Cuban Masters Series:

Piano
By Emilio Morales and Jon Griffin
Part of the Cuban Masters Series

© 2012-2016 Salsa Blanca Publishing

http://salsablanca.com/
Made in USA
All Rights Reserved
ISBN-13: 978-1-941837-35-1
ISBN-10: 1-941837-35-2
At last, you can take a lesson from a Cuban piano master.
Emilio Morales, along with musicologist Jon Griffin, will guide you through the full array of Cuban styles.
From traditional Cha-cha-chá and bolero to son moderno and timba. This book will show you actual examples
of Cuban music, not just a bunch of exercises to practice.

r œ. œ. œ. œ. b œ. œ. b œ. n œ. œ. . .
# œ œ œ œ
& b 4 #œ œ œ œ œ œ œ œ œ ≈ b œ ≈ œ ≈
4 œœ. ≈ b œ n œ œ œœ œ ≈ œœ ≈ œœ. ≈ ## œœ
œ

. œ. . œ. ≈ œ. . ≈ œœ. .
b œ. n œ. œœ œœ œ. ≈ œ. œœ ≈ # œ.
? 4 # œr œ œ œ œ œœ œ œ ≈œ ≈ ≈
Understanding Montuno b 4

œ œœ œ œ œ œ. œ. œ. # œ. œ œœ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. .
Son Montuno
œ. ≈ œ. ≈ œ ≈ œ ≈ œ œ ≈ œ œœ ≈ œ ≈ œ œ
Montuno Variations & œ œ œ œ œ ≈ œ ≈ œ ≈ #œ ≈ œ œ œ œ œ œ œ
b
œ œ œ œ

œ œ œ œ. ≈ œ. œœ. ≈ # œ. œ œ œ œ œ œ œœ
Cha-cha-chá
. ≈ œ. œ. ≈ œ. œ ≈ œ. œ ≈ œ. œ. œ.
3

œ
3

Danzón ?b œ ≈ ≈ œ .
œ ≈ œ ≈ ≈
3 3
Danzón Form
. . . .
œ œ œ b œ œœ œ œ. œ. n œ. œ œ. œ. œ œ. œ. œ. œ. œ. œ . œ œ. œ. # œ œ.
Bolero œ œ
& b ≈ œ œ œ b œ ≈ œ œ ≈ œ ≈ nœ ≈ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ #œ œ
Mambo
œ œ . œ. . . . . œ. . . œœ. . œ.
Playing With the Bass ? b ≈ œ œ œ b œ ≈ œ œ. ≈ œ n œ ≈ œ œ ≈ œ. œ ≈ œ. œ ≈ œ. œ. ≈ œ œ. ≈ œœ œ ≈ œ. ≈ #œ
Timba
Changüi >œ >œ œ. œ. . # œ. >œ
œ œ ≈ œ ≈ œ œœ ≈ # œ œ Œ œ
Modern Son &b ≈ J ≈ œœ ≈ œ Ó
> >
Much More! >œ >œ ≈ œ. . œœ . > >œ
œ
?b ≈ J ≈ ≈ œ ≈ #œ Œ œ Ó
Acknowledgements
Many thanks to all who helped out on this project, not the least of whom is Jiovanni (Giovanni) Cofiño without
his help this project never would have been complete.

Thanks to my father, Jon Griffin, Sr. for his camera skills and the extra set of eyes in Cuba.

Thanks to Emilio Morales for taking the time to make this book and interview better than it would have been.

To my family, in Cuba, thanks for putting up with my erratic schedule the three days that we were filming.

For Helen and Luisa, thanks for putting up with my closed door when I was working on this big project!

To Mr. Twister, well, one day this will mean something to you, but for now, continue to be a two-year-old.

To Robert Fernandez, for his support and encouragement, and Ed Lozano for the advice on technical and non-
technical matters.

Thanks to Olavo Alén Rodríguez, for all of his help over many years in Cuba, and Julian Fernandez for his tutor-
ing those many years ago.

Jon Griffin

iii
Contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . 1
Understanding the montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Montuno versus son-montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
History of piano montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2. Son Montuno . . . . . . . . . . . . . . . . . . . . . . . 2

Standard Montuno Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Montuno Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 3. Cha-cha-chá . . . . . . . . . . . . . . . . . . . . . . . . 6
Importance of Bass and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Importance of harmonic voice leading . . . . . . . . . . . . . . . . . . . . . . 7
Ensemble Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 4. Danzón . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Importance of clave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Danzón form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Danzón montuno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 5. Bolero . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 6. Mambo . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Bass part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Clave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Mambo patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Ensemble example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 7. Timba . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Ensemble example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Chapter 8. Changüi . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Chapter 9. Resources . . . . . . . . . . . . . . . . . . . . . . . . . 41
Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Audio Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Mailing List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Introduction
Understanding the montuno
Many people associate the piano “montuno” with Cuban son-montuno.
While there are certainly elements of traditional montunos in the piano
1
parts, the parts are generally variations of the montunos played by the
Cuban tres. These parts have been modified over time, and have even
spawned other genres within Cuban son, such as timba.
Piano players generally come from “legit” music backgrounds as opposed
to the tres players who were generally self-taught and learned by tradition.
Because of this, the montunos played by piano players differed.

Montuno versus son-montuno

It is important to understand the difference between a montuno and the
musical style son-montuno. It is one of those terms that could lead to con-
fusion, so I will attempt to give a short, and concise answer.
Basically, a montuno is a section that is played after the verse. The montu-
no section could be called a refrain or chorus, but unlike modern Western
music which is usually verse, chorus, verse chorus, the montuno is added
after the verse or son, and the verse is never repeated (except maybe the
verse idea restated in vocal improvisation).
Son-montuno on the other hand is a genre of music that started as son,
and before that changüí, nengon and kiriba. The musicians later added a
section called the montuno.

History of piano montuno

Many Cuban ethnomusicologists trace the piano montuno to the late
1800’s when danzón and its subsequent addition of a “son” part in later
variations came about. The musicians (many black), would start to add a
montuno part based on what they heard in their neighborhoods and ev-
eryday life. These musicians were generally playing for society functions
even though they still lived in squalor and on the outskirts of the cities.
The rise of mambo, and cha-cha-chá further influenced the way montunos
were played on piano, as well as subsequent popular music from Cuba.
Like most attempts to categorize music, there is no exact classification.
Some songs have been classified as son-bolero, or son-montuno cha, or
even danzón cha. The point being, don’t get caught up in the terminology,
it will come to you in time (just like clave).
Son Montuno
If you have watched the ensembles that the masters played (either on You-
Tube, or on the DVD version of this method), you will see that the songs
that have a piano part aren’t traditional son montuno’s. At least in the way
a tres player in the 1920’s would play the montuno.
2
There is a strong presence of son montuno in all of the ensembles, just like
in almost all modern Cuban music. As was discussed in the previous chap-
ter, modern Cuban music is a mix of all that came before, and as you will
see later in this method, even incorporates musical influences from music
outside the islands. The main influence, aside from Africa, is the America
song and jazz.

Standard Montuno Pattern

Whole books could be written about montunos, and you should listen to
many different pianists to get an idea of other ways to play montunos.
The following example is a standard piano montuno played in the son and
son montuno styles.

Bb Bb6 Bb Bb

œ. œ. > .
.. œœ œ œ >œœ œœ œ. œœ >œœ œœ œ. œ. >œœ œœ œœ œ œ œ œ œœ œœ œ œœ œœ œœ œ œ œœ œœ œ. œ. .
F C F C

& b C œœ œœ œœ œœ.

. . > œ œ >œ œ œ œœ >œœ œœ œ. œ. œœ œœ œ œ œ œ œ œ

œ œ
œ œ
œ
œ œ œœ œœ . .
? b C œ œ .. œ œ œ œ œœœœ œ œ œ œ œ œ œ ..

Example 2-1Basic son montuno pattern

The chorus for this famous song (which is really a son, not a son-montuno
originally), along with the melody and chords goes like this.

