The following example is a standard piano montuno played in the son.The relationship between the piano, bass, and percussion is very important, since this rhythm section is the support of everything else.The first thing the pianist has to do is listen to what the bass is doing, for example: (plays the piano).
The bass needs to hear the piano; the piano needs to hear the bass; the piano and bass need to hear the percussion. Its a collaboration of elements that have to be very close together, very solid. These videos are really well done and have inspired me to start practicing this sound; a desire thats been nagging me for a while now. Woke up this morning and decided to learn this riddim, went on youtube, found this gem, three hours later I got the first progression down Give Thanks piano52weeks. Relacionado This entry was posted in montuno, piano, salsa, Teora. Por favor, vuelve a intentarlo Lo sentimos, tu blog no puede compartir entradas por correo electrnico. A d blogueros les gusta esto. A very common example is the 3-point shuffle below which also contains open tones on the 6 beat. I know that you may have heard otherwise, but lets not forget that salsa is music. There may be different ways of labeling beats, but a beat is a beat is a beat. It belongs in one place only and there is only one correct way to count it. Without this consistency, it would be impossible to read, write, and play music. My trusty keyboard and my congas will produce all the sounds you need to understand the rhythm. With the exhalted perspective of a dancer who is also a musician, Ill break down the beats in salsa so that you can count them the right way all the time. There are a few people out there that count 1-2-3-4-5-6-7-8, but most choose to use 1-2-3--5-6-7- as their count since nothing happens on the 4 or the 8. ![]() Moving on, its important to know that salsa music is written in 44 or some variant thereof which means that you can always pretend like its in 44. What does that mean Well for our purposes, well say that a measure of salsa music has 4 beats. Therefore, an 8-count is actually two measures of salsa music. The 1-2-3 part of the count is the first measure and the 5-6-7 part is the second measure. There are several clave beat patterns in latin music, but there are only two main patterns in salsa. These numbers refer to how many strikes of the clave are present in each measure of the music. A very common misconception that dancers have is that the 1 count is always on a particular side of the clave. This is not true. It is actually the melody that determines where the 1 count is found. ![]() Below, youll find examples of the 3-2 and 2-3 claves. Its played on the conga drums and it provides the most distinct indication of beat aside from the clave. The conga is capable of making many very distinct sounds, but there are only two that you really need to be familiar with for dancing salsa: the open tone and the slap. It is what is identified most easily in salsa music as being produced by the conga. This happens on the 4 count and you should not be taking any steps when you hear the open tones. On1 dancers should still be aware of the slap and its placement in the music. The open tones (DUN DUN) will be heard twice -- once on the 4 beat and again on the 8 beat. Be careful with open tones though because although you will hear them on the 4 and the 8, the conguero may choose to take other liberties with open tones.
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