book

SECTION ONE . THE TLMBAO BASS LINECHAPTER ONE - The Basic Tumbao and its Man Variations

The simolest version of the most basic Afro-Cuban bass line. the tumbao. is as follows:

Practice this rhythm along with Track #2 until each note is played with rhythmic authority. You mighttry accenting one of the beats in each bar for a while, then a different one (e.g. first the "1", then the "and oftwo", then the "4", etc.) This track uses mostly roots and fifths in the bass so you can focus completely onrhythmic accuracy. Here, and throughout the book, we have transcribed Oscar's playing on the accompanyingCDs for you to study and play along with. After doing that, however, \r/e strongly suggest that you improviseyour own lines using the basic ideas and rhythms being presented.

CD OneTRACK #2

Guar

G7 Cnf

Cnt6 C^tG

C^t6 Bb7

rcho2

tr-3

Cnt6

Cnt6

DMI('stG7 Cnf

Cnt6 C^tG Fmr G7 Cnt6

Cnf

@Cnr6

A

a!FfrpFfrbDtDID:

DIDDIDDDDDDTDtDDIDp:

ftDDTDIIDp!!

Cnf

Cnf

Cnt6

Cnt6

Cnf DMI('51 Cnf

Cnf D,u/"u' C^t6

1 Cnt6 DMI(b5)G7 C^t6

Cnf

Cnf

D7 Db7

Cnf

Cnf

Eilgarilo Cambn, Orestes Vilat, Rebeca Maulen, Carlos Caro, Oscar Stagnaro

,

,

IIt,

ttt,

,

II,

,

I,

,

t,

,

,

,

I)

I)

tt,

,

,

,

)

)

,

I,

,

,

tt,

5 This next track takes the one bar rhythm we just leamed and adds different rhythms in the following

bar to create some two bar pattems. After trying to match what Oscar plays here, we strongly suggest that you

turn off the bass channel, and then play one phrase at a time (listed at the end of the transcription) along. with

this track until it feels natural to yu. These phrases will prepare you to play the syncopated version of the

tumbao later in the chapter.

GvorachoS-2

Gmf

Gnnf

Gml

Gml

CD OneTRACK #3

Gnnl

(t,,"b.r'fi [ Amre

Gnnf

Gr',rf

tr

b

Gml

Gmr'

Am/

7D) . .

\rMlGnnl

c7

,DFbbbbbbbbbbbbbbbbDbDDbbbbtrDtlrbrr

rrtrrIDbttDDL

G,rnl cr NCAnnf ,.^'D,

Annl

Anf

Annl

Anf Aml

Anf D7

Here are the variations that Oscar uses on this track. Try using them one at a time when you improvise your

own bass line on this exercise.

i

Photo by Ken FencklingOscar Stagnaro

tttttII:

ttDtlrItrrlrtDtTIttt-

tttlrbtbtt:

bb:

bbE

9 The following figure is the same as the basic tumbao figure except that the "4" is tied to the "1" ofthe

next bar. This syncopated version of the tumbao is the basic rhythm now in use for most Afro-Cuban bass

lines-for such styles as the guaguanco, guaracha, rumba, mambo, bomba, son-montuno, etc. Ple4se see',The True Cuban Bass" by Carlos Del Puerto and Silvio Vergara (published by Sher Music Co.) for an

invaluable look at the historical evolution of each of these styles.

Guorocho

E E

practice this rhythm until you can play it in your sleep, until you can hear it inside you like your

heartbeat. At least half of all bass lines played in Salsa are composed of nothing but this rhythm' with short

variations (discussed later in this section ofthe book) but always retuming to this basic tumbao pattern. The

primary focus here should be on getting the rhythm to feel natural. Hint: Even though the "1" is not being

played, you mus be able to feel where it is every bar.

2-3 l-cD o*1l rRAcK#4 |

g Ar7Br1

Bb7

E Db'

Db7

To help anchor the rhythmic aspect of your playing, try counting " 1, 2 and,3,4" every bar (accenting the beatsthat you are actually playing in your line) until it is engrained in your subconscious. To help you feel how thebasic tumbao rhythm fits against a steady pulse, first try playing along with the previous track and tappingyour foot on 1 and 3. Then try tapping your foot on 2 and 4 instead. This has the advantage of getting you tofeel beat 4 as one of the downbeats of 2 & 4, instead of it being an anticipation of beat I of the next bar.

1 3Here is a typical salsa chord progression, transposed to different keys, that uses the tumbao bass line.

Here only roots are used and the rhythm is played with virnrally no variation (but it swings!). Try to imitateOscar's sense of forward motion and complete rhvthrnic assurance. even after vou tum offthe bass track andare on your own.