4 j
& b 4 .. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. ‰ œ. œ
> >
Di - le a cat - a - li - na que te com - pre un guayo que

Bb Bb
>œ . j >œœ j >œ >œ
F C F

œœ ..
& b 44 .. œœœ .. œœ œœ œœ œœ œœœ œœœ
. œ œ œ œ. œ œ
>œœ .. œœ œœ >œ œœ .. œœ œœ >œœ >œœ
? 44 .. œ . œ œ œ œ œ œ œ
b J J

&b Œ ‰ j œ. ‰ ‰ ..
œ. œ. œ. œ. œ
>tá œ. œ. œ
>do
la yu - ca se me es - pa - san -

Bb Bb
œœ .. j >œœ j >œ >œ
C F

œœ œœ œœ .. œœ œœ œœœ œœœ ..
&b œœ .. œ œ œ œ. œ œ

. œœ œœ >œ œœ .. œœ œœ >œœ >œœ

? b œœœ .. œ œ œ œ œ œ œ ..
J J

Example 2-2 Basic montuno harmony

We start this tumbao on the tonic, subdominant, and dominant chords

(I,IV,V). The relationship between the piano, bass, and percussion is very
important, since the rhythm section supports everything else.
The first thing the pianist has to do is listen to what the bass is doing, for
example.

j
œ . œj œ œ
j
? b 44 œ . œj œ œ ..
I IV V IV I IV V IV I

œ. œ œ œ œ. œ œ œ
> > > >
Bass

Example 2-3 Son bass tumbao

4 – Cuban Masters Lessons:The Cuban Piano

This part may vary, but that is the basic pattern for the bass and here is
what the piano and the bass look like together.

Bb Bb6
. œ. >œ
œ >œ œ . >œœ >œœ œœ œ. œ. >œœ œœ œ. >œœœ >œœ . >œœ Œ Ó
F C F

b 4 . œ œ œ œ
& 4 œ œ .œ œ œ œœ . œœ
.
> . > >
? b 4 œ. œ. .. >œ œ œ œœ œœ œ œœ œœ œœ œ œ. >œœ œœ œ. > >œ >
4 œ œ œ .. œ Œ Ó

? 4 ∑ .. j j .. Œ Ó
b 4 œ œ œ œ. œ œ
Bass Guitar

œ œ œ
>. > > > > >
Example 2-4 Son piano montuno with bass tumbao

Montuno Variations
This montuno has several variations, for instance this one is a little more
modern and has some more movement and passing chords.

Bb Bb Bb Bb
>œ œ. > . >œœ > . > > >œ œ. > . >œœ . >œ œ. > >
F C F C F

4 .
œ .
œ œ œ
œ .
œ œ œ œ œ .
œ œ œ
œ œœ‰œœœ
&b 4 J œ ‰ J œ‰ œ œ ‰ J

.
œ > .
œ >œ œ. > . .
œ > .
œ >œ œ. > .
>
? b 44 >œ œ œ
œ. œ ‰ J œ œ >
œ ‰ œ >œ >œ œ œ
œ. œ ‰ J œœ œœ >œ >œ
J ‰

Example 2-5 Variation of son montuno pattern

Cuban Masters Lessons:The Cuban Piano –5

Here is another variation with the bass part. All of these montunos have
many variations; just remember to keep on the right side of the clave (more
on that later if you aren’t familiar with clave). The most important things
to keep in mind when creating a montuno are the rhythmic and melodic
possibilities. These variations will, of course, depend on your technical
and musical development.
On the other hand, it is necessary to think and listen in a collective way
when playing in an ensemble. The bass needs to hear the piano; the piano
needs to hear the bass; the piano and bass need to hear the percussion. It’s
a collaboration of elements that have to be very close together, very solid.

Bb Bb Bb Bb
>œ œ > . >œ . > >œ œ > >œœ >œ œ. œ.
œ œ œ
F C F C F

b 4 .
œ .
œ œ œ
œ ‰ œ œ œ
œ ‰ œ
œ .
œ .
œ œ œ
œ ‰ œ œ œ
œ ‰ œ
& 4 J J

. . >
œ œ >œ œ. >œ œ œ. >œ . . >œ œ >œ œ >œ œ œ >œ . .
? b 44 œ œ œ œ ‰J œ ‰œœœ œ œ ‰J œ ‰œœœ

? b 44 ∑ j j j j
Bass Guitar

œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ
>. > > > > > > > >
Example 2-6 Son montuno variation 2 with bass part

6 – Cuban Masters Lessons:The Cuban Piano

Cha-cha-chá
Cha-cha-chá is part of the Danzón family and probably one of the most
recognizable styles of music that came from Cuba. It is one of the three
styles born out of danzón that included a vocal section. Enrique Jorrín is
credited with creating the style in the late 1940’s and his song Silver star is
3
considered the transitional song that bridges the earlier danzón and what
would become cha-cha-chá.
Olavo Alén Rodríguez also talks about this in his seminal book, De lo Af-
rocubano a la Salsa (Artex, La Habana). Here is an excerpt of what he says
about the genre (1994:87-8).
"... the cha-cha-chá appears to be a variant of the danzón. The former
maintains a structure very similar to that of the danzón, since, in spite
of dispensing with the rondo form [of the danzón], it does so only by an
internal transformation of the melodic and rhythmic elements used in the
composition of each of its sections. Also, in the cha-cha-chá, the inter-
pretative function of the flute is retained. That is to say, its role as a soloist
and the characteristics of its manner of improvisation in the danzón re-
appear in the cha-cha-chá with hardly any alteration. Another important
debt that the cha-cha-chá owes to the danzón is the allocation of timbres
in its instrumentation. The melodies of the violins alternate with those of
the flute and those of the voices in the way that had become standardized
in the danzón and the danzonete. The principal element that differentiates
the cha-cha-chá from the danzón is the rhythmic cell that gives its name
to the genre. Cha-cha-chá is an onomatopoeic representation of two rapid
beats followed by a longer (two eighth notes followed by a quarter note).
It is also significant that the cha-cha-chá abandons the elements from the
son that had been incorporated into the danzonete and returns to the strict
utilization of elements of musical style that arose and were developed in
the context of the danzón family of musical genres."
This is an example of a famous Cuban cha-cha-chá written by the late
Richard Egües, whose chorus goes like this.

#
A min D7 G A min D7 G

& c œ œ œ œœœ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œœ
œ œœ œ œ œ œ
To-ma cho-co-la - te pa-ga lo que de-bes To-ma cho-co-la - te pa-ga lo que de - bes

Example 3-1 Melody from El Bodeguero

Importance of Bass and Piano
Here is a typical example of what the bass would play on this tune.

œ. œ. œ. œ. œ. œ.
? # c >œ > >œ >
A min7 D7 G E min7

œ Œ œ Œ ..

Example 3-3 Typical cha-cha-chá bass pattern

This example shows what the piano and bass might play on this tune. No-
tice the piano is playing a type of counterpoint to the bass line. This is an
example of the fusion of legit music and Cuban popular music.

# 4 >œœ >œœ >œœ > œœ. œœ. œ>œœ

>œœ . œœœ. œœ. œ>œ
>œœ ..
A min7 D7 G E min7 A min7 D7 G E min7

& 4œ Œ œ œ Œ œ Œ œœœ Œ œ ..
œ≈œ ≈ œ Œ œ. ≈œ ≈ œ Œ ..
J J
œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ.
? # 44 ‰ J ‰œ œ ‰
J J ‰œ œ ‰
J J ‰ œ œ ‰
J J ‰
œ œ
J ..

>
œ œ. > œ. œ. >œ œ. > œ. œ. >œ œ. > œ. œ. >œ œ. > œ. œ.
?# 4 œŒ œŒ œ Œ œ Œ ..
4

Example 3-2 Cha-cha-chá with bass part

Importance of harmonic voice leading

The first thing that a pianist must do in order to establish a montuno
(whether it be a cha-cha-chá, a son, a guaracha, or any style of Cuban
music), is to have a clear notion of the harmonic progressions he will use.
It is also important to understand that clave is simply a word meaning
guide, and is not to be confused with a certain genre of Cuban music.
Every song has clave, even American pop songs, but in Cuban music it
is important to understand what the exact clave pattern is for every style.

8 – Cuban Masters Lessons:The Cuban Piano

If the harmony were like this: Amin7, D7, GMaj7, and Emin7,you have to
find a way, a harmonic link that would bind them all.

