influence, as the world was introduced to the genre son (mislabeled internationally as “rumba”/”rhumba”) with the hit song “El Manicero.” In the 1990s Cuban music underwent yet another international renaissance, due to both the emergence of a neotraditional style of son related to the success of the Buena Vista Social Club project, and the crystallization of a new style of Cuban dance music called timba. Moreover, Afro Cuban folkloric music has enjoyed increased visibility and attention, and has become a focal point of the tourism industry that the Castro regime began to expand as a response to the devastating economic crisis precipitated by the fall of the Soviet Union in 1991. Research on Cuban music has a long and distinguished history that began in earnest in the late 1920s and 1930s with the publications of Cuba’s most celebrated scholar, Fernando Ortiz. Many of Ortiz’s students, such as musicologist Argeliers León and folklorist Miguel Barnet, went on to form the backbone of Cuban folklore research after the Revolution in 1959. -
Celina González: the “Queen” of Punto Cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University
Celina González: The “Queen” of punto cubano 1 Ivor Miller and Ivania Díaz2, Northwestern University Introduction the Communist Youth Party (UJC), where Drummer Iván Ayala3 grew up in New the chorus of “¡Long live Changó !” “¡Qué York City listening to the music of Celina viva Changó!” was chanted by thousands of González. As a child in the 1960s he was socialist Cuba’s “New M en” at the Square taken to Puerto Rican espiritista ceremonies of the Revolution.5 Celina is a major figure where, instead of using drums, practitioners in Cuban music and cultural identity. Her would play Celina’s records to invoke the 1948 song “Santa Bárbara” was a spirits. This is one of the ways that Celina’s groundbreaking event in modern Cuban music and the dedication of her followers music, reviving Cuban rural music (“música have blasted through the U.S. embargo guajira, el punto cubano”) for a national and against Cuba, which has deprived us of international audience, and infusing it with some of the planet’s most potent music, art, Afro-Cuban creole spirituality. Celina is and literature for thirty-two years. Ivan’s herself a guajira (country girl), and is fiercely experience shows the ingenuity of working proud of it. She grew up near the Sierra people in maintaining human connections Maestra, the mountainous region in eastern that are essential to them, in spite of govern Cuba where many slave rebellions, the War ments’ attempts to keep them apart. Hailed of Independence, and the Cuban Revolu as musical royalty in Colombia, Venezuela, tion were fomented. -
The Politics and Commodification of Cuban Music During the Special
NEGOTIATION WITH THE REVOLUTION: THE POLITICS AND COMMODIFICATION OF CUBAN MUSIC DURING THE SPECIAL PERIOD by Eric Jason Oberstein Department of Cultural Anthropology Advisors: Caroline Yezer Paul Berliner Thesis submitted in partial fulfillment of the requirements for graduation with distinction for the degree of Bachelor of Arts in the Department of Cultural Anthropology in the Trinity College of Arts and Sciences of Duke University 2007 Acknowledgements I would like to thank Caroline Yezer and Paul Berliner, my committee members, for their constant support and guidance throughout the writing process. They helped me define my topic, read through my drafts, and gave me direction with my ideas. I would like to thank the Department of Cultural Anthropology at Duke University, especially Orin Starn, who encouraged me to write a senior thesis, and Heather Settle, who was one of my first anthropology instructors and who taught me about the depth of Cuba. In addition, I would like to thank Bradley Simmons, my Afro-Cuban percussion mentor, who taught me how to play and appreciate Cuban music. I would also like to thank my family for fostering my passion for Cuban music and culture. A special thanks goes to Osvaldo Medina, my personal Cuban music encyclopedia, who always managed to find me in the corner at family parties and shared stories of Cuban musicians young and old. Finally, I dedicate this thesis to the musicians of Cuba, both on and off the island. Your work forever inspires and moves me. ii Contents Introduction..............................................................................................................................1 Research Question .............................................................................................................1 Significance of Research.................................................................................................. 14 Methods............................................................................................................................ 18 1. -
Redalyc."Somos Cubanos!"
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 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 Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s.