Med.Son-Pachongo )=fe(Perc. introl

D,r,rr E7 Dr*rA,r,rrD,rnr

G7D,rnrAmrD,rnlE1

G7

Ar*r

C,r,rr F,r,rl F,rnr Cmr Fmr

Er

G7 Fmr

E Dnnr Abmr gb7

Ebmr Abmr Bb7

F#r*r c+,

Eb,r,rr Abr*r

l-lrMl

Abmr

Br*rc+rBmrBr*rB,trr

E7c+7Br*rF#,r,rl F#,rnrc#,Br',rl Bnnr

l4

DnlD,ur A,r,rrAnrl

Fr*r Cnrl Fnrr

C,l,rl Fr'nr

Cmr

Cr*r Fmr

'DFFDItDDbbbbbbbbbbbtbtfbrrr|DbbDbbbbbbb

E tnnr Abr*r

Ebr*r Abnnr Bbl

Ffnnr B,r,u c+1

F#r*r

Abr,,rr

Abr,l

Eb"' Abmr

c+1Ab,rnl Bb7

Br*r F#r'nr Br*r c+1

c+7 l-rMl

Dr*r

Br*r C#r Er

Dr,u Amr

B,ul

Amr Dr'l 7

Bmr

E7

Bnnr

D,ul

Abr*r

Ebmr

- 7 F . !

I I Z

Dr,lAmrDmrAmr

l .G.._-.Gt3*o

Glsoo E1t) Gl3*o

E7rJ,tt) Gt3*"

Gtsoo

ET(olt) GlSoo

Gtsou E1'!t) Glsoo

Gr5*

E Et'o't,

GnPq Fnfzq 71'tt) Gnfzq Fnfiq

NC

Here are some of the variations that Oscar uses on this track. Try using them one at a time, along with a

regular tumbao, when you improvise your own bass line on this exercise'

Gt3

Mf/c

E7(olt)

Elblt)

8

Paquifo D'Rivera and Oscar Stagnaro

8'7

Guaracho2-5

D?fi9)

D,fiE)

G,(tg)

c,fig)

......-.8b7

,

1

I

88

DMI('s) Cr*re

DM1(bsl G?fig)

c?(ig)

Ab7 Bb7

c?(ig)DMbsl

E,m2 F^L,Bb7

DMI('51

C^tqDMI('5) G?fig)

DMI('slG?(rg)

Cr*r

Bb7

DM/('5)

ED,r,rrlAb Ab7

Fnl,'w .....-__._.8b7

Bb'L

Cult

Bb'fu

Cnf

EnPt""

Abr3*

DTQcl

G?(ig)

G7fts' NCa

Here are some of the variations that Oscar uses on this track. Try using them one at a time, along with aregular tumbao, when you improvise your own bass line on this exercise.

C,rru9

DTQel

9 1

GuarachoS-2

D 8 7

A1

Ennl..-.

l,t

92

EmI A7

Enf

En

E^nl

Em'

E,r,rl

E,ul

Eml

Enf

Emf

Ennl

E,ul

Eml

E^,rI B7

93

D B 7.-34

r--.--- J ---- Enru' A7 c

Ennr'

NC

D B 7 '

E,ru'

NC

NC At3 a

Here are some of the variations that Oscar uses on this track. Try using them one at a time, along with a regulartumbao, when you improvise your own bass line on this exercise.

Eml

Eml

ENc

94

Guarrcho2-3 E o"l

Bb,rnl Ebl Aml G,rnl

\,MI Aul \7Ml Aml

Bbnf

G,rnl Gml

Aml Anl

Auf

Anl

Gml

Bbnnl Eb7

E cnnf

Gr*I

G"l

gtA,ql

A,r,rlEb7

Aml

I

I

Bbnl

AnrI

GmI

Bbmi

AnnI

Gml

Bbnl AnlEb1 An Gnf

\,MI An G"l Anl


Bbnl Aml

Gml Au'.

Btnl Anf

97

Guoracha 2-3

GMI CNI

F#nn/"u'87

GMf Aml D7 GMI

\'MA CMI

GMI CMI

f#"/trogr

C^,1

F#m't 87

98tII)

II)

I)

)

)

,

)

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)

)

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t)

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,

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c7

Gts GbtsFts NC

trMl

f#"/t'st gz

c7 fi#^pst gt trMl

fi#^fttst gt E,r,l

l#^fttstgt f#"ztrogr

Amr7

F#ml'u)

l#^lttst gt

f#^,ttvst gt fi#^ftast gt

fi*^ftast gt

fi#^fttst gr

l#^lttst gtc7

I

f #"/r'ogz (Erru)

Emr (Emr)

(Emr)

(Enrl)

(Etr')

fi#^lttst gt (Erru) F#Mf 't 87

trMl Eruc


fi#^lttst gt fi#^ltvstgtc7

ft#^{tast gt

fi#^ltvstgt

IIIIaIIIIIItIaIIIIII

,^'c, f#"/t'st gz

100

Guaracho 3-2

ED'

I

r02c7

( Fode out I


-

a:-_

103Following are some beautiful but relatively complex bass lines for you to study and add to your repertoire(with due caution for the groove, of course!). There is no CD track for these phases but try playing therhythms with any CD track you want.

Uf,Ml D#,r,rf('u)

B- FT Gml? cr

Q#root IIIIIIIIIIIIIIIIIIIIIIIIIIIII

t-7(r9l\t

104

AMI$ul

tstmn'AMI('st D1

105

Dr7

The following are bass fills, not tumbao variations

7

Eb,v"c7 A,fu

L3-"----)

Fmr Fr*r Db7

Js|'JsAbr

SECTION TWO .OTHER AFRO,CIIBAN STYLES

CHAPTER SIX - Cha-Cha-Ch and its Variations

The original cha-cha-ch bass rhythms are as follows:

When you play along with the following track, mix these variations together as your ea dictates.There is no clave direction in a cha-cha-ch.

