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Peruvian Grooves
BY MARLON BISHOP
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58
time is ideal.
Festejo is a faster, livelier rhythm, also
written in 12/8. Example 3, taken from El
Negrito Chinchiv off Oscar Alviless classic album Y Siguen Festejando Juntos, is a
typical bass pattern for festejo, emphasizing
beats five and eight, and using short passing lines between chord changes. Seems
simple enough, but the tricky part is catching festejos polyrhythmic feel. At all times,
there is a tension between subdividing the
beat as eighth-note triplets and as regular eighthsin other words, between duple
meter and triple meter. So, for example, the
eighth-notes at the end of each bar in Ex.
3 are actually played somewhere along a
rhythmic spectrum; theyre neither triplet
Ex. 1
High tone
Low tone
Ex. 2
Am
= 76
Am
Am
Dm
7 2
Bm7(b5)
Dm
A7
2 3
Am/C
Bm7(b5)
E7
Am
Ex. 3
Ebm
= 116
Ebm
Db
repeat 7x
6
4
Bb7
Gb
Db
6
4
3
4
6 4
Gb
59
WOODSHED
Latin Bass Book [Sher Music, 2005]. He recommends that bassists interested in getting
into the genres rhythmic vocabulary start
by learning some of the standards, many
of which have set bass lines or bass intros
that largely define those songs. For example, the land Zamba Malat is played
by virtually every Afro-Peruvian group, and
always begins with the solo-bass intro transcribed in Ex. 4.
Ex. 4
Bbm
F7
Bbm
= 80
11 10
11 10
11 8
Bbm
F7
11 11 8 11 8
60
10
8
8
10
11 10
10
11 10
11 8
11 11 8 11 8
10
10