BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 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: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio ........................................................................................................................................ 13 Video ........................................................................................................................................ 13 Beyond Salsa Piano .......................................................................................................................... 14 Beyond Salsa Percussion .................................................................................................................. 15 Understanding Clave and Clave Changes ......................................................................................... 15 Introduction to Beyond Salsa for Ensemble ......................................................................................... 16 Audio Tracks ..................................................................................................................................... 16 How the Audio Tracks are Designed ............................................................................................ 16 PART I: The Point of Departure – The Home Gear ............................................................................... 18 The Master Plan ............................................................................................................................... 18 Glossary of Critical Terms ................................................................................................................. 18 Frequently Asked Questions ............................................................................................................ 19 Anatomy of a Groove – From Salsa to Timba .................................................................................. 20 Our Chord Progression ..................................................................................................................... 22 Marcha arriba in Salsa – Part by Part............................................................................................... 24 Marcha arriba – Salsa (2‐3 clave) – Audio Track 05 ..................................................................... 26 2‐3 and 3‐2 Clave ...................................................................................................................... 27 Marcha arriba – Salsa (3‐2 clave) – Audio Track 06 ..................................................................... 29 Marcha arriba in Timba ................................................................................................................... 30 4 Song‐Specific Patterns: Piano, Bass and Congas .......................................................................... 30 Dividing the Percussion Duties: Timbales, Bongó and Drums ..................................................... 31 Our Percussion Instrumentation: Conguero, Timbalero, Bongosero, Drummer ......................... 32 Sidebar: The Art and Science of Avoiding Terminology Arguments ........................................ 33 Marcha arriba – Part by Part ........................................................................................................... 34 Marcha arriba – 2‐3 Clave ................................................................................................................ 36 Pianist: 2‐3 Marcha arriba – Audio Tracks 01 & 02 ...................................................................... 37 Bassist: 2‐3 Marcha arriba – Audio Tracks q00 & r00 .................................................................. 38 Conguero: 2‐3 Marcha arriba – Audio Tracks e00 & f00 .............................................................. 41 Bongosero: 2‐3 Marcha arriba – Audio Tracks a00 & b00 ........................................................... 44 Timbalero: 2‐3 Marcha arriba – Audio Tracks i00 & j00 .............................................................. 46 Drummer: 2‐3 Marcha arriba – Audio Tracks m00 & n00 ............................................................ 47 Marcha arriba – 3‐2 Clave ................................................................................................................ 50 Timba Masterpieces Using 3‐2 Clave ........................................................................................... 51 Pianist: 3‐2 Marcha arriba – Audio Tracks 03 & 04 ...................................................................... 53 Bassist: 3‐2 Marcha arriba – Audio Tracks s00 & t00 ................................................................... 53 Conguero: 3‐2 Marcha arriba – Audio Tracks g00 & h00 ............................................................. 53 Bongosero: 3‐2 Marcha arriba – Audio Tracks c00 & d00 ........................................................... 54 Timbalero: 3‐2 Marcha arriba – Audio Tracks k00 & l00 ............................................................. 54 Drummer: 3‐2 Marcha arriba – Audio Tracks o00 & p00 ............................................................. 54 Review: Key Concepts of Part I ........................................................................................................ 55 PART II: Efectos ..................................................................................................................................... 56 Types of Efectos ............................................................................................................................... 59 1. Efectos Connecting Arrangement Sections .............................................................................. 59 5 2. Efectos Connecting Gear Sections............................................................................................ 59 Soapbox Sidebar: Gear Changes in Latin Jazz .......................................................................... 60 3. Efectos Within Arrangement and Gear Sections ..................................................................... 60 4. Efectos Highlighting Specific Guías .......................................................................................... 60 5. Movable Efectos That Can Be Spontaneously Added to Ongoing Sections ............................. 61 Three Approaches for Using Efectos During Marcha Arriba .................................................... 61 I. Rehearsed Song‐Specific Efectos ...................................................................................... 61 II. Rehearsed Band‐Specific Efectos ..................................................................................... 62 III. Cued Band‐Specific Efectos ............................................................................................. 62 Orchestrating Efectos on Percussion Instruments ................................................................... 62 Orchestrating Efectos on Bass ................................................................................................. 63 The Role of the Piano in Efectos .............................................................................................. 63 The Role of the Güiro in Efectos .............................................................................................. 63 How to Call Efectos .................................................................................................................. 63 The State of the Art and Beyond .............................................................................................. 64 When to Call Efectos ................................................................................................................ 65 Where to Place Efectos ............................................................................................................ 67 Efecto History ................................................................................................................................... 68 Classic Efectos in the Music of Arsenio Rodríguez ....................................................................... 69 Classic Efectos in the Music of Ritmo Oriental............................................................................