,5t D7 G,ul C7 AMI(bst D7 Gml

Cnl F7 Bbp*t Ebr Afif('st D7 G,r,rl G,rnr6

Gml c7 Gml Gmr6

! C*'t"u'Pt Bbn Eb7 cMl$st F7

EbmiT Ab7 Cnf"t 'F7 Bbnrir Eb7

cMl(bst F7 B,mI Eb7 CMI('st F7 Bbnl Eb7

106

Cha-cho-ch

tr AmI( G1116

AMf('5t D7

Bb^nl

DbMl Gb7

,?'#,o" cMl(b5')

@ A,rnf(6 D7 Gml c7 Aml" )D7

Bb,v, Eb1 AMf('5) Dr GmrT Gnn'6

Gnrl C7 G^,rl Gnn'6

Bb"o7 Am't D7

Cnl$ut F7 Bb^,rI Eb1

Cnl F1

Cnl F1

CMf$stF7 BbmI Eb7

Ebnrf Ab1

CMI(bst F7

E CM/('s) F7 Bbml

CMl"u' F1 Bbml Bbnru6

Bbml Bbnt6 cnl('ut FI Bb,rnl Eb7

, Bb,rnr6V2

t- 7(b5l\-,Ml Fr Bb^,rl Bbnr,6

I

I

I

I-lII

Gnr

+-- r l

pb*z gbr

cN(bst F7108

t- 7( r5l\-,Ml

Bb"f 8b",6 cMl('st F7 Bb,,r/ Bbnt6

F7 Bbml Bb,w6 CM'5t F7 Bbnn/ Bb,rru6

n 71ssl\-, l F7 Bbnnl Bbnt6 Mf(,st F7 Bbnn'

On this next track, the bass will go through the variations shown below, each one integrated into a

more standard cha-cha-ch groove. As before, after you have listened to Oscar play through the exercise, go

back and play each variation through the entire track until it is firmly embedded in your subconscious.

Otherwise, the odds are that you won't retain this information when you need it - on the gig!

The rhythm below is widely used in cha-cha-chs, as well as bossa nova and other styles of music. It is

usually used in combination with other cha-cha-chd rhythms instead ofby itself.

These rhythms are a more modem version of the cha-cha-ch, where the "and of 2" is tied to beat 3.

This is the same as variation #2, but the "and of4" is tied to beat I ofthe next bar. Typically this is played

as a two bar figure with no tie between bars 2 and 3.

or

Adding extra eighth notes leading up to the "and of 2" and beat 4 or the "and of 4" creates a busier, jazz-

like version of the cha-cha-ch, heard in a lot of contemporary Latin music. (The rhythm written here is

only one possibility among many.)

As with the tumbao, you can and should make up and practice more four bar phrases for yourself, using the

material given.

aI

I

I

I

I

{

(

I

a(

I

I

I(

I(

I

I

I

I

I

I

I

I

I(

I

I(

I

I

I

I

I

I

I

I

I

I

I

I

I

I

109

Ennl 6t Dnnl B,ul

Emr' F#m En DMI B"l

tmr' A1 DMI Bml

Dyrl ^Br*l

Er',rl F#r*l B7 Em' DMI Bnl

A7 DMI Bnl E,tru' A7 DMI Bm/

Er'nl A7 F#,rnI

A7 DMI Bml Eml

Ennl A7 F#,rnl

Cha'cha-chEnrl A7 DMI B^,rl

B7

Dm ^B"l Eml

B7

B7

DMf Bnf E,ul

DMI Bnrl

DMI Br'al

A7

Enf A7 DMI Bml

A1

Ar

E E"l

E,ul

Eml

tsm'

E,r,rf A7 F#nl

F#m

DMI B7 E,rnl

Ar F#nnl 87 E^f 6t

B7 Eml A7 DMI Bml

1 1 0

E e"l

Eml

Em'

E,r,rl

E,ttt '

E,rnl

E,lru'

E^nl

A7

D,v,^7 B7

F#nl 87

DMI 91

F#nn B7

DMI B7

87

DnnoT B7

E,rnl A7 DMI B1

Ennl A7 DMI B7

A7 DMIE,,,rl

Er*l A7 DMI 87

E"l A1 DMI B1

4r DMI 87

D6

Eml

l l lHere is an exercise using the variations we have looked at so far and some new ones as well.

Cha-cha-cht

E r

\rMl c7 F,v*7 F,v,n6 G,rnl c7

Gnf c7 Fm Fr,u6 \rMl

\,MI FMI Fr*6 Gm/

FMI Fr*6

Gml c7 F,vrq7 F,tle6 \rMl

Gml cr F,r,u' E F

G,rnl FMd F,v*6 G^nl c7

l-

c7

Gnl

Fr,16

G,rnl

I

G"l

\rMl

Gmf

tt2

c7Gml c7 FMI F,vur6

c1 F,v"q7 F,v*6

FMI F,v,r6

C7 FMI

F,v*6

Gml

Gnrl C7

\,MI

Gml

c7

Fr'16

113 Here is Oscar playing on the chord changes to Peruchin's arrangement of "Dejala Que SigaAndando"by Mendez & Bolaffos. Again, it will be worth your while to take the rhythm of each four bar phrase of thistranscription and play it through the entire track until it is yours.