# 4 >˙˙ >
˙˙˙˙
>˙˙ ˙>˙˙
A min7 D7 G Maj7 E min7

& 4 ˙ ˙ ..

>˙˙ >˙ >˙˙ >˙˙

? # 44 ˙ ˙˙ ˙ ˙ ..

Example 3-4 Harmonic progression

The progression shouldn’t sound scattered like this example, which has no
good voice leading.

# 4 >˙˙
A min D7 G Maj7 E min

& 4˙ ˙˙˙ ˙˙˙ ˙˙˙ ..

˙ ˙ >
>
>˙ ˙˙ >˙
? # 4 >˙ ˙ ..
4

Example 3-5 Harmonic progression with no voice leading

One way to have cohesion is through the use of common tones. Common
tones are notes that are shared in all four chords. Here is an example of
good voice leading.

# 4 >˙˙ >
˙}˙˙˙
>˙˙ ˙>˙˙
A min7 D7 G Maj7 E min7

& 4 }˙ }˙ ..

>˙ >˙˙ >˙˙ >˙

? # 44 ˙˙ ˙ }˙ }˙˙ ..

Example 3-6 Harmonic progression with good voice leading

Cuban Masters Lessons:The Cuban Piano –9

Once we have established these links, we can play cha-cha-chá's rhythmic
cell, which is: the right hand on the beat and the left hand on the offbeat.
Play the same harmony on both hands.

# 4 >œœ Œ œ>œœ Œ >œœ > œœ. œœ. œ>œœ

>œœ . œœœ. œœ. œ>œ
>œœ ..
A min7 D7 G E min7 A min7 D7 G E min7

& 4œ œ œ Œ œœœ Œ œ ..
œ≈œ ≈ œ Œ œ.
≈œ ≈ œ Œ ..
J J
œœ. œœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœ. œœ. œœ. œœ. œœœ. œœœ. œœ. œœ.
œ œ œ ‰œ œ ‰
?# 4 ‰
4 J ‰œ œ ‰
J J ‰œ J J œ œ ‰
J J ‰ œ œ.
J.
Example 3-7 Basic cha-cha-chá rhythm 1
Here is a variation of the previous pattern

#4 >œœ . œœ. œœ. >œ >œœ .. œœ. œœ. œ>œ >œœ . œœ. œœ. >œ >œœ .. œœ. œœ. œ>œ
A min D7 G E min7 A min D7 G E min7

& 4 œ .. œ ≈ œ ≈ œœœ Œ œ. œ ≈ œ ≈ œ Œ
J œ .. œ ≈ œ ≈ œœœ Œ œ . œ ≈ œ ≈ œ Œ ..
J
J J
œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœœ. œœœ. œœ. œœ.
?# 4 J ‰œ œ œ œ J ‰œ œ œ œ
4 ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ..
Example 3-8 Basic cha-cha-chá rhythm 2
The most important things to keep in mind are the harmonic progressions
and cha-cha-chá's basic rhythmic cells. That is, the right hand on the beat,
the left plays on the off beat.
As in most Cuban music, there are variations depending on how the song
is played or what the other musicians are playing. The main thing to re-
member is that this style is defined by a call and response between the left
and right hands. The left hand always plays on the off beats, but the right
hand can fill in with passing notes or chord tones and make more intricate
patterns. Some pianists even add melodic fragments to the right hand to
strengthen the melody.

10 – Cuban Masters Lessons:The Cuban Piano

There are two basic types of cha-cha-chá montunos. The pianist can use ei-
ther based on his or her own taste. Here is an example of the second, more
challenging cha-cha-chá pattern that is also very typical with the simpler
pattern added so you see how they fit together. Remember, the bass part in
cha-cha-chá is always constant so it is easy to know what to play against.

.œ # œ. >œ œ. . œ. œ. # œ. >œ . . .
. œ #œ >
œ .
œ . . .
. . œœ œ # œ >
œ . . . œ. œ. # œ.
G A min

œ
min7

œ œ
A min D7 E D7 G E min7

œ œ
# 4 œ #œ œ œ œ œ #œ . œ œ . . œ œ œ
œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ #œ
& 4

œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
?# 4 ∑ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ‰ œ œ
4 ‰ J‰ J J‰ J J‰ J J J

# >œœ >œœ
A min D G E min7 A min D7

> >œœ > >œœ

G E min7

> >
& œ Œ œœœœ Œ œ Œ œœœ Œ œ Œ œœœœ Œ œ Œ œœœ Œ

œœ. œœ. œœ. œœ. œœœ. œœœ. œœ. œœ. œœ. œœ. œœ. œœ. œœœ. œœœ. œœ. œœ.
?# ‰ œ œ
J ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ
J J ‰ J J J J ‰ J

Example 3-9 Cha-cha-chá rhythmic example

Cuban Masters Lessons:The Cuban Piano –11

Ensemble Example
In the ensembles (either on YouTube or the supplementary DVD, there
was a song titled La Meneíto. This was written by the late, great flautist
Richard Egües (who was also a brilliant pianist).
Here is what the chorus of that ensemble sounds like when played in the
traditional style along with the melody.

### 4 . œ. œ. >
.. >œ œ Œ œ. œ. >œ >œ . .
& 4 ‰ œ ‰ .
œ Œ ‰ œ. œ œ ..
La men - e - í - to, la men - e - í - to, la men - e

### 4 .. >œœœ >œ œ>œœ œ>œœ

E A

& 4 ∑ Œ œœ Œ œ Œ œ Œ ..

. œœœ. œœœ. œœœ. œœ. œœ. œœ. œœ.

? ### 44 ∑ .. ‰ œœœ ‰ œ œ ‰ œ œ ..
J ‰ J J J
Example 3-10 La Meneíto chorus

The way it was played on the ensemble adds a more interesting rhythm,
but notice how the left hand is still playing the same pattern as before.
Only the right hand is embellishing the pattern

. . > > . > . . >

### 4 œ # œ . œœ œœ. œ œ œœ. œ. œ. œ œœ. >œ >œ œ # œ . œœ Œ œœ Œ
E 9 A B min E A

& 4 œ #œ . œ œ œ œ œ œ œ œ #œ . œ œœ Œ Ó
> œ
>
œ . œ. œ. œ. œœ. œœ. œœ. œœ. >œœ >œœ >œ
? ### 44 ∑ œ œ œ œ
.. ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ .. œ Œ œ Œ œœ Œ Ó
J J J J

Example 3-11 La Meneíto montuno

12 – Cuban Masters Lessons:The Cuban Piano

Danzón
The danzón is a style that was strongly influenced by the immigration of
the Haitian and French people in the late 18th Century. This influx of im-
migrants came about after the Haitian Revolution and also coincided with
beginnings of the certain Cuban defined musical ideas.
4
Danzón was influenced by the French contradanse and first shows up in
Cuba as contradanza. Among the differences is the introduction of Cuban
percussion and the ensemble format of violin, flute and piano.
This ensemble format emerged into two distinct groups; the charanga típi-
ca and the orquesta típica Cubana.
The charanga típica used a five valve flute, two violins, piano, bass, tim-
bales (pailas) and a güiro (gourd). The orquesta típica cubana consisted of
two violins, two clarinets, bass, trumpet, trombone, ophicleide, timbales
(pailas) and a güiro (gourd).
Only the charanga típica survived and when the orquesta típica cubana
ceased to exist, the generic name of charanga as well as orquesta típica
Cubana is being applied to the original charanga típica.
There are other genres in the danzón Family. These include; danza Cu-
bana, and the danzón which, was also the national dance of Cuba in the
last century. During the last evolutionary phases of danzón, a vocal section
was added to the genre. The styles that contain a vocal part are the danzo-
nete, and the cha-cha-chá.

Importance of clave
One of the ensembles that is available (on YouTube or the DVD version
of this series) was a danzón called Las Alturas de Simpson. The main char-
acteristic in danzón style is the clave rhythm, which is different than son
clave or rumba clave, and looks like this.

