Indice - Table of contents
Beyond Salsa Piano - The Cuban Timba Pian...
- Beyond Salsa Piano Info Page
- Audio and Video Files
- Beyond Salsa Piano - Vol. 1 - 1900-51 - I...
- Beyond Salsa Piano - Vol. 1 Examples
- Beyond Salsa Piano - Vol. 2 - 1940-59 - I...
- Beyond Salsa Piano - Vol. 2 Examples
- Beyond Salsa Piano - Vol. 3 - Int. - 1960...
- Beyond Salsa Piano - Vol. 3 Examples
- Beyond Salsa Piano - Vol. 4 - Int. - 1979...
- Beyond Salsa Piano - Vol. 4 Examples
- Beyond Salsa Piano - Vol. 5 - Advanced - ...
- Beyond Salsa Piano - Vol. 5 Examples
- Beyond Salsa Piano - Vol. 6 - Melón Lewis...
- Volumes 7 and Beyond
- Purchasing Beyond Salsa Piano
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Reportes : From The St... : Page 1
Resenas : Test Review MPL
Resenas : Test revew
Musicos : New Musician
Fotos : Tom Ehrlich : test subpage
Fotos : Tom Ehrlich : test 3
Fotos : Michael Lazarus : MPL - New Gallery 1
Tienda : Methods · Métodos
Musicos : Juan Formell
Musicos : Yordamis Megret Planes
Musicos : Yasser Morejón Pino
Musicos : José Luis "Changuito" Quintana
Musicos : Dennis Nicles Cobas
Fotos :
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Kevin Moore - Beyond Salsa Piano - Vol. 2 Examples
Examples from Beyond Salsa Piano, Volume 2
Chapter 1 is devoted to the seminal tumbaos of Jesús and Cachao López of Arcaño y sus Maravillas.
Chapter 1 also introduces the rhythmic underpinnings for the tumbaos which would later be used for chachachá. While "invented" by Enrique Jorrín, many of the rhythmic elements originated with Arcaño's group.
Chapter 2 pauses in the historical chronology to tackle the ever-present issue of clave, including a long series of clave exercises.
Chapter 3 studies the tumbaos of the Cuban big band or "jazzband" genre: Beny Moré, Pérez Prado, Orquesta Riverside, etc.
Chapter 4 studies the tumbaos of the charanga genre: Aragón, Fajardo, Sensación, Revé, etc. It also pays special attention to the idea of layering tumbaos, the foundation for all Latin music arranging.
Chapter 5 studies the tumbaos of the conjuntos which took up the slack when Arsenio moved to New York: Modelo, Chappotín, Sonora Matancera, etc.
Chapter 6 returns to the technical side of things, showing how piano tumbaos relate to the clave.