Cho-cho-chr

A,we

Gml c7

Abmf Dbrz Gmre c7(ill

G,r,rl

Gm/ c7 FMf \,MI

G,r,rl c1 -3 ---r -3

Bb*e

\,MI c7 F^f G,rnl Anl D7

Gntl

Amlr + l

D7A,,ll

D7A,ul

@ Cml

E c"l

B,r,rf 'u' E7 c7D7Aiur'

E c"l

Ab",o7 Gnnl C7

DTacl

Anl

Gnrl c1

tt4

4e" l

F",oq Gnrl

cr G"l Fititl' G,',rf A,r,f D7c7

Amr?

-------L

Bnnl'ut E7 G,rnl D1$cl

Dlt*el

c7

E c"{ c7

\r^Al

G,rnl- ,^,C'

Bnf('u' Bbrz Arur9

Dlkel G,ul

G"'1 .-,C'

NC\,MI b

G,r,rf G,e FMf GF ^

Gnrl

1 1 5

Here are a few more miscellaneous cha-cha-ch bass lines that you should look at and add to your list ofpossibilies. (There is no CD track for these phrases.)

Cntq

6ld stvle cha'cha'ch6l

AbmJB16 G7

aIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

1 1 6CHAPTER SEVEN - Afro Lines in 6

The African inlluence in Afro-Cuban music is most strongly felt in those pieces that are played in6/8 (sometimes written as 3/4 or l2l8). The basic pulse is usually two dotted quarter notes per bar subdi-vided into tv/o groups of three eighth notes each, as follows:

The rhythmic complexity appears when you play three notes against this basic two pulse, as

follows:

As you can see, these triplets (three against a two pulse) are written here as quarter notes and can

easily become the dominant pulse that you feel, but be sure you can also feel tlrem as a polyrhythm against

the basic two beats per bar. It is the rhythmic tension of two against three that gives the Afro 6/8 groove its

intensity. The following exercises are designed to show you how this all works. As before, integrating the

rhythms written at the end of the transcriptions into your own playing is what will help you the most. So

make sure you work on each of them, one at a time.

D,rn/t Grtrf A7(ill

Dr*f'

Dm/t A?09)

l-cDr";1lrRAcK #l0l

D,u/t Qr-)Afro-Cuban 618

A,(i)

Dm/t

t t 7

A,fi!) Dnll

A?03)

Dnll

Altg)

D,rn/t

D,rn/rA7(igl

A\igl

A7(ill

A,0)

A?03)

Gmf

E D"/' Cnlt Dnll

D,r,r/t Cnll Dull

m/t

A?09)

1 1 9

Here are some two bar 6/8 figures for you to practice along with this track.

ol

b)

c)

d)

el

fl

sl

h)

't)

r)

120

Ray Banetto and Oscar Stngnaro

l 2 lNext, we have some 6/8 figures with more advanced syncopations in them. Be sure you can feel the

two pulses in each bar, even when three quarter notes per bar are used.

Afro-Cuban 618 $ostlE ct"u

BbL

BbL

Bb* AbL GK

GL FL

BbL

BbL

aIIaaaaaa

r l

IaIII

IIaIaIIII-l

Ge*

AbL Gruo

t22

BbL

q9 sus

GL Ft

GL

CL

FL

\-,, St,S

I

IIIaaaIIIIaIaIIIIIIIIIIIIIIIIIIIIIIIIIIIIII-lII

t z J

BbL

F q\, srJs FK

GK

AbL Ge"u

CL

CLcstsBb

124

GL

Ceoo

BbL

FL

E c u (44 /

I

^cl\7 srjs

CL

CL

BbL

GL

AbL GL

GL

( Fine I

r25

Here are some variations to try when playing along with the previous track.

o)

cl

el

sl

't)

126On this track we will go from a sixteen tsar 414 gtar:acha to a sixteen bar 6/8 phrase. Notice that the

two basic pulses per bar stay the same throughout this time change, i.e., original half note = new dotted

quarter note.

GuarachoS-2 l6lE

tr Er,,rl

AMI

Cp,l

a cDr;]ITRACK#r2l

DMI Dr*l

CMI

F7

AMI

A?('{L

Bb,v,c7 BmI

( ). = prev. ))

tr A7,'l

Arfu

Arfu

A7('& A'fu

( )= prev. ) .1Affu At3

Cnl

Bbr'q7

a__

A,('&

@ E,rnI

I

Bbr'J

DMI

E,rnl

D,vrc7

- ( J = p rev . ) lPl A7i'.1. Arfu

Ar(,ll

MA7.._..8b

Arfu Arfu

( )= p reu . J )At3 f, E"l ..-_^ ,^.A7

Dnf

A7('L

Arfu

- t--1------------T. - .

