Sample Chart for eBook Beyond Salsa Bass Vol 7

ConocaAlainPrezcuandoestudiabaguitarraen laEscuelaNacionaldeArteenLaHabana,Cuba.Consusprodigiosasmanosconuaslargasparaejecutar.Mesientoparteresponsableycompliceensutranscicinde laguitarraalbajo.lhasido un aglutinador e inspiracin para losmsicos a su alrededor, su condicin dearreglista, compositor y su talento lo han llevado a una condicin natural de serrespetadoyadmiradocomounmsicototal.Heseguidoycompartidosucarreracomobajista.Parameselmsritmticode losqueheconocido.Elbajocomoinstrumentoenlamsicaafrocubanahasidosiemprelacolumnavertebraldeunaagrupacin.Alainescapazdesosteneresaresponsabilidad.Sin embargo, su capacidad rtmica le permite hacer figuraciones sincopadas en loslugares ms inslitos e inesperados de una obra musical, sin perder el sabor, lacadencia,ysentidodelamismaqueimprimeelbajoanuestramsica.Su paso por el flamenco hamadurado su forma y estilomusical. Paramimodestaopinin,actualmenteeselbajistatimberodeCuba,comoreferenciainternacional.

IssacDelgadoVocalist,ComposerTheIssacDelgadoGroup,NGLaBanda

ImetAlaininCubainAugustof'96,whenhewasjuststartingwithIssac'sband.Hewasayoung,cockykid,butwiththetalenttobackitup!Hetooktheroleofthebass(inaTimbarhythmsection)toanewdimension.

RubnRodrguezSeisdeSolar,DLG,etc

Alain reinvented the whole meaning of timba bass through his playing andarrangements during his timewithwhatwasmy favorite of all the Issac Delgadobands.IfirstmethiminCubainthelateninetieswherehisquintoandtimbalplayingalsoblewmeaway!Hispercussiveandhipharmonicsensemakehimtheconsummatemusicianheis,andinallthemusicalstyleshechoosestoplay.Thisbookisamustforanyonewhowantstolearnoneofthehippeststylesaround!

RobbyAmeendrumsRubnBladesySeisdeSolar

2

AlainPrezesungenioyesmihermanoenestecaminomusical.Tremendomsico,bajista,cantante,rumbero,arreglista,compositorygranpersona.Elquesigaestelibrovaaaprendermucho.

JerryGonzlezFortApacheBand

AlainPrez es un fenmenomusical en todos los aspectos. Su versatilidad, carisma,virtuossimo,formadecomponer,cantaryarreglarlohanconsagradomundialmente.Es sin lugar a dudas un conocedor profundo de las races de la msica cubana yforjador de la sonoridad contempornea en la isla y el resto del universo. Alain essimplementeAlain.

CarlosCaroPaulitoFG,Opus13

AlainPrezMsicodelosquehoyendaabundanpoco.Porqu?Muycompleto.Esademsunpercusionistacompletoytocamuybien,dehechoponeaestudiaracualquieraporquesabeloquehace.Conlaplumaenlamanotieneunselloquese llamaAlain.Esunbajistaquetocacualquiergneroy le impregnaa labandadondetoqueseacualseasutimbre.Todoestolohallevadoaserunodelosarreglistasdeprimeratantoenelmundodelatimbacomoenlasalsayeljazzlatinoengeneral.SusaboresindiscutibleylehatomadolamedidaalasproduccionesdeIssacDelgado.Cantamuybienyademstieneun timbrepersonalensuvoz.Sencillamente,Alainesgenial.

CalixtoOviedoNGLaBanda,Adalbertolvarez

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BEYONDSALSABASSTHECUBANTIMBAREVOLUTION

VOLUME7ALAINPREZ,PART2

COMPANIONTOBEYONDSALSAPIANO,VOL.7

KEVINMOOREaudioandvideocompanionproducts:www.timba.com/bass

4

REVISION1.02012BYKEVINMOORE

SANTACRUZ,CAALLRIGHTSRESERVED

Nopartofthispublicationmaybereproducedinwholeorinpart,orstoredinaretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopy,

recordingorotherwise,withoutwrittenpermissionoftheauthor.

ISBN10:1470143925ISBN13/EAN13:9781470143923

H

www.timba.com/bass Hwww.timba.com/audio

www.timba.com/clavewww.timba.com/ensembleH

Hwww.timba.com/percussionwww.timba.com/piano H

HH

Hwww.timba.com/users/[email protected]

5

TableofContentsIntroductiontotheBeyondSalsaSeries............................................................................................ 8

BeyondSalsa:TheCentralPremise ............................................................................................... 8

HowtheBeyondSalsaSeriesisOrganizedandSold .................................................................. 8

Book ..................................................................................................................................... 8

Audio.................................................................................................................................... 9

Video .................................................................................................................................... 9

BeyondSalsaPiano......................................................................................................................10

BeyondSalsaPercussion ..............................................................................................................11

UnderstandingClaveandClaveChanges......................................................................................11

BeyondSalsaforEnsemble ..........................................................................................................12

BeyondSalsaBongandBeyondSalsaCongas ............................................................................12

IntroductiontoBeyondSalsaBass...................................................................................................13

Chapter1:Biography,Part2TheIssacDelgadoYears ...................................................................14

ImportantLiveRepertoirefromElaoquevieneRMM1995 .................................................16

ImportantLiveRepertoirefromOtraideaRMM1996 ............................................................17

ImportantLiveRepertoirefromExclusivoparaCuba1997 ........................................................18

ImportantLiveRepertoireneverRecordedintheStudio .............................................................18

ImportantLiveRepertoirefromLaprimeranocheRMM1998................................................19

Chapter2:Methodology,Notation,AudioandVideoFiles...............................................................20

Methodology...............................................................................................................................20

Notation......................................................................................................................................20

AudioandVideoFiles ..................................................................................................................21

NamingConventionsforAudioFiles ............................................................................................25

NamingConventionsforVideoFiles ............................................................................................26

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Chapter3:Porqupar...................................................................................................................27

KnownRecordings .......................................................................................................................28

MainTumbaos:Harmony ............................................................................................................28

MainTumbaos:ClaveOrientation............................................................................................29

PorquBasic23TumbaoAudioTracks30a&30bnovideo ............................................30

PorquBasic32TumbaoAudioTracks30c&30dnovideo ............................................30

Part1:TumbaosfromVideos.......................................................................................................31

Porqu1slowAudioTrack31aVideoClips31a,31b,31c............................................31

Porqu1fastAudioTracks31b&31cVideoClips31d,31e,31f.................................34

Porqu2&3 ...........................................................................................................................37

Porqu4slowAudioTrack34aVideoClips34a,34b,34c.............................................38

Porqu4fastAudioTracks34b&34cVideoClips34d,34e,34f.................................40