4 j
ã4 œ œ œ œ œ œ œ ‰ œ œ

Example 4-1 Clave pattern for danzón

The first prerequisite for all musicians in order to be able to perform any
Cuban music style is to have a good sense of the clave, to acquire an inter-
nal feel for clave. Every musician must have an organic feel of clave in his
or her heart and mind when performing. This is regardless of whether the
percussion is playing the clave or not.
If the clave for a particular style is not felt inside, it will be impossible to
approach any style of Cuban music.
Both danzón and cha-cha-chá styles share a very easy clave. In the cha-
cha-chá, the clave would be much more stable and look like this.

ã 44 œ œ œ œ œ œ œ œ

Example 4-2 Clave pattern for cha-cha-chá

Son has two types of clave, the traditional son clave and the guaguancó
or rumba clave. Despite the name, the rumba clave is used in son as well,
especially modern son and its variants like timba. It is very important to
keep these clave patterns in mind and also play them correctly. You must
also understand that the patterns can be played in reverse. The melody
really dictates the direction of the clave, and in some modern styles, both
types of son clave (rumba and son) exist in the same song.
Generally once a song starts the clave direction stays the same (it can be
called 3:2 or 2:3 depending which side starts the first measure of the song)
throughout the entire song. In modern Cuban music the clave can, al-
tough rarely, change direction or cross (clave cruzado). Please note that
crossing the clave is very rare.
Here are the two types of son clave.
j
ã 44 Œ œ œ Œ œ. œ œ œ

Example 4-3 Clave pattern for son (2:3)

Notice that only an eighth note on the 3 side is different in rumba clave.

j j
ã 44 Œ œ œ Œ œ. œ œ ‰ œ

Example 4-4 Clave pattern for rumba (2:3)

14 – Cuban Masters Lessons:The Cuban Piano

Danzón form
To approach the danzón, which we talked about before, I will show you the
same piece that is played in the ensemble example. Danzón can start with
a piano introduction or it can go right to the theme.
The form is as follows: The theme; then a trio, which is the singing part;
a musical part in which the dancers take a break; the dancing starts again
when it goes back to the theme; and then a montuno, which would be the
theme again.
For example here is the theme part of Las alturas de Simpson.

>œ . œ. œ. œ. œ œ œ œ œ œ œ œ œ ‰ j
A min E7 A min E7 A min D min7 E7

4 œ .
. œ œ œ œ œ
&4 œ
. œ . . . . . . . . # œ. . . > . >œ œ. œ. œ. œ
œ. >œ œ œ # œ
>
.
œ >œ >œ œ. # >œœ
> > > > >
?4
4 ∑ .. ˙ ˙ ˙ œ # œœ œ œ. ‰ œ. œ Œ
J

œ>œ
E7 A min B7 E7 A min7/E

& œJ œ œj œ # œ œ œ œ œ œ ‰ œ œ œ # œ œ œ ‰ Jœ œ #œ œ .
œ . ˙˙˙
Ó
> . > >

? œ # œœ. . . œœ œ œ >œ
‰ œœ ‰ œœ œ œ œ
œ
œ œ ‰ ‰ œ œ Œ .. ˙ Ó
œ œ >
>
Example 4-5 Las alturas de Simpson theme

Cuban Masters Lessons:The Cuban Piano –15

This song has two bridges, or trios, that are played after the theme. The
first trio that is played goes like this.

4 j j œ œ œ # œ ‰ œj‰
&4 œ œ œ
. œ
. ‰ œ
. œ. œ Œ ‰ # œ œ œ œ œ œ. œ. œ ‰œœœ˙
> > > > œ > . . > >
œ œ œ œ œœ œ œœ
?4 ∑ . . . .
4 œ œ œ ‰ œJ œ œ œ
œ œ ‰ ‰ œ.
œ . œ. œ
œ
œ ‰J
> > > > >

j œ œ. ‰ œ. œ. œ. ‰ œ
&‰œœœ˙ ‰ œœ œ œ Œ œ œ œ ‰ œ œ œ œ
> ˙ #œ > > . . œ. œ. œ.
>
œ . # œ > œ œ. œ. œ. >
? >œ œ œ. œ œ œ ‰ œj Œ œœ b œ >
œœ Œ œ ‰Jœ œ # >œœ
œ œ œ œ œ
> > > >

&œ œ Œ œ Œ œ Œ œ bœ œ ‰ œ œ œ # œ œ ‰ œJ œ œ œ>œ
> > > > > bœ œ #œ > œ. œ
>
> >
?œ œ Œ œ Œ œœ Œ œœ
>œ >œ ˙˙˙ # œœ œ ‰ œ œ
œ œ œ b œœ œœ œ J ˙ ˙
> > > > > > >
Example 4-6 Las alturas de Simpson trio 1

16 – Cuban Masters Lessons:The Cuban Piano

You then repeat the theme, and play the second trio.

‰ j 3 Œ ‰ j
3

4 œ œ œœ ˙ œœ œœ œ œœ œ
œ œ # œ ˙ œœ œ œ gg œ˙˙ œ ggg b œ˙˙ œ œ ˙ œ Œ
3 3

&4 ˙ œœ
gg gg œ
œ g
gg ˙ gg b ˙g J
gg
?4 œ œœ‰œœ œ œ ˙ gg ˙ gggg b ˙ œ
œœ œ œ ‰ œ œœ ˙
4 J g g J œ

œ ‰ j œ
ggg œ œ œ œ œ Œ
3

& œ œ ˙ œ œœ œ ˙
gg
ggg
œ gg œœœ œ œœ œœ œœ œœ ˙˙
gg
3

? œ œ ‰ Jœ ‰ jœ ‰ j œœ œ
3

œ œ œ

Example 4-7 Las alturas de Simpson trio 2

When that trio ends, it again goes back to the theme.
All of these will sound much richer, if you are able to enhance it harmoni-
cally. For instance this is the traditional way of playing the song, and stays
on the tonic (I) and dominant (V) chords.

> >œ
C /G C /G C /G G7 G 7/D

& 44 ˙ œ. # œ. >œ ˙ œ ˙ œ œ. œ. ˙ ˙˙ Œ Ó
> œ >

? 44 œ œ. œ. ‰ œ. >œ œ œ œ œ œ
. œ. j
œ ‰ œ. œ œ œ œ œ Œ Ó
J œ
> > >
Example 4-8 Las alturas de Simpson traditional harmony

Cuban Masters Lessons:The Cuban Piano –17

By changing the melody a little and adding some movement by the use
of passing chords, you can get a much richer melody that will sound a lot
more modern to our ears. Here is an example of what that could look like.
C E min7 E b aug7 A min

4 j ˙ g b œ˙˙ ˙
3

œœ Œ Ó
œ œ.
3

&4 ˙ #œ ˙ gg œ˙˙
3

> ˙ > gg œ
gg ggg >
œ. > ggg gg b ˙
> ggg ˙˙ ggg ˙ >œ
?4 œ œ œ
Œ œ œ œ
Œ g˙ gg b ˙ œœ Œ Ó
4
>
Example 4-9 Las alturas de Simpson modern harmony

Danzón montuno
In the ensemble version of the song, there was a montuno added. Danzón
didn’t have montunos when they were created, but it became common in
the 1920’s and later to add one. This was to liven up the danzón for the,
then, contemporary audiences, and also to let the musicians play a little
more free. Note though, that in a society function, even in the 1920’s and
1930’s, musicians would probably not add this part.
Here is the montuno part that was played on the ensemble.

Bb
E
j F min6 D min
.
E A min

œ œœ œœ œœ .. ‰ œj œ. j œ
& 44 Œ ‰ # œœ œ
‰ # œ œ. . œ. # œœ ‰ J œ ..
œ œœ œœ œœ œœ
> > > > >
j œœ. œœ .. œœ .. >œœ
?4 Œ ‰ œ œ œ œ .. Œ #œ .
œœ . # œ . ..
4 bœ nœ œ
œ œ œ œ
> > > >
Example 4-10 Las alturas de Simpson montuno
As you can see, the cadence is similar to the son. The danzón is an older
style than son or montuno son. It’s really matter of choice to add the mon-
tuno part.
The bass has less movement when playing a montuno part in the danzón
due to the balanced nature of this style. The piano also plays a very steady
montuno part, so it is not really a son-montuno, rather a danzón mon-
tuno!