BbruT

A,rn E,ul DMI

Arfu

= 7

, '

CMI

( ) = p r e r . ) )

tr - A7,'ll

A7,'&

Dnn^7 Dnla

CnfJ

AMI Arfu

A7('& Arfu

A'L A?('&

--r

Arfu

J5tsAlA7('u

\-

129CHAPTER EIGHT - Contemporary Cuban-Style Bass LinesStarting in the 1970s, first in Cuba and then in the rest of the Latin music world, the strict bass

tumbao gradually has given way to newer types of bass lines, at least among the younget "cutting ed!e"

dance bands. The most widespread ofthese forms ofCuban music is the Songo. This next track will give you

a sample of this groove, originated by bassist Juan Formell, leader of the Cuban band Los Van Van.

Songo 2-3 NC

Eo'

fi#^lost gt

E m ' A7

Emlf#"/ost 3z

130

fi#^lost gr

tr,ttt '

Emr'

f#"/ost gz E"l---l

l - ) l

(NC )

D1 trMl D7

trMl D7

trMl D7 Emr

l 1 ?I JJ Here are some recorded Songo-style bass lines for you to study, along with short descriptions of each.

There is no CD track for these short examples but try playing the rhythmic approach ofone of them at a time

along with a CD track from this chapter'

a) Notice the use of arpeggios here as well as beat 4 and

La{esolucon (2-3)

) =sz D

G C r

The rhythm of bars I and 3 here are often played by Juan Formel.

Aml D7 Bml

c) Tumbaolike line but using more space gives it a different swing. Note the use of the F on the G7 chord.

ElBuenoGente (2-31

) =ztz G7

E7

Bb

Note the use of the major 7th here as well as the '4 and' figure tied to the next bar.

C,rnl Ab G7

t34d) Notice here that the'and of4'is tied over from the first bar of this two bar pattern, but not on the second bar.

La9ovona9i Q-31

t = 1 9 6 A G Bml, G

e) Note the use of arpeggios here, the tied over note on the'and of4'and the timbales rhythm in bars 3,4 and 6.

Dferente y Especiol (3-21

Db7

Bb7 Ar NC, - 3 - r- 3

---'--'-1

0 This is like a montuno line that defines the harmony by itself, using various versions of 7th chords.

Dsco Azucor (3-2)c7

c7

g) This excerpt uses quarter notes typical of the Timba groove, mixed with eighth notes typical of the Songoand the rhythm of the Bomba in bar 2.

G7 G7 Cnf Db7

This second excerpt from the same tune uses a busier line with eighth note anticipations.

G A Bnnl E7

D

. = 1 i 4

Hoy Mujeres (2-3)r - 7

) = ts+ t""Ml

AbrG7 G7 Db7 Cnf F7 Cuf D7

135h) Notice that this line uses the 3rd of the chord instead of the root in the second bar.

Esto te pone lo cobezo nolo (2-31

) = z o s G D E7 A,rnl

Here is a second variation of this idea, using a rhythm in bars 3 and 4 that is almost like a Soca feel'

i) A combination of a cachao-like descarga rhythm with a Bomba in bar 2 artd a Timba feel in bar 3'

Mot/,alo y ven (2-31

J =os gt

j) Note the arpeggio in bar I and the use of the fifth of the chord to start bar 3'

Que le den cotdelo (F'-21

G7 Cmr

Here are some other "post-tumbao" cuban-style bass lines for you to look over.

Sal Cuevas I Aguo a lo Cotdela I Sonto Porcefr a (2-51

Sol Cueva I Soy Dichoso I Roy Barreto (2-31

C7 7) =208 a

Felciarc Arango I Dlme lo quie tu sabes I lsaac Delgado (3-21

C+nl 9' 'n'nn D7 G+1

Feliciorc Arongo I Dime lo que tu sabes I lsaoc Delgodo (3-21

Felicono Arango I SantaPalabra I NG lo&ard,o Q-31

, =t6o F

Aml

Oscor Hernotdez I Dile que vuelvo I Areubo (2-31

) =204 Bb7

El Divorco I Arsenio Rodriguez (2-31

) =ts4 F

76e: .

Reunion I Paquito D'Rivera

t37Here is another example of oscar playing in a contemporary Latin dance style, this time

featuring his

mastery of the slaP bass technique.

Tinbo-Funk3-2

Ghunblslopsl

E D

Dm'f

Dnr l=

Bbe A?(i!)

Ct5* A?(!E)

A,0!)

(G7)

Gl n = Dlru = -:--^ ,

Dnrut'

c'fu Dmrl'

Bbe= Ar(ig)

t

138

Dmr).'-

Dr,tr =

Dmr - - G 7

Dnnr -

I

139

ED,rnr

c7 Bbu

Drutc- : - l

Dmr

Dnru

D m -c

9 B b i A 7 = Druu -..--.

B b =

t- l3\.,, sris

gDmr Bbe

140

D,tnttt - Bbe_ A7(i3)_ Dmrrl

A?ft8) Dmrrr

ED",

D,r,rr

B b -

B b -

B b -

C7-

D,rru

Ar Dmr

141 H"." i, one final example of the Songo style. Notice the rhythmic variations Oscar uses and try to incorpo-

fate some of them into your own playing when you go through and play along with this track yourself'

Songo 3-2

NC $erc. fillsl \ J x s ,

Eo'

Brul Bb,

_8 gb7

\2? A+ai''

A7.