Porqu5slowAudioTrack35aVideoClips35a,35b,35c.............................................44

Porqu5fastAudioTrack35b&35cVideoClips35d,35e,35f ...................................46

Porqu613..........................................................................................................................50

Part2a:LeadsheetAudioTracks3ALLa,3ALLbnovideo ....................................................51

Part2b:FullBassTranscriptionAudioTracks3ALLa,3ALLbnovideo..................................59

Part3:PlayingBassinanOpenMontunoSituation......................................................................97

TypesofOpenMontunoArrangementSections.......................................................................97

AnalysesofLiveRecordings .....................................................................................................98

ImprovisationofFormandContentinLiveMusic ..................................................................105

Interpretation ....................................................................................................................107

ControlledImprovisation ...................................................................................................107

ImprovisationofGearsandForm .......................................................................................109

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OpenMontunoFlowCharts ...............................................................................................111

PorquparFlowChartforOpenMontunoSection32clave.....................................112

UnderstandingtheFlowCharts ......................................................................................112

PorquparFlowChartforOpenMontunoSection23clave.....................................114

Chapter4:Luzviajera ....................................................................................................................117

Luz1 ......................................................................................................................................118

Luz2AudioTracks42a,42bnovideo.............................................................................119

Luz3slowAudioTrack43aVideoClips43d,43e,43f .................................................121

Luz3fastAudioTracks43b&43cVideoClips43d,43e,43f .....................................123

Luz5slowAudioTrack45aVideoClips45a,45b,45c.................................................125

Luz5fastAudioTracks45b&45cVideoClips45d,45e,45f .....................................127

Luz5fastalternateAudioTracks45e&45fVideoClips45g,45h,45i........................131

LookingAheadtoBeyondSalsaBass,Volume8 .............................................................................135

ForFurtherStudy ..........................................................................................................................136

SuggestedReading ....................................................................................................................136

SuggestedListening ...................................................................................................................137

Acknowledgments.........................................................................................................................139

GraphicsCredits ........................................................................................................................139

TheMadridDreamTeam...........................................................................................................139

EditingandConceptualGuidance ..............................................................................................140

AlainsAcknowledgments..............................................................................................................141

AlainsEquipment .........................................................................................................................143

AbouttheAuthor ..........................................................................................................................144

TheBeyondSalsaCatalog2012...................................................................................................145

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IntroductiontotheBeyondSalsaSeriesBeyondSalsa:TheCentralPremise

TheexplosiveHavanamusic sceneof the1990sproducedawindfallof transformationalmusicalbreakthroughs,manyofwhichhaveyettobefullyexploited.Theerasmanymusicalmasterpiecesreinventpopularmusicarranging inmanyways that cryout tobeunderstood, recombined,andcarriedforwardtotheirfullpotential.ThesenewapproachestotherhythmsectionareequallyvalidandusefulacrossthefullrangeofpopularmusicfromsalsaandLatinjazz,torock,funkandpop.

In the first15volumesofBeyondSalsa,weve triedto identifyand systematically study someofthese innovations: songspecific tumbaos, gears, gear changes, controlled improvisation, conga,piano and bass tumbaos of double or quadruple length, contrasting gestures, efectos, rhythmiccounterpoint,newapproachestoclaveandclavechanges,andsoon.

InBeyondSalsaforEnsemble,westudytherhythmsectionasawhole,withcoordinatedexercisesforeach instrument.Thesearedesignedtobeplayedtogetherbyastudentrhythmsection inanensemble class setting or by a professional band seeking to incorporate more modern Cubanrhythm section techniques into itsarsenal. InUnderstandingClaveandClaveChanges,weclarifysomeoftheconfusionandmysterysurroundingthisenigmaticmusicaltopic.

Theearlyvolumesoneach instrumentcoverhistoryandbasicconcepts.Subsequentvolumes, likethisonefocusonthestyleofonespecificartist.

HowtheBeyondSalsaSeriesisOrganizedandSold

WiththeexceptionoftheUnderstandingClaveandClaveChangesbookandaudiopackage,eachvolumeoftheBeyondSalsaseriesconsistsoftwoorthreeseparatelysoldproducts:

1) abooklikethisonewithtextandmusicalnotation(hardcopyoreBook)

2) downloadable MP3 audio files demonstrating the musical examples, accompanied by aclaveclicktrack,at fullspeedand inslowmotion,panningcertainelementshard leftandrightformoreflexiblestudy

3) when available, downloadable computer video filesand physicalDVDs showing a Cubanmusicianperformingeachmusicalexampleatfullspeed,inslowmotion,andwithvariations

Youcanchooseanycombinationofbook,audioandvideoproductstosuityourlearningstyle.

Book

The book youre reading now can be purchased at Hwww.createspace.com/3810550 as a boundpaperbackbook.Alternatively, itcanbeviewedonlineand/orprintedonyourcomputersprinter

9

from thewebsite Hwww.latinpulsemusic.com/albums/show/423H.All volumes showmusic notationfor each exercise in both 8th notes (Americanstyle) and 16th notes (Cubanstyle), as well asexplanatory text and historical information. If you dont readmusic and arent interested in theexplanationsandhistory,youcanchoosetobuyonlytheaudioand/orvideoproductsandusethemtolearnthepartsbyear.

Audio

Theaudiofilesdonotcomewiththebooks.Theyreavailableasseparate,downloadableproductsfromHwww.timba.com/audioH(or,inthespecialcaseofUnderstandingClave,theyreavailableasfreedownloads at clave.latinpulsemusic.com). For each notation example, there are two ultrahighqualityMP3filesmadedirectlyfrom24bitwavefiles.Dependingonthesubject,someaudiofilesaregeneratedfromMIDIfiles(oftenplayedbythemusician)andsomeareactualliveaudio.Ineachcase,weprovideaslowmotionversion.TheAlainPrezbooksareabout90% liveaudioand10%MIDIaudio.Theaudio filescanbeburned toaudioCDsorplayedonanMP3player. Ifyouhaveaudioonyourcomputer,Ihighlyrecommendtakingadvantageofthenewgenerationofcomputerprogramsthatwillallowyoutochangethetempoand/orkeyofanyoftheseaudiofilesandtoloopthemtofityourstyleofpractice.Particularlyusefulare:AmazingSlowdowner,Transcribe!andEmulatorX,allofwhichcanbedownloadedfromtheirrespectivewebsites.Audiosamplesforallbookscanbeauditionedatwww.timba.com/audio.