18 – Cuban Masters Lessons:The Cuban Piano

The tempo has a lot to do with it; it would be a bit faster, but remember
there is a very strong relationship between danzón, son montuno, and son.

jœ œ. œ
& 44 ‰ œ. œ. œ. b œœ Œ b œ œ # œj‰ œ ‰ œ œ. œ
œ # œœ ‰ œ ‰ œœ Œ Ó œ. œ. œ
œœ
œ. J > J œ œ . œ. .
. . b œœ # œ œ. n œœ.
? 4 >œ Œ Œ # œ œ ‰ œ œ ‰ œ. >œ
œ Œ ‰ Œ ‰
bœ œ
4œ # œ œ œ œ œ. œ. œ. bœ œ. bœ œ Œ
J œ J

jœ j j œ. # œ. œ.
œ œ œ #œ nœ œ œ ‰ œ ‰ œ œ #œ œ #œ
& ## œœ œ nn œœœ ‰ œœ œ œ ‰ œ œ # œ œ #œ nœ œ œ œœ œ œ œ. # œ œœ # œ
. .
œœ >œ >œ œ œ œœ œœ bœ
? Œ
J‰ Œ œœ Œ ‰ ## œœ œ ‰ n Jœ Œ œ Ó bœ Œ
J

œ œ œ œ œ œ ‰ œ œ. œ. œ # œ œ œœ œ œ. œ ..
& œ # œœ œ œ ‰ œ œ œ . œ. œ. œ. # œ. œ. œ # œ. œ n œ œ
>
?œ >œ >œ bœ œ #œ œ. œ
œ ‰ œ Œ œ œ Ó bœ œ #œ œ. œ. œ ..
J

Example 4-11 Las alturas de Simpson in son style

Cuban Masters Lessons:The Cuban Piano –19

Bolero
The bolero is a combination of romantic emotions and, generally, harmon-
ic sophistication. It belongs not only to Cuba, but many of the Caribbean
islands.
The Cuban bolero is part of the style of music known as Cuban song. This
5
shouldn’t be confused with son as they are not the same style at all. The
song genre is generally comprised of music that is meant to be listened to,
and dancing to it was a secondary function. This is in contrast to most of
the Cuban music played today where the primary purpose is dancing. In
Cuba it is said that the music is for the dancers, and that is true for most
Cuban styles.
Cuban bolero evolved from the song style of the troubadours (trova),
and evolved into a style that does combine dancing, and the bolero is
well known around Latin America. According to Olavo Alén Rodríguez
(2000,2012), “the bolero, along with the son and the rumba, is one of the
most important genres incorporated into salsa music.”
Here is an excerpt from the famous Cuban bolero, Como fue, written by
José Antonio Méndez.
F 7 b9 B bMaj7
#
E bMaj7 ( 11)
œ œœ
F maj7 C min7 A min7 D9

œœœ œ œ ˙
& b 44 Œ Œ≈ œ œ œ
3

œ œ œ . œ ˙ gg b ˙˙˙ ≈œœœœœœœ œ œ œœ ˙
ggg
ggg
œ ˙. ˙˙ œœ œ œ ˙ ggg ˙˙ ˙˙˙ œ œ
œœ
3

? b 44 œ b˙ œ œ gg b ˙ œ œ
œ œ œ
G m9 C 13 A min7 A b/E b G m11 F

& b œ œ œ œ œœœ œœ œ œ œœ œœ œ g œ œbœ œ œ

œ œ gg œœ œ œœœ œ œ . œ œ ˙
œœ gg
ggg ggg
gœ ggg
?b ˙ œœœ œœœ œœ œ œœœ gggg œœ b bb œœœœ œœ œ b œ ggg ˙˙˙
g
œœ ˙˙
œ œ œ gg œ g˙
˙ bœ œœ œ
Example 5-1 Excerpt of Como fue

Like any other style, pianist needs to have a wide harmonic knowledge and
a refined musical taste. The bass plays in a very steady manner, usually in
quarter notes or half notes, simply supporting the harmonic structure for
each chord. The piano is the one that has to add the harmonic variety.
Another thing to understand is that the bolero has a very strong link to the
American ballad, especially from the early to mid-20th century. Here is a
fragment of a very traditional American ballad.

4 j
& 4 ‰ œœœ œ œ œ œ œ œ œ ‰ œ œ . œ œ œ b œ œ ‰ œœœ œ œ œ œ b œ . œ ‰ œj œ . œ œ œ b œœ œœ
3 3 3

œ œ. œ œ
j j j
‰
? 4 ˙.œ ˙ . ‰ œ ˙ œ . œ ‰ œ ˙. œ œ. œœ œœ ..
4 ˙ .. ˙ .. œ
Œ œ œ œ

j
& ‰ œ œ œ œ œb œ œ œ œ b œ b œ ggg ˙˙˙˙ www
œ œœ œ w
œœœ œ œ œ œ œ œ ggg
ggg
b ˙˙ œœ œ b œ ˙ œœ ggg b ˙
?˙ ˙ œ œ œ ˙ # œœœ b œ ggg ˙˙ w
w
˙

Example 5-2 Classic American ballad

If we played that same melody as a bolero, it would sound like this.

4
&4 Œ ≈œ œ œ œ œbœ œ Œ ≈œ œ œ b˙ Œ œ œ œ œ œbœ œ Œ œ œ œ ˙
3 3 3 3

j j j b œj œ
œ œ b œ œ b ˙˙ # œœ œœ
? 4 ‰˙ .œœ œœ œ œ. œ. ‰ b œœ œœ
˙.
‰ œ œ. ‰
˙.
œ
œ ˙
4 œ
> > >
Example 5-3 Classic American ballad played as a bolero

22 – Cuban Masters Lessons:The Cuban Piano

If that melody was played as swing, it would go.

j
& b 44 Œ ‰ œj œ œ œ œ œ œ œ b œœœ œœœ œœœ œ œ ‰ œ œœœœ œ ‰ œ œ œ ‰ œ œ œ œ w
3 3 3

œ œœ œœ œœ # œœœ # œœ œ œ w

? b 44 œ œ n œ b œ œ œ œ œœœ œ œ œ œ œ œ œ
œ w
◊
3

Example 5-4 Classic American ballad in swing style

To take this concept the other way, you can play “Como Fue” in swing and
it would sound like this.

œœ œœ œœ b œœœ n œœ j œjœ œ œ œ
3

& b 44 ‰ œœœ ‰ œœœ ˙˙˙

œ
3 3
3

bœ œ œ œœ œœ œœ œœ # œœœb n œœ œœ œ œ b œœ œ
œ œœ œ # œ n œœ œœ
>> >>
#œ nœ ˙
3

? b 44 œ. >bœ 3
œ. œ œ œ ‰ œ œ. œ œ œ œ œ œ bœ ˙ b œœ œœ œœ
3

œ . . œ œ. > J
>
j3 œœ œ œ œ bœ
& b œ œ œœœ œ œ œ œ œ œ œœ œœ œ œ œœ œœ ‰ œ œ œ œ œ
œ
>œ œ
3 3
3

œœ œœ
3

?b œ œ. œ œ #œ œ œ ‰ b ˙˙
œ œ. ˙
3

bœ bœ œ bœ
& b œ œ œ bœ œ œ w
3 3

3
3 bœ nœ w
˙ ˙˙
? b # ˙˙ ˙ w
w
Example 5-5 Como fue in swing

Cuban Masters Lessons:The Cuban Piano –23

What we’re doing is mixing bolero with jazz. The only thing we need to do
is change the rhythmic feel.
If we add percussion, the tumbadoras (congas), and the bass changes while
you play in quarter and half notes you will get the classic bolero sound.
There is a sentimental feeling associated with the bolero. It is like playing a
slow blues or romantic ballad. Here is how the tumba part would be if we
played against example 1 again.