\

A7 \#ai^

A#ai''

A+a;''

B N C

ENc

NC

-l

SECTION THREE ,BRAZILIAN BASS LINES

CHAPTER NINE - Samba Bass LnesThe most common samba bass rhythm is shown below. Typically the root is played on beat 1 and the

iitth (below the root, ifpossible) is played on beat 3.

Here is a rranscription of Oscar's playing this basic samba groove on the changes to "Rio" by Roberto

\lenescal & Ronaldo Boscoli. Notice how he articulates each note. Since the note choices and rhythms are

pretry simple here, it is the feeling and clarity of each note that makes this groove work.

144

So-ba )

E= 96*

Enuq

CD TtuoTRACK #16

At3 Emf At3 Dr,cq Gt3

E,rru9

Dr"l9 Gl3

A905)

E C+"'t F#e

F#,rnoe Br5 815 E,vrq9

D,uee

Cr,a'9 Fe Emf A13

Geo5)

B7(TEI

Emf

t45

D,v"q Gt3 F#"f Bt' B'0)l-E-J E^,t At3

Enrq A13 AMl DMf F#n*e BIfu 813

E,v*9 A9('5) D,V"q9

Gc$51 Ec#Ml F+c Cn Fe?

-.--

E,rnf N3

E E",t

A9(,51

C#"f

Er"f

Ff,v*t B13sE 813 Kl e"l

3 --.-_:

Dmne G9(b5)

D,troq Gt3 F#mf Btz B7(iZl(Emf)

I ' ' q '

-]_--)-----41 t'

Er

Cnnrq

146

B?ftg)

Gmre

Er',rr9 N3Dmee

t47

Here is Oscar playing a samba and creating rhythmic interest by varying the basic samba figure some-

what. Try analyzing how he does that on this track and then take one variation at a time through the

changes of this happy little tune.

CD TwoTRACK#17

) = p zl)mr' Cnf F7 Dml

Dn Cnf

Dm Dnf Gr

Cnl Dm/

@ D"l Cnl Dnf

C"f Dnl Cnl

C" Eo"l

Cn Dnf

Eo"l Dnl

Somba

E G1

ECnl

F7

F7CnfG7

CnlG7

F7

F7

C"f

G7 Cnf G7

148

\-,Ml F7 Dn G7 Cnl

\.---;

Cnl F7 Dnf

D,rnf

F7

Dmr

F7

Dnf G7 F7 E

Dnl.\-Ml

Bbr*7

(Freelyl

149 The most common variation of the samba bass groove is to accent beat 3 of each bar. Here are a couple ofways to articulate this idea, which is designed to simulate the sound of the big bass drum, the surdo, in astreet samba ensemble. On this track Oscar demonstrates how this is done (as well as how to keep a sambarhythmicatly interesting without sacrificing the groove) on the chords ofGonzaguinha's beautiful tune "E "

Sambo ) = ll2t- 7Q5\ CMrc1 cMr(*s) CMI CruJ(+5t(ffi) CNA

Crur^f 6t ca5t llcMr(6' cilr(*s) 22

Lr - ' t a

CMI(61 c&51 Dnl Dm(*u' Dnf Dm(*t Dml Dm(*u)

Dmr6 Dnlrul G,*f

Grurq F,v*9cc

F,r,rl'ut Bb7

$1Gu6l B7Q5l tr i/,,A'

Eb,v*e EMI(b5) A'(p,

(

(

I

I

F#,rnl'u)

fibttustD?q

150

G*7 Cq@ltl

@ Emf

Dn^e

F#^nlr

E r+",t

Er,,r'9

e&e,

lb^Vt'st AV(EI EMf

Er*rc

F#nnf r-._-- 3 -___r

cft51

Dut6 Dnru0ut

l l G

EC*"

F6..G%,z%F6..G%cMl(61 CMAr*s) c(61

c(61 C^ A7(+5) Dnf Dmr(*u'

Dnl Dmr'*u' Dnf

(2d chrusl

cft51

1 5 1

fi*^ft'st

(

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

III

Ge

Fml't)

Fmre

@G"f

D%q

Gr,,r^7

ffi Enn,e

lb^lust

E r+"fGe

B1Ga6l

ccfttll

F#mf

r52

F#mf

F#,uf

F#,trf

F#mf

F#mf

F*nnf

F#nrf-J-_ L

t l . o

l-f,rut'

c5=) F#"f

153 More advanced samba variations

The following tracks include some more advanced variations on the samba groove, the rhythms ofwhich are listed separately at the end of each exercise. These variations are most commonly used as briefcontrasts to a more basic samba pattem or perhaps as the basic rhyhm for a particular section of a'tune,retuming then to a more traditional samba bass part. As with the advanced tumbao bass lines, these variationscan do more harm than good if not used with discretion.