Video

Like the audio products, the videos for this book are sold as separate downloads fromHwww.latinpulsemusic.com/albums/show/424H. Released concurrently with this book is the videoproductforBeyondSalsaPiano,Vol.7,onMelnLewis,atlatinpulsemusic.com/albums/show/427.Therearevideofilesforeachexercise,inwhichthemusicianwillplayslowly,thenatfullspeed,andfinallywithvariationssuchasmightbeusedinaliveperformance.InthecasesofMelnandAlain,therearethreeseparatevideosforeachperformance:cameraangle1,cameraangle2,andasplitscreenversionshowingbothangles.Samplesofeachaswellassome freeperformancevideosofMelncanbefoundatwww.timba.com/pianoandwww.timba.com/bass.

The video products for Volume 2 and Volume 3 of Beyond Salsa Percussion, featuringdrummer/timbaleroCalixtoOviedo,areavailableatwww.timba.com/percussion,asareseveralfreepreviews. The two Calixto video volumes are combined on a hardcopy DVD available atwww.createspace.com/324911.AllhardcopyDVDsaresoldfor$25andincludethecontentsoftwovolumes,whilethedownloadablevideosaresoldseparatelyat$10pervolume.HardcopyDVDsfortheAlainandMelnvolumesmaybereleasedinthefuture.

AttheendofthisbookistheBeyondSalsaCatalogandpricelistforallproductsreleasedtodatewithpictures,linksanddescriptionsofeachbook.

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BeyondSalsaPiano

BeyondSalsaPiano,with11volumesasof2011,isahistoryandanthologyoftheroleofthepianointheCubanrhythmsection from its firstappearancetothepresent. Inabroadersense, itsastudyoftheartofcreatingmusicfromlayersofrepeatingrhythmicandmelodicphrases.Whetherthese syncopated figuresare called tumbaos,guajeos,montunos, riffsor vamps, thisAfroCubanconceptliesattheheartofnearlyeverypopularmusicgenrefromsalsatorock,funk,R&B,hiphopand jazz.Whilepresentedasa setofmethodbooks, the seriesdoublesasahistory courseandrecordcollectingguideforlisteners,dancers,andmusicianswhoplayinstrumentsotherthanpiano.

Perhapsthemostimportantgoalofthepianoseriesistoprovideacomprehensiveunderstandingofhow tumbaosareconstructed, theircentral role in the textureofLatinmusicofalleras,and theendlesspossibilitiestheyprovideforcreativecomposingandarranging.

Volumes1to5Rangingfrombeginningtoadvanced,thesefivevolumescoverthefullhistoryofCuban tumbaoplaying, from the tresandviolinguajeos thatwere thepredecessorsof thepianotumbaotoathoroughanalysisofthemoderntimbastyle.

Volume6onwardEachbookconcentratesonthestyleofoneCubanpianist,withnotefornotetranscriptions,oftenbasedonMIDIfilesperformedbythevolumesfeaturedpianist.Forexample,thesubjectofVolumes6through9isIvnMelnLewis,thephenomenallyinnovativepianistwhoplayedwithThe IssacDelgado group from1995 to1998.Volumes10and11beginour studyofCsarPupyPedrosoofLosVanVanandLosQueSonSon.Volume12willcompleteoursurveyofPupysworkwithLosVanVan,andVolume13willcoverhisfirstfouralbumswithLosQueSonSon.Beginning with Volume 14, we hope to move on to Juan Carlos Gonzlez and Tirso Duarte ofCharangaHabanera,Rodolfo PeruchnArgudnofNG LaBanda,ChakaNpolesofManoln (ElMdicodelaSalsa),RolandoLunaofPaulitoFGandTheIssacDelgadogroup,andmanyothers.Forbeginners and intermediate players, well also be adding a special volume featuring GustavoRamrez,exploringthehistoryofandthemanypossiblebassandpianovariationsthatcanbeusedwiththeubiquitousguajiraprogression,IIVVIV,sofundamentaltosalsaandson.

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BeyondSalsaPercussionThisseries focusesontimbalesanddrumsandanalyzes the rhythm sectionpracticesof various bands from various eras ofCubanmusic.Volumes2and3,onCalixtoOviedo, of NG La Banda and Adalbertolvarez fame,arereleasedasof2011anddescribed indetailattheendofthisbookVolume 1, for those with no percussionexperience,iscomingthisyear.

UnderstandingClaveandClaveChanges

Understanding Clave and Clave Changes is a special supplementary volume inspired by theextraordinaryarrangingofPupyPedrosoand Juan Formellduring theperiod coveredbyBeyondSalsaPiano,Volume11. Itbeganasa shortappendix,but themore Iwrote, themore I thoughtaboutmyyearsofdiscussionswithothermusicians,longnightsspentwithheadphones,readingofendlessclavethreadson internetgroups,andthemany lecturesandmasterclassesIveattended.Thereseemstobeanendless fascinationwithclave,clavedirectionandclavechanges,aswellasendlessfrustration,confusionandmisinformation.

WithUnderstandingClave, Iwasdeterminedtoendtheconfusiononceandforall,andtokeep itfrombeingonemoreloseweight,quitsmokingandmakeextracashinyoursparetimeselfhelpbook.Idesignedamethodthatrequiresyoutosing,clapanddanceyourwaythroughmemorizedmusicalexamplesbeforeevenattemptingtounderstandtheterminologyofconcepts.

Inordertoreachaslargeanaudienceaspossible,theclavevolumeissoldatareducedprice,andwithfreedownloadableaudiofiles.

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BeyondSalsaforEnsemble

At368pages,with464audiofiles,BeyondSalsaforEnsemble,Volume1isthelongestbookoftheseries.ItsdesignedforcollegeandhighschoolLatinensemblesand/orworkingsalsabandsseekingtoaddCubanrhythmsectiontechniquestotheirrepertoire.

Volume 1, Part 1 takes a standard chord progression and shows how it can beconvertedfromsalsatotimbaonaninstrumentbyinstrumentbasis.

Volume 1, Part 2, using the same progression, presents 16 rhythmic breaks, orefectos and shows how they can be executed in 32 and 23 clave by eachinstrument,withleadsheetsforexperiencedplayersanddetailedtranscriptionsforstudentswhoneedorwanttolearnanexactandauthenticwaytoorchestrateeachbreakontheirspecificinstruments.

Volume1,Part3 isameticulouslycompletearrangementofPupyPedrosostimbastandardElbuenagente,with full lyrics,coroharmoniesandhorns,and thepianoandbassprovidedbothasleadsheetsandnotefornotetranscriptions.Theresalsoaconductorsscore.

BeyondSalsaforEnsemble,Volume2,scheduledforearly2013,willextendthesameapproachtotimbagears.

BeyondSalsaBongandBeyondSalsaCongas

BeyondSalsaBong,featuringCarlosCaroofOpus13andPaulitoFG,andstartingwithavolumeforcompletebeginners,willbereleasedinmid2012.

BeyondSalsaCongasiscomingin2013.

13

IntroductiontoBeyondSalsaBass

TheBeyondSalsaBassseriesfollowsthesamegameplanasBeyondSalsaPiano.