F 7 b9 B bMaj7
#
E bMaj7 ( 11)

œ œœ
F maj7 C min7 A min7 D9

4 œœ œ œ ˙ Œ ≈œœœ
3

&b 4 Œ œœ œ œ . œ ˙ gg b ˙˙˙ ≈œœœœœœœ œ œ œœ ˙

ggg
œ gg œœ
œ ˙. ˙ œ œ œ ˙ ggg ˙˙ ˙˙˙ œ
œ
3

? b 44 œ b ˙˙ œ œœ
gg b ˙
g œ
œ œ
œ
H F S F H OOO

÷ b 44 œ œ œ œ œ œ œ œ ‘ ‘ ‘ ‘

G m9 C 13 A min7 A b/E b G m11 F

œ œ œ œœ œ œbœ œ œ
&b œ œ œ œ œ œœ œœ œ g œ œ œ gg œœ œ œœœ œ œ . œ œ ˙
œœ ggg ggg
ggg œ ggg
b bb œœœ
œœœ œœœ œœ œ œœœ gggg œœ œ œœ œ b œ ggg ˙˙˙ œœ ˙˙
?b ˙ œ œ œ gg œ gg ˙
˙ bœ œœ œ
H F S F H O O O

÷ b œ œœœœ œœœ ‘ ‘ ‘

Example 5-6 Como fue with tumba part

The bolero performed with the ensemble is a classic bolero, a jewel of the
Cuban musical literature called Longina.

24 – Cuban Masters Lessons:The Cuban Piano

This bolero goes like this.

œ˙˙ œ œ œ œ œ
3 3

4 œ œ œ œœ œœ œ œ œ b œ œ œ œ œœœ œ œ
&b 4 œ œ œ œ ˙
3

œ œ ˙ ˙
? 4 ∑ œ œ œ
b 4

œ œ g œœ œ œ œ œ œ œ œœ ˙˙ ..
&b ggg # œœ œ œ œ œ œ #œ œ œ œ
ggg
ggg
œ ggg
3

?b œ œ ggg ˙ bœ. nœ œœ œ ˙.
gg ˙ œ. Œ œ
œ bœ œ
3
Example 5-7 Longina (fragment)

Cuban Masters Lessons:The Cuban Piano –25

We could play this same bolero, as a Latin jazz piece. To make it sound
like Latin jazz we would give it a faster son rhythm, characterized by the
cáscara on the timbales. We would add tumbadoras, and the bass would be
played with much more movement, and thus we would achieve the Latin
jazz feel. It would sound like this.

Example 5-8 Longina in Latin jazz

26 – Cuban Masters Lessons:The Cuban Piano

By using the same harmony, and just changing the rhythmic structure, we
get different versions and variations of the same bolero. This is what Lon-
gina would sound like in swing style.

4 ‰œœœœœ ˙ œ œ œœ
& b 4 jœ œ ˙ œœ œœ œ ≈ œ œ œ
3
3

œ œ œœ œœ œ œ
œ 3

œœ œ b œ œ œ œ œ œœ
?b 4
4 ∑ œ œ
œ œ œ ‰ #œ œ
œ
◊
Ÿ
& b œ œœœ œ ˙˙ Œ œœ œ œ œœ ˙˙˙ Ó
œ œ b œœ œœ ˙

? b ‰ Jœ œ œœ œœ œ
œ
œ œ
œ œ Œ Ó
œ
( ◊)

Cuban Masters Lessons:The Cuban Piano –27

Mambo
The mambo and cha-cha-chá are very similar, and is part of the Danzón
family. The mambo, like its relatives the cha-cha-chá and danzonete, had
vocal section added. The mambo is also unique because not all the songs
have lyrics in the normal sense. Many mambos were just instrumentals
6
and sometimes there would be a repeating coro, but no real verse.
The mambo is usually a little more dynamic. We should not only refer to
the Pérez Prado mambos, but also to one of the great Cuban musicians,
the late Benny Moré. Benny used to blend mambo elements with different
Cuban patterns in his own compositions and performances.
Here is a very typical chord progression for a Cuban mambo tune
F Maj13(# 11) F Maj13(# 11)
œœ œœœ œœ œœœ
G min7/F C 9sus 4 G min7 C 9sus 4 F Maj7 F Maj7

4 œœœ œœœ œœœ œœœ ..

b
& 4 œ œ

œ œœ œ œœ œ œœ œ œœ
? 4 œ œ œ œ ..
b 4

Example 6-1 Typical mambo chord progression

Bass part
If you recall the bass in the cha-cha-chá it would sound like this.

? c >œ œ œ. œ. >œ œ œ. œ.
œ œ œ œ ..

Example 6-2 Bass line in cha-cha-chá

The same bass line would sound like this if you played mambo.

œ. œ. œ. œ.
? >œ œ.
>œ
œ.
>œ
œ.
>œ
œ. ..

Example 6-3 Bass line in mambo

Clave
The reason the bass plays this pattern is because the clave in mambo is not
the same as son clave. It is basically just four quarter notes. The bass pat-
tern came about to support this simple clave.

÷c œ œ œ œ

Example 6-4 Mambo clave

It is important to note that the clave is normally not played on the claves.
It is usually played on the campana (cowbell) or the cha bell on timbales.
Here is what the bass part combined with what the piano would play in a
typical mambo.
. >œœ ..
4 œ
œ œœœ. œ. œœœ. ≈ œœœ. ... œœ. œœœ. >œœ .
œ .. œœœ. ≈ œœœ. ... ..
&b 4 œ J œ
J

? 4 >œ œ. >œ œ. >œ œ. >œ œ.

b 4 œ. œ. œ. œ. ..

Example 6-5 Mambo piano part with bass in left hand

Mambo patterns
Normally you will be playing with a bass player and wouldn’t need to play
the bass part with your left hand. Instead, you could play something like
this, and remember the cha-cha-chá are closely related but this is mambo.
. >œœ ..
4 œ
œ œœœ. œ. œœœ. ≈ œœœ. ... œœ. œœœ. >œœ .. œœœ. ≈ œœœ. ... ..
&b 4 œ J œ œ.
J
œœœ œœœ œœ œœ
‰ œœœ ‰ œœœ
? 4 ‰ œœœ œœœ
‰ ‰ œ ‰ ‰ œ ‰ ..
b 4

Example 6-6 Mambo pattern 1

30 – Cuban Masters Lessons:The Cuban Piano

Here is another variation that is commonly played.

>œ œ >œ œ >œ œ œ >œ . >œ œ >œ >œ œ œ >œ .

œ œ œ œ œ œ œ œ œ œ œ ≈ J
b 4 ≈ J ..
& 4

? b 44 œ œ œ œ œ œ
œ œ ..

Example 6-7 Mambo variation

Here is the variation with the bass part so you can see the syncopation and
interaction with the bass.

>œ œ >œ œ >œ œ œ >œ . >œ œ >œ >œ œ œ >œ .

4 œ œ œ œ œ œ œ œ œ œ œ
&b 4 ≈ J ≈ J ..

? b 44 œ œ œ œ œ œ
œ œ œ œ œ œ ..

Example 6-8 Mambo variation with bass in left hand

You could also change the montuno with chords or mix and match de-
pending on the ensemble. Here is a possible way to change the chords and
rhythms for your montuno.
. œœ.
œ >œœ .. œœ. œœ. . œœœ. œœœ. >œœ . œœ. œœ. . œœ œœ œ>œ >œœ .. œœ. œœ. . œ œ >œ >œœ . œœ. œœ. . .
4 œ
&b 4 œ œ œ . œ ≈ œ .. œ .. œ ≈ œ .. œ̆ œ̆ œ œ . œ ≈ œ .. œœ̆ œœ̆ œœ œ .. œ ≈ œ .. .
J J J J

?b 4 œ œœœ œ
œ œ
œ
œœ
œ
œ
œ œ œ
œ
œ
œ œ
œ
œœ
œ
œ ..
4

Example 6-9 Mambo variation with chords

Cuban Masters Lessons:The Cuban Piano –31

Ensemble example
The mambo that is on the DVD and also available on YouTube, is a good
example of this style. It also incorporates cha-cha-chá and son elements.
The son part was added at the end of the piece and was used to show of the
percussion section. The montuno in the mambo part was like this.

