BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 2 • BEGINNING TO INTERMEDIATE ARSENIO, CACHAO & THE GOLDEN AGE OF CUBAN MUSIC 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: 1482729423 ISBN‐13/EAN‐13: 978‐1482729429 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...................................................................................... 12 Part 1: The Five Introductory Volumes ............................................................................................ 12 Part 2: Individual Artists................................................................................................................... 13 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 14 About the Bass Tumbao Theory Chapters ....................................................................................... 14 Audio and Video – How Beyond Salsa is Organized and Marketed................................................. 15 Books............................................................................................................................................ 15 Audio ............................................................................................................................................ 15 Video ............................................................................................................................................ 15 Notation and Tablature in this Book................................................................................................ 16 Chapter 1: Back to Basics ..................................................................................................................... 17 Tumbao Theory: Four‐Beat Tumbaos .............................................................................................. 17 Clave Basics for Bass ........................................................................................................................ 18 Two Ways of Expressing Clave ..................................................................................................... 18 Clave Alignment by Ponche.......................................................................................................... 20 Song‐Specific and “Hook” Tumbaos................................................................................................. 20 Introducing Cierres........................................................................................................................... 21 Setting the Stage: Arsenio’s Innovations ..................................................................................... 21 The Role of the Cierre .................................................................................................................. 21 Cierre Exercise 1: Silence • Audio Tracks 1‐01a & 1‐01b......................................................... 23 Notes on Notation.................................................................................................................. 1 Cierre Exercise 2: 3 Subdivisions • Audio Tracks 1‐02a & 1‐02b ............................................. 24 Cierre Exercise 3: 3 Subdivisions‐Displacement 1 • Audio Tracks 1‐03a & 1‐03b ................... 25 3 Cierre Exercise 4: 3 Subdivisions‐Displacement 2 • Audio Tracks 1‐04a & 1‐04b ................... 26 Cierre Exercise 5: 3 Subdivisions‐2 Strokes • Audio Tracks 1‐05a & 1‐05b ............................. 27 Cierre Exercise 6: 3 Subdivisions‐2 Strokes Displaced • Audio Tracks 1‐06a & 1‐06b............. 27 Cierre Exercise 7: 3 Subdivisions‐2 Strokes‐Displacement 2 • Audio Tracks 1‐07a & 1‐07b ...28 Cierre Exercise 8: 6 Subdivisions • Audio Tracks 1‐08a & 1‐08b ............................................. 29 Sidebar: Intellect and Intuition ............................................................................................ 29 Cierre Exercise 9: Triplets • Audio Tracks 1‐09a & 1‐09b ........................................................ 30 Cierre Exercise 10: Triplets in Groups of Four • Audio Tracks 1‐10a & 1‐10b ......................... 31 Orchestrating Cierres ....................................................................................................................... 31 Applying What We’ve Learned to Bass Solos................................................................................... 32 The Art of the Cierre: Conclusions ................................................................................................... 32 Looking Ahead.................................................................................................................................. 33 Chapter 2: Arsenio and Lilí, Part II • Cierres and Diablos..................................................................... 34 Introduction ..................................................................................................................................... 34 Form in Arsenio’s Arrangements ..................................................................................................... 35 Arsenio’s Son Montuno Form – Section by Section..................................................................... 36 Arsenio’s Bassists ............................................................................................................................. 39 Dancing to Arsenio........................................................................................................................... 40 The Cierres and Diablos of Arsenio Rodríguez: 1945‐1952.............................................................. 41 Cierre‐Diablo 1 • Yeyey • Audio Tracks 2‐01a & 2‐01b............................................................ 41 Notes on Notation................................................................................................................ 42 Cierre‐Diablo 2 • No hay yaya sin guayacán • Audio Tracks 2‐02a & 2‐02b ........................... 43 Cierre‐Diablo 3 • Deuda • Audio Track 2‐03a (no slow track needed).................................... 44 Cierre‐Diablo 4 • Chicharronero • Audio Tracks 2‐04a & 2‐04b .............................................. 46 4 Cierre‐Diablo 5 • Dame un cachito pa’ huele • Audio Tracks 2‐05a & 2‐05b .......................... 47 Cierre‐Diablo 6 • El reloj de pastora • Audio Tracks 2‐06a & 2‐06b........................................ 48 Cierre‐Diablo 7 • Cero guapos en Yateras • Audio Tracks 2‐07a & 2‐07b............................... 49 Cierre‐Diablo 8 • Cangrejo fue a estudiar • Audio Tracks 2‐08a & 2‐08b ............................... 50 Cierre‐Diablo 9 • Celos de mujer • Audio Tracks 2‐09a & 2‐09b ............................................. 51 Sidebar: The Objective and Subjective Aspects of Clave ..................................................... 54 Cierre‐Diablo 10 • La juventud amaliana • Audio Tracks 2‐10a & 2‐10b ................................ 56 Cierre‐Diablo 11 • Semilla de caña brava • Audio Tracks 2‐11a & 2‐11b................................ 57 Cierre‐Diablo 12 • Adivínalo • Audio Tracks 2‐12a & 2‐12b.................................................... 58 Cierre‐Diablo 13 • Soy el terror • Audio Tracks 2‐13a & 2‐13b ............................................... 59 Cierre‐Diablo 14 • Lo dicen todas • Audio Tracks 2‐14a & 2‐14b............................................ 61 Cierre‐Diablo 15 • Yo no engaño a las nenas • Audio Tracks 2‐15a & 2‐15b .......................... 63 Cierre‐Diablo 16 • Tocoloro • Audio Tracks 2‐16a & 2‐16b..................................................... 65 Cierre‐Diablo 17 • Tintorera ya llegó • Audio Tracks 2‐17a & 2‐17b....................................... 67 Cierre‐Diablo 18 • Tumba palo cucuyé • Audio Tracks 2‐18a & 2‐18b.................................... 68 Cierre‐Diablo 19 • Esa china tiene cohimbre • Audio Tracks 2‐19a & 2‐19b........................... 69 Cierre‐Diablo 20 • El Cerro tiene la llave • Audio Tracks 2‐20a & 2‐20b ................................. 71 Cierre‐Diablo 21 • No vuelvo a Morón • Audio Tracks 2‐21a & 2‐21b .................................... 73 Cierre‐Diablo 22 • No toque el guao • Audio Tracks 2‐22a & 2‐22b ....................................... 74 Cierre‐Diablo 23 • Sacando candela • Audio Tracks 2‐23a & 2‐23b........................................ 75 Cierre‐Diablo 24 • Monte adentro • Audio Tracks 2‐24a & 2‐24b........................................... 76 Cierre‐Diablo 25 • Apurrúñenme mujeres • Audio Tracks 2‐25a & 2‐25b............................... 78 Cierre‐Diablo 26 • Ya me lo dió • Audio Tracks 2‐26a & 2‐26b ............................................... 79 Cierre‐Diablo 27 • Masango • Audio Tracks 2‐27a & 2‐27b.................................................... 81 5 Cierre‐Diablo 28 • A Belén le toca ahora • Audio Tracks 2‐28a & 2‐28b................................. 82 Cierre‐Diablo 29 • Dame un besito • Audio Tracks 2‐29a & 2‐29b.......................................... 84 Cierre‐Diablo 30 • Lo que dice usted • Audio Tracks 2‐30a & 2‐30b