Inthefirstfivevolumes,wesystematicallyandchronologicallycoverthehistoryandmostimportantrecordings as they pertain to the instrument under study, starting with exercises based onimportanthistoricalrecordings,butwhichareplayablebynearbeginners.

Each subsequentvolume isdevoted to the styleofonemusician.Thesevolumeshave theirownphilosophyandgameplan:

Findtheverybestmusicians. Avoidaskingthemusicianstoselfanalyzeorparticipateinthepedagogicprocessanymore

thannecessary.

Find the most natural way to capture each musician doing what he or she does onrecordingsandatconcerts.

Convertthiscaptureddata,whetherMIDI,audioorvideo, intobitesizeexercisesthatcanbestudiedandexplained.

Neveraskthereadertolearnanexercisewithoutdemonstratingexactlyhowitrelatestoagivengenre,band,songorthestyleofaspecificmusician.

InthecaseofBeyondSalsaPiano,MIDI isthetoolofchoice.Thekeyboardsused at concerts are MIDI keyboards and with a clave click track, we cancaptureperformancesthatareverysatisfyingandnearlyidenticaltowhatthemusicianplaysinconcert.

MIDI can be also be extremely useful as a tool in the study of bass andpercussion instruments (seeBeyond Salsa forEnsemble),butwhenpossiblewe use video and live audio for studying nuances of groove, tone and

technique.WehaveextensivevideoofAlain,buthavealsoincludedMIDIaudiotocoverexamplesnotavailableonvideoandtoprovidecompletecompatibilitywiththecompanionpianoseries.

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Chapter1:Biography,Part2TheIssacDelgadoYears

JoaqunBetancourt,Alain,Issac,DariaDelgadoPalaciodelaSalsac.1997

Alains biography will be presented in three parts. Volume 6 covered his childhood andeducation, leading tohis firstmajorprofessional jobswith Irakereand IssacDelgado.Here inVolume 7, well detail his years with Delgado, a period during which Alain made profoundcontributions to timba and Cubanmusic in general. In Volume 8well cover Alains eclecticcareer inSpain,from1998tothepresent,duringwhichtimehesrecordedwithandledmanygroupsinmanygenres,mostnotablyLatinJazzandflamencomusic,whilemakingthreealbumsasaleaderandcontributingsignificantlytothreemorebyDelgado.

IssacDelgado isoneof themost important singers, composersandbandleaders inCubanmusichistory.ReadersofBeyondSalsawillalreadyhaveencounteredhimmanytimesasakeyfigure inthecareersoftheartistswevecovered.Forme,theanalogyofIssactoMilesDavisisirresistibleeachwithextraordinary charismaandpresence,eachwithapoeticand subtle intensityof tone,phrasingandmusicalvision,andeachpresidingoveranunbrokenstringofhistoricbands,withastaggeringpercentageof themost importantmusiciansof theerapassing throughhisemployatonepointortheother.

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percussivestrokes,wellusethefollowing:righthandmuff,righthandtouchandlefthandtouch.Ifyouhaveothertermsyouprefer,pleasesubstitutethemwithourblessings.

3 3 5

RightHandMuff

Thedeadenedstring isplayed forcefully,as if youwereplayinganormalnote.Therighthandfingerpullsacrossthestring(e.g.,theDstring) toward your palm and comes to rest on the next loweststring (e.g., theA string),which can then be played as a noteorplayeddeadenedinthesameway.

R

3 5 R

5

RightHandTouch

Thesamestringisusedforboththepercussivesoundandthenote.Thefingertipstapdownonthedeadenedstringandthenplaythenote, coming to rest on thenext lowest string. This can be donealmost inaudibly, for timingpurposes,oraggressively, to createapercussivesoundsimilartoacongaslap.Tap isprobablyamoredescriptivetermthantouch,butcouldbeconfusedwiththemorevirtuosic fingerboardtapping style used in soloing, so we usetouch.FeelfreetousedifferenttermsmostCubanbassistsdontuseanytermsforthese,buttheyallplaythem!

0 L

03 3 1

L

LeftHandTouch

ThelefthandtouchistheleastfamiliartononCubanbassists.Alainoftenexecutesitwhilesustaininganothernote.Thefreefingersofthelefthandslaportapagainstthefretboardonthelowerstrings.Thisisoftenfollowedbyoneormorerighthandpercussivesounds.Its much easier when the sustained note is held with the firstfinger,butAlainalsooftentapswithhisringfingerwhilesustainingwithhispinkie.

Whenoneofthesesoundsisplayedverysoftly,weuseparenthesesaroundthenotehead:(x).

Thesepercussivesoundswilltransformyourgroove.Agreatanalogycanbedrawntocongaplaying.Itstheopentones,slapsandmuffsthatcutthroughthesoundofthebandwhilethefillerstrokes,ormanoteo,arenearlyinaudibleuntilabreakdownexposesthem.Buttheseextrasoundsarequiteaudibleonstage,andmore importantly,theyevenlyfill inthespacesbetweenthe louderstrokes,greatlyimprovingtheirrhythmicaccuracy.Anotheranalogywouldbetoaguitaristclickingthepickoverthedampeningstringsbetweenchords.Allofthesepercussivestrokesarecriticaltoproducingacomfortableandfunkygroove.

AudioandVideoFiles

AswithallvolumesofBeyondSalsa,theaudioand/orvideofilesaresoldasseparate,downloadableproducts.Theeasiestwaytounderstandwhatsavailableandhow itsorganized istounderstandthestoryofthisprojectandhowthesebookscametobewritten.

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masacoteconefectos(a.k.a.,songoconefectos),marchademambo,andaspecialaudiencesingalong stoptime gear. If a mambo is started (with or without a continuation of the coro andpregones), bomba or masacote then can be called during the mambo. Mambo, masacote andbombacanallgobacktomarchaormuela,andmasacotecangotobomba.

As you can imagine, there are many ways this can play out, with Paulito making splitseconddecisionswhile improvisinghispregones.OfallthegreatCubansingers,thetwowhodothemostwithimprovisationofformarePaulitoandIssac,butthemethodstheyuseareextremelydifferent.IfyouplaybassforPaulito,youreconstantlylookingforhandsignals,eachofwhichrequiresaverydistinctanddefinitechangetoyourbasspart.ThinkofPaulitoasaquarterbackcallingsignals.You,asthebassist,arethehalfback.

With Issac, itsmuch looser.Ratherthanquasimilitaristichandsignals,heoftenworkshissignalsinto thewordsofhisvocal improvisations.ReplacingAlainwouldbemuch trickier than replacingoneofPaulitosbassistsitwouldrequiremorefieldvision.ToplaywithIssacthewayAlaindid,youdhavetoalmostgetinsideofIssacsheadandanticipatehisnextmove.Thatkindofchemistryisveryhard,veryrare,andveryexciting.Interestingly,whenAlainleftIssacsgroup,Issachiredthebassist,drummerandpianistfromPaulitosgroupandtheresultinghybridapproachproducedtwomoreextraordinarybandsbutthatsastoryforafuturebook!