œ. . . œ œ. œ œ œ œ œ œ œ . œœ ≈ œ. œ. œ œ œ œ . œ œ œ. œœ œ
& b 44 œœ œ . œ. ≈ œ œ œ
3

œ œ . œ. . . . œ œ œ œ œ œ. . œ œ œ œ . œ. . . œ
œ œ . œœ œ. œ. œ œ œ . œ. œ. œ. œ œ . œ. œ. œ. œ œ œ . . œ. . .
? 4 œ œ . œ ≈ œ œ œ œ . œ.
b 4 œœ œ œ œ œ. ≈ œ œ œ œ. œ œ œ œ œ

b œ œ . œ ≈ œ. œ. œ œ. œ œ œ. œ œ œœ .. œ. ≈ œ. œ. œ œ. œ œ œ ..
& œ œ. . œ œ œ . œ. . . œ œ œ œ œ . œ. . . . œ œ
œ œ . œœ œ. œ. œ œ œ . œ. œ. œ. œ œ œ œ œ œ œ œ œ
? b œ œ . œ ≈ œ œ œ œ . œ. œ œ œ œ œ ..

b œ
& œœ ‰ j œ Œ
œ œœ

?b œ Œ œ Œ
œ
Example 6-10 Montuno for Mambo 2004

32 – Cuban Masters Lessons:The Cuban Piano

Here is a fragment of the son section that was added to this song.



& b C .. œ Œ ‰ œ œ ‰ œ.
J #œ œ œ
Œ Ó ∑ ..

œ
? C .. œ
b Œ ‰ œ J ‰ œ. #œ œ œ Œ Ó ∑ ..

Example 6-11 Son fragment from Mambo 2004

Cuban Masters Lessons:The Cuban Piano –33

Timba
Timba, which is just a witty Cuban word, is a mixture of different ele-
ments. It is not a very defined or stable style, and it has a lot to do with
internal rhythmic creativity.
The piano works with a tumbao, but the bass works with a different, freer
7
pattern. There are often other keyboard parts that perform a contra-tum-
bao to the piano part. The tumbadora (conga) plays a pattern while the
drum set plays a rhythmic counterpoint to it. When all these elements are
tied together, like a big musical stew, we get timba.
To get an idea of how this all works, we will start with a standard 1-4-5
progression and build this up.

F Bb C Bb F

& b 44 œ ..
j j
œœœ œœœ œœ œœ ... œœœ œœœ œœ
œœ . œ œ œ

? b 44 j j
œ œ œ œ. œ œ
œ. œ
Example 7-1 1-4-5 progression
If you were playing this in traditional son style, the bass would go like this.

? b 44 j j
œ. œ œ œ œ. œ œ œ
Example 7-2 Traditional son bass line
Timba is played much faster and freer and taking the roots from the son
pattern the bass would play a much freer and rhythmically complex part.

»¡¶∞
q
j j j j
?b C ‰ œ Jœ œ œj ‰ œ œ œ œ ‰ œ Jœ œ œj ‰ œ œ œ œ
œ œ œ

?b œ ‰ œ ‰ j ‰ œ œ ‰ œj œ ‰ œj ‰ œ œ œ œ
œ
5

J œ œ J œ œ J

j œ œ
?b ‰ Jœ œ ‰ œj ‰ œ œ œ œ ‰ Jœ œ ‰ œœ œ
9

œ J œ œ

j
?b ‰ Jœ œ ‰ œ ‰ Jœ Œ œ œ ‰ œj ‰ œ œj Œ œ œ œ Œ Ó
13

œ œ œ

Example 7-3 Typical timba bass part

Since the bass is not just playing the more stable, traditional son bass pat-
tern the piano part can also be much freer. You could still play a traditional
montuno over a timba bass part, but it is best to learn how to play the
piano part the timba way.
Here is another bass line that could be played by the bass player with these
harmonies.

»¡¶∞
q
?C ‰ œj œ ‰ b œj ‰ œ Œ œ b œ ‰ œj Jœ œ œj ‰ œJ Œ b œ œ ‰ œj ‰ œ b œj
œ J œ œ

? ‰ Jœ Œ ‰ œj ‰ œ j œ
bœ ‰ J Œ Ó
6

œ bœ œ
Example 7-4 Variation of timba bass part

36 – Cuban Masters Lessons:The Cuban Piano

Here is an example timba part that could be played over the bass line in
the previous example.

r œ. œ. œ. œ. b œ. œ. .
.œ b œ. n œ. œ œ œ œ. œ. # œ.
œ
& b 44 ## œœ œœ œ œ œœ œ
œ
œ œ ≈bœ ≈ œ ≈ œ ≈ b œ nœ œ œ œ ≈ œ ≈ œ ≈ #œ

. œ. œ. œ. ≈ . . œœ. .
? 4 # œr œ œ œ œ œ œ œ œ œ ≈ b œ. n œ. œœ œœ œ. ≈ œ. œœ ≈ # œ.
b 4 ≈ ≈ ≈

œ œ œ œ. œ. . # œ. œ œ œ œ œ œ œ .
œ œ
œ .œ œ. œ. œ. œ. œ œ. œ œ œ. œ.
&b œ œ œ œ œ ≈ œ ≈ œœ ≈ # œ ≈ œ œ œ œ œ œ œ œ œ
œ ≈œ œ ≈œ œ œ ≈œ œ ≈ ≈œ œ
≈ ≈
œ
œ œ . .
œ œ œ œœ . œ. ≈ œ. ≈ œ. œ ≈ œ. œ. .
3

œ œ œ ≈ . œ ≈ . œ œ œ . œ
3

?b œ œ ≈ # œ ≈ œ œ .
œ ≈œ≈ ≈ œ ≈ œ
3 3

œ b œ œ œ. œ.
. n . œ. œ. . œ. œ. . . œ. œ.
œ . .
œ œ . # œ .
œ
œ œ œ œ .
& b ≈ œœ œ œ b œ œ ≈ œ œ ≈ œœ ≈ n œ ≈ œ œ ≈ œ œ ≈ œ œœ ≈ œ œ ≈ œ œ ≈ œœ œ ≈ œ œœ ≈ # œ œ

œœ b œ œ œ. œ. œœ. n œ. œ. œ. . œ. . œœ. . œ . œœ. œ. œ. œœ. . œ.

?b ≈ œ œ ≈ ≈ ≈ ≈ œ ≈ œ . œ
≈œ ≈ œ ≈ ≈ ≈ #œ

>œ >œ œ. œ. . # œ. >œ œ

& b ≈ Jœ ≈ œ ≈ œ ≈ œ œ ≈ # œ œ Œ
œ
œœ ≈ œ Ó
> >
>œ >œ ≈ œ. . œœ . > >œ
œ
? ≈ J ≈
b ≈ œ ≈ #œ Œ œ Ó

Example 7-5 Timba piano part

Cuban Masters Lessons:The Cuban Piano –37

You can create many variations of this pattern that fit in with the bass part.
One variation of that pattern could also be played like this.

r
4 #
& b 4 #œ
œ .. ≈ œ œ ≈ œ œ # œ œ œ œ œ œ œ ≈ œœ œ œœ œœ # œ œ œ œ œ œ # œ ..
œ œ œ œ > . > > . # >œ
>
? 44 R
>œ œ œ œ # œ œ œ œ >œ œ. >œ œœ œ œœ œœ # œ œ œ œ >œ œ. n >œ
b .. ≈ ≈J ≈ ≈ ..

Example 7-6 Variation of timba piano part

Here is yet another example along with what the bass player might be play-
ing.

.
œ > >
? b 44
œ. œ. ≈ œ œ. ≈ œ. œ. œ œ œ. ≈ œ. œ ≈ .œ œ œ
Bass >
> >.

.œ >œ
>
?b
œ. ≈ œ. œ. ≈ œ. œ. œ œ. ≈ œ. œ. .≈ œ œ
œ œ
>. > >.

œ # œ œ œ œ œ œ œ ≈ œœ œ n œœ œœ
& b # œ œ œ œ œ œ œ ≈ œ œ n œ œœ
œ

?b . .
œ > >
œ œ. ≈ œ. œ. ≈ œ œ. œ œ
≈ œ
œ. . œ. ≈ .
œ œ œ
>. > >.

b # œ œ œ œ œ ≈ œ
œ n œœ œœ # œ œ œ œ œ œ œ ≈ œœ œ n œœ œœ
& œ œ œ

?b . œ. . >œ >œ
œ. œ. ≈ œ. œ. ≈ œ œ. œ œ
≈ œ
œ. . .œ ≈ œ
> >.
Example 7-7 Timba piano part with bass pattern
38 – Cuban Masters Lessons:The Cuban Piano
There are many of these variations and they all depend on the skill level of
the musicians involved. In the case of timba, the bass player takes on prob-
ably the most important role, and must have very good internal rhythm.
The bassist is coming up with the variations on the tumbao that, especially,
the piano and tres players are playing off of.
The pianist has to create tumbaos that are not bound to the more tradi-
tional and stable son patterns. The tumbaos need to be more aggressive
and challenging, and a pianist must be ready to change those tumbaos at a
moments notice throughout the piece. This is true whether you are playing
the main piano part or a contra-tumbao or emulating the tres player.
You could leave the montuno somewhat fixed, but it wouldn’t be as dy-
namic and the song would lose some of its edge. It certainly wouldn’t be
traditional timba, but sometimes if you are on a gig for the first time and
don’t know the charts, is a way to stay out of the way and still sound cur-
rent.
Here are some more examples for you to practice.