Sambo ) = q8Qbe gt Q$7e lalF6 Enuq(Perc.l

FMf

F6 Bbq

C9r.u

Bbq Er*re Ag5t Acksl

Bbe

De GeooGe

Eru

tri l ' AcrJl

cc E r u

Ge* Gq

Bbe

Bbe

Ge*Ge

A'(ig)

r54

Ce*f rr=- , Eru E,r,rrq

Acrct Ac$sl DeBbc Enuq

Cgr.u

Bbe

Ge* Gr C9oo

Emre Acust Ac*sl ge

E F*t

Geoo Ge

E^'e

Bbq

F,vrl9

Aqrcl

Bbe Enr'9

Emre

155

Emf Ae$t Aca Dc Ge* Gr Ce*

Qfi 7A

E F*t.-

Ceo,,

Bbe Emf

F q\t sus Ge

Ge* Ge

cq -st,5

Bbe

Bbc A9(13)

-7--

1 5 6Here are some rhythmic variations you should try, one at a time, when you play along with the previousuack.

a l

)

b)

I

IbIbTI)

ibII

IIIII)

)

IIII)

I)

III)

bbbbbi

^

9 l

i l

I57 Here is a transcription of Oscar playing through the changes of "Samba De Orpheus", using somemore adventurous rhythms to spice up the samba groove. Ifyou can't play the transcription up to tempo (quitea feat!), just go through it at whatever tempo you can and then play along with the CD using one rhythm at atime from those listed at the end of the transcription, in addition to a basic samba groove.

Fe Fe'r" Nc

lVDT"4ITRACK #201

C6zq

Sambo ) = pO

C%c Fc CGzq

@CUr(st chcl"'sl

Dul

(wl p".) Nlr

DnPs Dnf Drurf*tt Dnl Dlaf*tt

G7 Crq A7(iEl Dnl G7 Ceq

Dnf

D,r,rf*' Dnl Dr,rl*t) Dnl

@cu'

Dnl

@ Gnrl

Dmf

EP+

Dn

Dnl

158

Dul C?q (Aml) D,ul G7

Dnl

Dnf G7 C6zq

Ennl A7(rql Dnl

L-t ' NZr

Dnl

(%d chorvsl

Dml

Fnl

ECrq

Dnl

I-l

159

D^nl (G?)

(3rd bhorusl

@ cu,,

Cfuq A7(iZ\ Dn,f G7

,_,__,ory\,_

t '

Dr*l

ffiGnnl

,----. Dml

FMI

ncrs

Dnu'

^ft+

Dr'rl gazq 67(iflDta

160Here are some rhythmic variations you should try, one at a time, when you play along with the previoustrack.

1 ) ) l ' ) ) ) l l

A l l ) ) ) , ) l , ) ) ) ) l l

, ) l t ) ) ) ) ) t ' , ) ) ) ) ) t lo ' l l ) ) r ) ) l ) ) t ) ) l l

5 ) l ) ) , ) ) l ) ) ) ' , ) ) l l

6 t t ) D ) )

' r l l r J r )

) t ) ) . , ) t l

l t ) ' , ) ) l l

s ) l l r ) ) ) t ) ) ) r r l lc ' | ) ) ) ) ) ) | ) ) ) ) ) ) l l

16r CHAPTER TEN - Parti.do AIfo, Bai.do and other Brazilian styles

Forward Partido Alto

Partido Alto is a variation of samba and, in fact, regular samba bass lines are often used while the iest

of the rhythm section is playing a Partido Alto. Altematively, the bass can double the Partido Alto hits as

Oscar does on the following t-ack. Rft". listening and playing along with the whole track, go back and

isolate particular four bar phrases and play one at a time through this blues form'

Here are the basic variations of the forward Partido Alto rhythm'-r hl cl

Partido Alto CD TwoTRACK#21

F7'.u

) =

Et20

E rt""

FL

BbL

CL

FK

-

E F L

ttsbbbbIrbbIbb:

:

)

ItI|lDD

H rt""

FL

FL

163

Ct = -^\ jvv?

BFo"

E rt,."

BFt*

t&

Carneval in Rio Photo by Robet Feinberg

165 Reverse Partido Alto

This is the same rhythm as the forward version but starting on bar 2, instead of bar 1. It is actuallymuch more common than the forward version. The main variations are listed at the end of this transcription.And again, you should practice each of them separately along with the CD fack.

Reverse Partido Al+o ) = 96

) ) l , . f ' , 1 . , ] l J J ' J

CD TwoTRACK#22

E,rnl CMI

En CMI

E,rnf CMI

E,rnl G7 CMI 87

En G7 CNI 81

Ennl G7 C,,r" 81

CMI

CMI

r66

Ct

C^,1

Eml C^

Eml

r67

Ennl CNl.

Er'nl

Ennl

E,rnl

tsm'

Cmln

C,l

> 8 7

CMI^

Here are some of the variations that Oscar uses on this track. Try using them, one at a time, when youimprovise your own bass line on this exercise.

a)

b)

c)

dl

trmr'

169 BairrHere is the basic bass rhythm for the Brazilian style known as the baio.

This track features Oscar playing this rhythm on a C blues form.

F7G7 c7 Db7

Ec'

Db7

gc'

170

Db7F7G7 c7

g c '

t7l

crF7

c7F7G7 Db7

Ec'

IaatIItIttIaIIIIt

t73Here Oscar plays some great variations of the baio bass part on the changes of Milton Nascimento's

lovely tune, "Vera Cruz".