AlainwithAlexanderAbreu,theleader,singer,composerandtrumpeterofHavanadPrimera

andextrumpeterofPaulitoFGApril27,2012

136

ForFurtherStudySuggestedReading

OtherBeyondSalsaVolumes:BeyondSalsaBass,Vol.6AlainPrez,Part1,byKevinMooreBeyondSalsaPiano,Vol.1TheRootsofthePianoTumbao,byKevinMooreBeyondSalsaPiano,Vol.2EarlyCubanPianoTumbaos:19401959,byKevinMooreBeyondSalsaPiano,Vol.34CubanPianoTumbaos:19601989,byKevinMooreBeyondSalsaPiano,Vol.5IntroductiontoTimba,byKevinMooreBeyondSalsaPiano,Vol.69IvnMelnLewis,Pts.123,byKevinMooreBeyondSalsaPiano,Vol.1013CsarPupyPedroso,byKevinMooreBeyondSalsaPercussion,Vol.23CalixtoOviedo,byKevinMooreUnderstandingClaveandClaveChanges,byKevinMooreBeyondSalsaforEnsemble,Vol.1,byKevinMoore

BooksonCubanBassPlaying:ACollectionofBasslines,byFelicianoArangoandCherinaMastrantones,createspace.com/3739479AContemporaryBassTechnique,byFelicianoArangoandCherinaMastrantones,createspace.com/3671152RootsofTimbafreeonlinebookcoveringbasstumbaosofArsenioRodrguez,RitmoOriental,etc.

CubanMusicOverview:www.timba.comCubaanditsMusic,byNedSublette,ChicagoReviewPressTheClaveMatrix,byDavidPealosa,BembeBooksTheSalsaGuidebookand101Montunos,byRebecaMaulenSantana,SherMusicTexttoTuneAlignmentintheMusicofCharangaHabanera,byRyanMeadHonorsThesisatStanfordUniversity,2007.Availableat:Hryanmead.com/Thesis.pdfHH

CubanMusicDiscography:Hhttp://www.timba.com/encyclopediashttp://latinpop.fiu.edu/discography.html

BooksandVideosonAfroCubanFolkloricMusicandRumba:TheCongaDrummersGuidebook,byMichaelSpiro,SherMusic(alsoatHwww.latinpulsemusic.comH)RumbaQuinto,byDavidPealosa,BembeBooksTheAfroCubanFolkloricMusicalTradition,byRobertFernndez,LeisurePlanetMusicAfroCubanPercussionWorkbook(andDVDproduct),byJosEladioAmatandCurtisLanoueMtodoparalaenseanzadelapercusinlatina,RobertoVizcano(www.contemporarymusicproject.com)

TripstoCuba:ChuckSilvermanwww.chucksilverman.comPlazaCUBAwww.plazacuba.comCultuCubawww.cultucuba.org

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SuggestedListening**indicatesalbumdownload(w/fullbooklet)isavailableonHwww.latinpulsemusic.comHasof2012.

ThislistischosenforbothoverallmusicalqualityandrelevancetothetumbaosandbassiststhatwillappearinfuturevolumesoftheBeyondSalsaBassseries.

GROUP ALBUM BASSIST LABELPaulitoFGysulite Conlaconcienciatranquila JoelDomnguez NuevaFania**

PaulitoFG(Elbuenosoyyo) FrankRubio NuevaFania**

Bamboleo Yonomeparezcoanadie RafaelPaceiro AhNam**

Yanohacefalta RafaelPaceiro AhNam**

o! RafaelPaceiro AhNam

CharangaHabanera HeyYouLoca PedroPabloGutirrez MagicMusic**

PaqueseentereLaHabana PedroPabloGutirrez MagicMusic**

Tremendodelirio PedroPabloGutirrez MagicMusic**

Charangueromayor RandolphChacn CiocanMusic**

LiveintheUSA RandophChacn CiocanMusic**

ChanChanCharanga RandophChacn CiocanMusic**

DannyLozada Tantoleped JorgeGonzlez Caribe**

IssacDelgado Rarities(ExclusivoparaCuba) AlainPrez CiocanMusic**

Elaoqueviene CharlesBabyFlores RMM

Otraidea RubnRodrguez RMM

Laprimeranoche AlainPrez RMM,ARTEX**

Lafrmula F.Rubio/A.Echeverra AhNam**

Prohibido AlainPrez PimientaRecords

Enprimeraplana AlainPrez UnivisionLaCalle

Supercubano AlainPrez PlanetRecords

Manoln Paramigente VictorianoNpoles AhNam**

Debuenafe VictorianoNpoles BlueMetro

Jaquemate VictorianoNpoles Caribe

Elpuente ArmandoGola CiocanMusic**

LosVanVan DiscoAzcar JuanFormell ARTEX**

Loltimoenvivo JuanFormell QBADisc

Aydios,amprame JuanFormell CaribeRecords**

stoteponelacabezamala JuanFormell CaribeRecords**

LlegVanVan JuanFormell PimientaRecords**

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GROUP ALBUM BASSIST LABEL Chapeando JuanFormell UnicornioRecords**

NGLaBanda Enlacalle FelicianoArango QBADisc

SimplementelomejordeNG FelicianoArango ARTEX(BIS)**

Klmax Mirasitegusta RobertoRivern Eurotropical

Juegodemanos RobertoRivern Eurotropical

Oyecomova RobertoRivern Eurotropical

KlmaxandManolito ConciertoEurotropicalI Rivern/Mora Eurotropical

ManolitoysuTrabuco Directoalcorazn EduardoMora BembeRecords

Contratodoslosprognsticos EduardoMora Eurotropical

Marcandoladistancia EduardoMora Eurotropical

ParaquebaileCuba EduardoMora Eurotropical

Serompieronlostermmetros EduardoMora Eurotropical

Hablandoenserio ChinoVzquez EGREM

LosQueSonSon Qucosastienelavida RafaelPaceiro EGREM

Labuenagente NegrnElizarde PimientaRecords

Mitimbacerr NegrnElizarde EGREM

Tranquiloqueyocontrolo DaymarGuerra EGREM

SiemprePupy DaymarGuerra EGREM

RevysuCharangn 45aos GiovanniCofio TumiRecords

Sesiguecomentando ArnaldoJimnez BIS**

Fresquecito AisarHernndez BIS**

DequestamosHablando AisarHernndez

AzcarNegra Andarandando AdalbertoDomnguez BIS**

MichelMaza Fieeesta ArnaldoJimnez Envidia**

Quehablenloshabladores ArnaldoJimnez Envidia**

AngelBonne Circunstancias DanielMartnez EGREM

Bonne&BonneCo. RodneyMorales EGREM

HavanadPrimera Haciendohistoria CristbalVerdecia EGREM

Various GraciasFormell AlainPrez,FrankRubio

Ciocan**

Forsuggested listeningwithinthe19601989 timeperiod,pleaseseetheDiscographyandOnlineBooksectionsoftheTimbapediasectionof Hwww.timba.comH.Forprerevolutiondiscographical information,pleaseseeCristbalDazAyalasexhaustiveonlinediscographyatwww.fiu.edu.