>œ œ œ œ > > >œ œ œ œ > >

4
&b 4 ≈ œ ≈ ≈ œ œ ≈ œ œ œœ œœ ≈ œ ≈ ≈ œ œ ≈ œ œ œœ œœ ..
J J
. > > . > >
?b 4
4œ ≈ œ ≈ œ. œ. ≈ œ œ. œ œ ≈ œ ≈ œ. œ. ≈ œ œ. œ œ ..
. œ .
> >
Example 7-8 Variation of timba pattern

And another.

r
œœ œ œ œ œ
& b 4 œ .. ≈ œœ. œœ œ œ œœ ≈ œœ. œœ ≈ œ œœ ≈ œœ. œœ œ œ œœ ≈ œœ. œœ ≈ œ œœ ..
4 œ
> . > . > . . . . > . > . . >
. > > . > >
? b 44 ∑ .. ≈ œ ≈ œ. œ. ≈ œ œ. œ œ ≈ œ ≈ œ. œ. ≈ œ œ. œ œ ..
œ . œ .
> >
Example 7-9 Variation 2 of timba pattern

Cuban Masters Lessons:The Cuban Piano –39

You can mix and match these to create music that feels very alive and dy-
namic. Make sure you play these parts percussively and aggressive. Timba
is about attitude as well as technique. It is not a style for timid, soft playing.

Ensemble example
If you have the DVD version of this masters class or if you are watching
on YouTube, you will find a song called “Tranquilo.” This was written by
Jiovanni Cofiño and was originally recorded as a traditional son. He updat-
ed the arrangement for this project and added elements of not only timba,
but bolero and modern son. The timba elements on piano were added in
the last section by Emilio and here is a fragment of what he played.

>œ œ œ >œ >œ œ œ >œ

4
&4 ≈ œ œ œ ≈ bœ ≈ œ œ œ œ œ œ œ ≈ b œ ≈ œ œ œ ..

>œ œ œ >œ >œ œ œ >œ

?4 ≈ œ œ b œ œ
œ ≈ œ œ b
œ œ œ ≈œ œ ≈ œ œ œ ..
4 ≈

Example 7-10 Fragment of timba part played on Tranquilo

If you were to play the same thing as son moderno, you would play some-

»¡•∞
thing like this.
q

C ‰ œ œ œ œ œ œ ‰ œ œ ‰ œ ‰ œ œ œ œ œ ‰ œ Œ Ó
& œ J œ œ œ J J J

œ œ œ Jœ
?C ‰ œ œ œ œ œ œ œ ‰ œ
œ ‰ œ œ œ ‰ œ œ œJ J ‰ Œ Ó
J
Example 7-11 Tranquilo as son moderno

40 – Cuban Masters Lessons:The Cuban Piano

The bass would also change and sound like this:

»¡•∞
q
œ œ œ œ œ œ œ ‰ œ bœ œ
?C bœ œ
‰ J Œ Œ ‰ J Œ Œ ‰ J ‰ J ‰
Bass

œ
? œ œ œ œ ‰ bœ nœ
œ œ œ œ œ œ ‰ bœ nœ
œ
‰ J ‰ J ‰ ‰ J ‰ J ‰
5

œ
? œ ‰ Jœ œ œ ‰ œ bœ nœ œ
‰ J ‰ Œ Ó
9

Example 7-12 Tranquilo bass part

Cuban Masters Lessons:The Cuban Piano –41

Changüi
Changüi is not traditionally played on the piano; instead it is played by
the tres. In a modern context elements of the tres part are often played as
a contra-tumbao by a second keyboard if there is no tres in the ensemble.
In “Tranquilo” the tres player added a contra-tumbao to the piano which
8
incorporated changüí. Even though there is no piano changüí part in the
ensemble example, it is wise to listen to other musicians to get ideas.
Changüi is a very old style that comes from Guantanamo, specifically Bara-
coa. It is a fusion of an earlier style, nengon. The basic difference is that
when a specific instrumentation existed in an ensemble setting changüí
was “born.” Once the ensemble consists of these 4 musical instruments:
Marimbula, Bongo, Tres, Güiro(or Guayo) and a singer(s) you are playing
changüi and not nengon.
Of course, that is an academic answer, and music in Cuba, like the rest of
the world, has evolved and fused since changüí was invented. Most musi-
cians in Cuba would say that changüí is a style with both the Bongo and
Tres playing very syncopated and the Guayo (or Güiro) playing on the
down beats.
Another problem is that someone from Guantanamo who plays "Cuban"
music is often times considered a Changüicero. A good example of this is
Elio Reve, who does play Son with some Changüi elements, but this style
of Cuban music is really Son Moderno.
Also note that there is no “clave” in changüí. If you hear clave in a modern
context it is really just an added on part or the changüí is being played in
a son context.
As a piano player, it is important to understand all of these early music
styles since they are important when trying to understand the different
sections and styles played in a modern context. For that reason, we also
suggest that piano players thoroughly understand the percussion parts as
well, even if you never become a percussionist.
Here is a typical changüí pattern as it would be interpreted by a pianist.

4
&4 œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ #œ

? 4 >œ ≈ œ. œ .
œ œ
≈ œ ≈ . œ ≈ .
œ
>œ
≈ œ. œ ≈ œ. œ ≈ œ. œ ≈ œ
4 œ œ

œ œ œœ œ œ œ œ
œ
œ œ
œ œ œ œ œ œ
œ œ
œ œ œ œœ œ œ œ
&œ

? >œ ≈ œ. œ ≈ œ. œ ≈ œ. œ
>
≈ œ. œœ ≈ œ. œ ≈ œ. œ ≈ œ. œ ≈ œ.
œ

Example 8-1 Typical changüi piano pattern

The changüí flavor can be obtained by playing specific rhythmic accents

on either the piano’s tumbao or the tres’s contratumbao. In the ensemble,
the piano was playing a son tumbao with some timba elements and, since
the rhythms corresponded to each other, the tres answered with a changüí
contratumbao.
Here is another example with a son bass part for you to practice.

4
œ œ
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ ..
&4 œ œ œ œ

? 4 >œ . >. >œ >. >œ œ. >. >œ >. >œ

Bass
4 œ œ. œ œ œ. œ ..

Example 8-2 Changüi pattern with bass part

44 – Cuban Masters Lessons:The Cuban Piano

Resources
1
Anthology of Cuban Music – Limited Copies Available
http://e88.me/retro

Con Sabor Al Guaso – Ban Rarra (good examples of Cuban music styles
from Guantanamo)
http://e88.me/guaso

Cuban Masters Series – Mini Lessons (hand percussion and vocals)

http://e88.me/minimasters
 Ensembles
YouTube
Tranquilo: http://salsablanca.com/tranquilo
No Hay Ron: http://salsablanca.com/no-hay-ron
Mambo 2004: http://salsablanca.com/mambo-2004
La Meneito: http://salsablanca.com/la-meneito
Longina: http://salsablanca.com/longina
Las Alturas de Simpson: http://salsablanca.com/danzon

Websites
Salsa Blanca – Many more examples of Cuban music
http://salsablanca.com/

Audio Examples
All of the audio examples are available at:
http://mayuli.com/piano-masters-audio

Mailing List
Please sign up for our notifications list. We frequently have subscriber spe-
cials and updates to products. You will not get spam, we hate it as well!
http://e88.me/slsaml

46 – Cuban Masters Lessons:The Cuban Piano