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AcknowledgmentsGraphicsCredits

PhotoshopGuru:KrisFrsterFinaleGuru:PeterThomsen

MadridSessionPhotos:MichaelCbaYoshisSFPhotos:KevinMoore,SueTaylorInterviewPhotos:SueTaylor,CarlosCaro

p.120:LivenCspedes

Allotherphotos in thisbookareeither fromAlainsprivatecollection, fromphoto shoots forhisalbums,orfromtheartworkofalbumswhoselabelsandcodesarelistedbeneaththephotos.

TheMadridDreamTeam

VakGreif,Alain,MichaelCbaMadridJuly,2011

The fourvolumeAlainprojectandtheMelnvideoprojectweremadepossiblebythe incrediblygenerousandskillfuleffortsofVakGreif,MichaelCba,DaynAbadandLolaRomn.VakandMichaeltraveledfromtheCzechRepublictoMadridwheretheymetwithMelntorecordvideosofthematerialfromBeyondSalsaPiano,Vols.69toProToolsandtwohighdefinitionSonycameras.

Asifthiswerenotwonderfulenough,VakandMichaelthenfoundAlainPrezandconvincedhimtocomeinthenextdayandaddbasstrackstothesessionsatthehomeofDayn,aguitaristwhowasfriendswithAlainandMelninCubabeforetheyallmovedtoMadrid.Ithanktheseguysand

140

ofcourseAlainandMelnfromthebottomofmyheartand Ihavenodoubtthebassistsoftheworldwillbeequallygratefulwhentheystudytheseamazingtumbaos.

VakGreif,Alain,DaynAbadGarca,JuanJosPestanaMadridJuly,2011

EditingandConceptualGuidance

OrlandoFiol,VakGreif,RobertFernndez,MikeLazarus,SueTaylor,IvnMelnLewis,CherinaMastrantones, Feliciano Arango, David Pealosa, Jiovanni Cofio, Paul de Castro, Toms Cruz,Walfredode losReyes, Sr.,CarlosCaro,Kris Frster,WendyBlack,Tom Ehrlich,MichelleWhite,GabrielWilder, RyanMead, SidneyWeaverling, Keith Johnson, Edgar Hernndez, Curtis Lanoue,RichardRobinson,MikeRacette,AylaDavila,JonathanPintoff,andRalPerales.

141

AlainsAcknowledgments

Graciasatodosmismaestrosdemsica:

AEnriquePrez,directordeCielito Lindoymiprimermaestrode solfeo ...de laprendmuchascosas,quemehanservidopara seguirelcaminocorrecto,elcarismay supersonalidadmedieronunavisindecomoibaasertodo.

AJulioElizalde,Moreno,RachidLpez,FranciscoRodrguez...

A lagentedePanchete,a todos losmsicosquehancoincidoconmigoenalgnmomentodemicarreraymehanaportadoexperienciaysentimiento.

142

AlgomuyimportantequetengodecirsiempreyconelalmallenadealegraesdargraciasaDispormimadrebonitaymipapquemedieronlaeducacinymecriaronenlosvaloresyprincipiosmsimportante para un hombre, el cario, amor, respeto la familia los amigos, ayudar, compartir,cantarybailar...lloraryreir...caerylevantarse,lafe...lamsicaelcampo...amoralanaturaleza...alday lanochealsoly la luna ...aDis ...a lamsicaCubanaqueesmivida ...miPapmehablabadeBennyMor,Chappottn,Arsenio,Cun,Matamoros,ElBola,CeliaCruz...losquehabansembradolatierradeCubacontantosestilosmusicalesDanza,Contradanza,Danzn,Mambo,SonyGuaracha, a los rumberos de Cuba el flklor tan diverso a toda esa energa viva que hoymealimentaparaseguirsoandoyhaciendovibrarsentimientosyemocionesatravsdeesamagiaqueconocemoscomomsica.

Gracias a todos los fans que prefiero llamarles amigos, porque estn ah incondicionales y metrasmiten su energa y viceversa...esto crecemas cada da y yo les quiero decir que desde quedescubr lamsicamividacambi,encontr labalanzaparasostenerlafantasayrealidaddemissueosquehoypodemoscompartir.Unconsejoparatodos! ... incluyendoamihermanodelalmaRainerPrez.Ladiferenciaestenelamory laentregaconquecadacualseexpresa,ayquesersincerodesdeadentropara fuera y trasmitir nohaymsna'!!noolviden sus races, su casa supueblo,familia,abuelos.

Gracias a Kevin Moore y todas las personas que estn implicadas en este caso jajaja! suconstanciay fidelidada lamsicacubanahoymedaunaoportunidadmsdeacercarnosaellaypoderseguiraprendiendoyentendiendosuprofundolenguaje!

Gracias a Chucho Valds, Issac Delgado, Nelsn Daz, Juan Formell, Samuel Formell, Carlos delPuerto, Feliciano Arango, Cachao, John Patitucci, Jaco Pastorius , Csar Pedroso Pupy, CalixtoOviedo, Jos LuisQuintana Changuito, JosMiguelMelndez,DairnOney Pea,NelsonOneyPea,MiguelAng,Giovanni Hidalgo, JerryGonzlez, Celia Cruz, EnriqueMorente, Denis SavnPapacho, Carlos Caro, Rubn Rodrguez, Robby Ameen, Gonzalo Rubalcaba, Paquito dRivera,ArturoSandoval,alosflamencos,NioJosele,Tomatito,ElPiraaIsraelSurezyalMaestroPacodeLucia.

GraciasalaluzdemividamishijasDariellayLaymiesposaDariaDelgado.

AlainPrez3demarzo,2012

143

AlainsEquipmentAlainendorsesMarkbassamplifiersandJerzyDrozdbassesandusesElixirstrings.

photobyPabloVargas

www.markbass.comwww.jerzydrozdbasses.com

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AbouttheAuthor

CarlosCaro,KevinMoore,AlainPrezBerkeleyApril,2012photobySueTaylor

KevinMoore ([email protected]) isthecofounderandmusiceditor fortheworlds largestCubanmusic website, Hwww.timba.comH, to which he has contributed the free online multimedia bookseries,TheRootsofTimba,dozensofextensivearticles,discographies,recordanalyses,interviewsandtheCubanmusicblogLaltima,nownearingits10thyearofpublication.

In the early 2000s Kevin cowrote The Toms Cruz Conga Method, Volumes 13, a criticallyacclaimedmethodbook seriesusedasa textat variouseducational institutions.MorebooksonTomsCruz (including the longpromisedvolumeon theadaptationof folkloric rhythms to timbacongamarchas), are planned for 2013 as part of the Beyond SalsaCongas series.Various otherimportantcongueroswillalsobefeatured.

TheTomsCruzCongaMethodVolumes1,2,&3

PublishedbyMelBayPublications,Inc.

Asmusicaldirector,composer,arrangerandviolinistof theCaliforniabased salsabandOrquestaGitano,Kevincoproducedthe1998CDSalsaGitana,songsfromwhichhavebeenusedinvariousfilmsandtelevisionshows.Inadditiontotheaudiotracks,fullsalsabandchartsforthisalbumcanbepurchasedatLatinPulseMusic[Hwww.latinpulsemusic.com/albums/show/2]

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TheBeyondSalsaCatalog2012

www.createspace.com/1000252022

www.latinpulsemusic.com/albums/show/353

Beyond SalsaPiano,Volume 1begins around 1900and covers theoriginsof the tumbao conceptusingexercises adapted from genres such as chang,danzn,andson thatpredate theuseofpianoastheprimaryinstrumentfortumbaos inCubanmusic.This material is designed to be playable by nearbeginners, musicians who play other instruments,and arrangers seeking to acquire a basic facility onpiano.

Artists covered include Grupo Chang deGuantnamo, Sexteto Habanero and ArsenioRodrguez.



Beyond Salsa Piano, Volume 2 covers the periodfrom 19401959, duringwhich the piano became aconstantanddominantpresenceinnearlyeveryLatinrhythmsection,andduringwhichCubanmusichadaprofound global influence on all forms of popularmusic. The difficulty level ranges from beginning tointermediate.

Artists covered include Arcao y sus Maravillas,Orquesta Aragn, Chappottn y sus Estrellas, CeliaCruz y SonoraMatancera,BenyMor,PrezPrado,OrquestaSensacin,JosFajardoysusEstrellas,andConjuntoModelo.



BeyondSalsaPiano,Volume 3beginsour coverageoftheeclecticperiodbetweentheCubanRevolutionandtheFalloftheBerlinWallfrom1959to1989.

Volume 3 covers mozambique, piln, chang68,songo,andartistssuchasIrakere,RitmoOriental,LosVanVan,PachoAlonso,OrquestaAragn,Opus 13,Orquesta440,andAfrocuba.

Volume3alsocontainsanextensivesectiononAfroCuban folkloric rhythms and their application topopularmusicpianoplaying.

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BeyondSalsaPiano,Volume4continuesoursurveyofpostrevolution,pretimbaCubanpianostyles.

Styles covered include those of Elio Rev y suCharangn,Rumbavana,Son14,Adalbertolvarezysu Son,OrquestaOriginal deManzanillo,MaravillasdeFlorida,OrquestaAliamn,andLosKarachi.

We also introduce the concept of controlledimprovisation,whichrunsthroughtheentireseries.



BeyondSalsaPiano,Volume5 introduces the timbagenrethatbeganinthe1990s.Volumeincludes:

ahistoryanddiscographyofthetimbaera

adetaileddescriptionofrhythmsectiongears

a list and analysis of the 10 most importantpianoinnovationsofthe1990s

32 instructional tumbaos on the same chordprogression,demonstratingtheseinnovations

a Harmony Appendix with hundreds of timbatumbaochordprogressionsinRomannumerals



BeginningwithVolume6,eachbookconcentratesonthe style of one Cuban pianist, with notefornotetranscriptions, based in most cases on MIDI filesperformedbythevolumesfeaturedpianist.Volumes6 through 9 are on Ivn Meln Lewis, thephenomenally innovative pianist who played withTheIssacDelgadogroupfrom1995to1998.

Volume 6 begins with Melns biography anddiscographyandcontinues to indepthstudiesofhispiano styleon theextended live concertversionsofNomemiresalosojosandLavidasinesperanza.

video:latinpulsemusic.com/albums/show/425

147



BeyondSalsaPiano,Volume7movesontoMelnsapproach to two more live classics of the IssacDelgadogroup:Luzviajera (arrangedbyMeln)andPorqupar.

IntheprocessofdetailingthemanytypesoftumbaosMelnuses in theseextended livearrangementswecoverthetimbagearsofmarcha,muela,bombaandpresin and delve even more deeply into Melnsapproachtocontrolledimprovisation.




Beyond Salsa Piano, Volume 8 continues ourchronologicalsurveyofMelnsuniquetumbaosandimprovisational live style with Deja que Roberto tetoqueandtheextremelypolyrhythmicBrindandoconelalma.

La chicadel sol is thenusedasavehicle topresentexercises to understand how timba relates to salsaandLatinjazz.



BeyondSalsaPiano,Volume9,our finalvolumeonIvnMelnLewis, is the longestof the seriesandincludes his unusually sophisticated approach tocuerpos aswell as tumbaos. ItbeginswithMelnsapproach to the IIVVIV progression, using hisarrangementofCatalinaasa jumpingoffpoint.Wethen cover the remaining important live staples oftheDelgadorepertoireduringMelnstenure:Conlapunta delpie,Por la naturaleza,Se te fue lamano,Paquetesalves,andLacompetencia(HitParade).

Finally,wecoverthetumbaofromMovimiento,fromMelns latest Latin jazzalbum,anda tumbao fromhisrecentworkwithManoln,elMdicodelaSalsa.

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BeyondSalsaPiano,Volume10beginsourstudyofCsar Pupy Pedroso of LosVanVan and LosQueSonSon.

Volume 10 begins with extensive biography anddiscography chapters and coverspiano tumbaos forsongsfirstreleasedbetween1979(whenPupybeganto compose for LosVanVan)and1983, includingElbatedealuminio,Fallasteasacartucuenta,Despusquetecasasteandmanyothers.OntheclassicHoysecumplen seis semanas, we present a full chart ofPupysnewarrangementwithhiscurrentgroup,LosQueSonSon.



Beyond Salsa Piano, Volume 11 covers the nextphaseofPupyscareer,19841988withLosVanVan,including songs such as Si quieres que te lleguepronto, Ya tu campana no suena, and Ser que seacab.

AlsoincludedarecompletepianoandbasschartsforElbuenagenteandCallacalla,basedon themodernLosQueSonSonversions.



Beyond Salsa Piano, Volume 12 is scheduled forreleasein2012or2013andwillcovertheremainderofPupyscareerwithLosVanVan(19892001).

149



Beyond Salsa Piano, Volume 13, scheduled forrelease in2012or2013, isourfinalvolumeonPupyPedroso,willcoverhisworkwithhisowngroup,LosQueSonSon,foundedin2001andoneofCubastopgroupstoday.

COMING

IN

2012

Beyond Salsa Percussion, Volume 1 will be abeginningstudyofallthebasicpartsfortimbalesanddrums.

Scheduledforreleasein2012.



BeyondSalsaPercussion,Volume2:BasicRhythmsisthe first of two books on legendarytimbalero/drummerCalixtoOviedo,whoplayedwithPachoAlonso,Adalbertolvarezand the first timbaband, NG La Banda. The book begins with a longbiography and discography section and presentsCalixtos approaches to six classic Cuban rhythms,ranging from traditional timbales to variouscombinationsof timbalesanddrumset.Therhythmscoveredare:danzn,chachach,mozambique,piln,simalandupaupa.

150



BeyondSalsaPercussion, Volume3:TimbaGears isone of our longest and most adventurous books,explaining what gears are and demonstrating thealmost endlessways that each can be orchestratedontimbalesanddrumset.

In addition to exhaustivelydetailing Calixtos styles,thebookexplainshow thevarious topCubanbandsproduce their signature rhythm section sellos bydividing the rhythmic responsibilities creativelybetween the percussionists. The gears covered are:marcha abajo, marcha arriba, marcha de mambo,muela,presinandbomba.



UnderstandingClaveandClaveChanges isaspecialsupplement to the Beyond Salsa series. Its dividedinto four sections, and uses handson singing,clapping and dancing exercises to become intimatewith clave and avoid the excruciating intellectualconfusion that results from trying to learn it withonesleftbrain!

Part1:ForBeginnersWhatisClave?Part2:DemystifyingClaveTerminologyPart3:IntermediateClaveDirectionPart4:AdvancedClaveChanges

Unlike theotherbooks, the clave course absolutelyrequiresboth theaudiofilesandbook,so theaudiofilesareprovidedasafreedownloadtoanyonewhobuysthehardcopybookortheeBook.



BeyondSalsaforEnsembleVol.1,at368pages,with464 audio files, is ourmost adventurous project todate.

Part1:ThePointofDeparture:TheHomeGearExplainsthedifferencesbetweensalsaandtimbaandteachesthemostcommontimbagroove,fromwhichallotherexercisesbegin.Part2:Efectos36rhythmsectionbreaks,orefectos,completelynotated,in23and32clave/Part3:CompletePerformanceChartAmeticulousnotefornotetranscriptionofallinstrumentsforElbuenagentebyPupyPedrosoyLosQueSonSon.

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www.createspace.com/3810546www.latinpulsemusic.com/albums/show/421

BeyondSalsaBass,Volume6willcloselymirrorBeyondSalsaPiano,withintroductoryvolumescoveringthehistoryofCubanbass,startingatthebeginninglevel,andcontinuingwithbooksaboutspecificbassists.Theintroductoryvolumeswillbereleasedinlate2012andearly2013.Volume6,picturedhere,wasreleasedinMarch2012.

www.createspace.com/3810550www.latinpulsemusic.com/albums/show/423

BeyondSalsaBass,Volume7ThesecondoffourvolumesonAlainPrez,Volume7isthebasscompaniontoVolume7ofthepianoseries.


www.createspace.com/3810552www.latinpulsemusic.com/albums/show/TBD

BeyondSalsaBass,Volume8ThethirdoffourvolumesonAlainPrez,Volume8isthebasscompaniontoVolume8ofthepianoseries.


Scheduledforreleaseinlate2012

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COMINGIN

2012

BeyondSalsaBongwillfeatureCarlosCaro,winneroftimba.comsReadersPollforBestTimbaBongosero.Thesebookswillbeginwithinstructionintechnique,startingfromabeginninglevelandthenworktheirwayfromtheearlysonstylesofbongplayingtoCarostimbastylewithOpus13,PaulitoFGandJacquelineCastellanos.

COMINGIN

2013

BeyondSalsaCongasisinthedevelopmentstages.ItwillhopefullyincludevolumesonTomsCruzaswellasothertopcongueros.

PRICELIST

TITLE PhysicalBook

eBook(PConly)

AudioDownload

VideoDownload

DVD

BeyondSalsaPiano,Vol.1BeginningTheRootsofthePianoTumbao $20 $10 $10

BeyondSalsaPiano,Vol.2IntermediateEarlyCubanPianoTumbaos194059 $20 $10 $10

BeyondSalsaPiano,Vol.3IntermediateCubanPianoTumbaos196079 $20 $10 $10

BeyondSalsaPiano,Vol.4IntermediateCubanPianoTumbaos197989 $20 $10 $10

BeyondSalsaPiano,Vol.5AdvancedIntroductiontoTimba $20 $10 $10

BeyondSalsaPiano,Vol.6IvnMelnLewisPart1 $20 $10 $10 $10

BeyondSalsaPiano,Vol.7IvnMelnLewisPart2 $20 $10 $10



BeyondSalsaPiano,Vol.10CsarPupyPedrosoPart1 $25 $15 $10

BeyondSalsaPiano,Vol.11CsarPupyPedrosoPart2 $25 $15 $10

BeyondSalsaPercussion,Vol.1IntroductiontotheCubanRhythmSection TBD TBD TBD

BeyondSalsaPercussion,Vol.2CalixtoOviedoBasicRhythms $30 $15 $10 $10 *

BeyondSalsaPercussion,Vol.3CalixtoOviedoTimbaGears*DVDincludesbothVol.2andVol.3footage

$30 $15 $10 $10 $25*

UnderstandingClaveandClaveChanges $15 $10 FREE

BeyondSalsaforEnsemble,Vol.1Efectos $40 $25 $10

BeyondSalsaBass,Vol.6AlainPrezPart1 $30 $15 $10 $10

BeyondSalsaBass,Vol.7AlainPrezPart2 $30 $15 $10 $10

BeyondSalsaBass,Vol.8AlainPrezPart3(late2012) $30 $15 $10 $10

BeyondSalsaBong,Vol.1 TBD TBD TBD TBD

BeyondSalsaCongas,Vol.1 TBD TBD TBD TBD

NOTE:AsofMay2012,allbooksareavailableonamazoninEuropeandtheUK,denominatedinthelocalcurrencies.

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THISPAGELEFTBLANKINTENTIONALLY

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ForcompletelyupdatedlistsofallBeyondSalsaproducts,samplevideosandotherfreedownloads:

clave.latinpulsemusic.comwww.timba.com/audiowww.timba.com/basswww.timba.com/bongowww.timba.com/clave

www.timba.com/ensemblewww.timba.com/percussion

www.timba.com/piano

comments,questions,suggestions,requests:

[email protected]

Sample Chart for eBook Beyond Salsa Bass Vol 7

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Transcript of Sample Chart for eBook Beyond Salsa Bass Vol 7