Baido 122

Gmr GMt9ffiA7) Gr*re

I cDTh,;]ITRACK#11

,qtr G,rnl

E tnna' Dn Cnl

Br'rl Ebr* Dml

EG"'t Gn?q t- qffiA7)\,MI

Cnl

Bb7

\7Ml Grur6 Gmr'*u'

III

III

t74

GnPq

EG"'e

GMf0r AT)

Ebr,rJ

Cn

G,r,rl9

Dnf

- L T I I T T

EG",t Gnfu

IIttIItIatIItttIIIIaII|la|l|lIaaIaIIaIIIaatr

Dnf

E c"f

GnPq \rMr'

Eb^/i Dnf t!.,M|

Cnl Bnrl

\rMl Gmr6

G,rnl E G",t

EbNl

Gnl

t- 9(MA7)\tMl

Dnf

t- Qsl\,MI

j

t- q(^/rA 7)\,MI Gnrue

G,ttt9(*'

Gmf Gnt6rc

\rMr'

t- gfiA7)\tMl

G,w

Guf.q

Gmre G,ule Gn?q

Gn?q Gr*ret*'

Here are some of the variations that Oscar uses on this track. Try using them, one at a time, when you impro-vise your own bass line on this exercise.

1l

a l

? l

4l

177 Choro/Chorinho

Here is an example of the choro or chorinho, a style of music developed in the northeastem part ofBrazil. It is written rn2l4, as most Brazilian music is notated in Brazil itself. Here Oscar plays on the tune,"Lamentos", written by Pixinguinha.

Chvinho ) = l0O

NC

\'MA F7$l Annl,.6 F#nnft 'stgtt t t

Erttr' C#Mlbsr F#7'e) BMI e#zt'et C#nf F+7

AnlDT G,v*7 Ger.o Gr*$ CMI

Bul E7 Anf D7 \7MA D,r,rl l-BlGnmT

A,r,rl '/G l#ttttt B,vrq7 G#7

Ger*

Der.o EGnreT

C#nlboIIIIIIIItatttt

l#tttst

B,,rl E7

F+Ml('5t87('ct Er*l

C#nf F#7 Anf

C^,1 Br*l E7 Anl D7 \'MA B7(gl

t78

@ EnnfB7(be)

nf Eb7 D7

(2nd chorusl

Ec"l

F*nluo B7 Ennl B,'l G#7 C#nl F#7

I

Dnl

BmI Annl D7 GMI De*

tttIItttIIIIIaaaIaIaIaIIaaIIaIIaIaaaataa.,11I

t79

E G*t

GnnoT Dnl G7 CMI

\,MA Gm^?81i3) [cle"l

Glr rhy-A

E c"fD7

fi#^fost gt

Bnf E7

Enl Eb7

Anf ..g F+Ml('st87 Enf

C^ l

c6 C^lu g2e

C#MbstF#l BM^7 C"7

B^,rl E7 Anl G6

Dhy Cu Cnf

DhtD7

C#nl F#7

AmrT D1

Auf D7

181 AfoxAnother Brasilian style gaining popularity in the rest of the world is the afoxe. Here Oscar plays in

this style on Ivan Lins'tune, "Madelena". Notice the use of the "3, 4" in the afox sections.

G c 7 f f i ) = 6 9 , a 7-; , FMf D,r,rt G,r,te\ tn t ro t

I I t . )

ct3) ' , D I

Ca(t5) FM;t

I r rD,r,v7 Gmre ,L }

ct7l ) . | ) I

ccftsl

1Gtc . l

FMf Dnf Gnrf FMf Dn Gmf Cq

!\.lFmoe Dnn/ Gmre Ce F,vr,r9 D,r,rl Gnlt Cq F,rnf D,r,rl Gr,,re C9

C^tq

cc

aaaaaaaa

Bbmf, Gnnl Cnl F7

Bb,v* Eb,v*e D7(!r1l

EM1(bsl Ar0g) Dnnl B,r,rl'ut

Bul C#nf Dr*re G'3"' g*e A'fi!)a+ D,rnrq Gr3

\rMr' cc3..-1 lelF*t D,rnl G,rrue Ce F,vr,ce D^^f G,rrue Ce

Fmae Dml G,rrue Ce C,rn,1 Bbr',ue Gnrl Cntq F7

IIaaaItIIIataaaIIaaaaaaaaaaaaaa

Bbnnoe Gml Cn F7

E7$el

(^AA

D7(iglBbr*e Gml CnF1 Bbmoe Ebr*e

r82

ffio G*,e /'F EMrT(t5) Ali3) Dnf

Bml C*nl DMf Gt3l9l

GffiF,rnf Dnnl Gr*re Ce

Ennl'u' A1i!)

Fmf Dr'rl Gnnre cc Fnrne D,r,rl Gr,,re Ce

/'c

A7(iEl Dn G13 Gnrue

F,v,e Dnrl Gmf Ce Fnnf D,ul G,r,rf CcC

Bb*e G,u/ C,,,rf F7 Bbr.re G,r,rl C,r,rle F7 Bbr*^e

Am/

Bulot' E7$cl

D7(iglCS--"b-A

E G",ee/=

C+nf Dnrue G13 C,une A7(itl Duf Gt3 Gm'e

qmDml G,r,.re ce

183

Gmre cc F,uoq Dn Gmre Ce Fp,ce D^Al

Gr*f

F,rnf Dml Gmre cq Fmf Dml G^n,e cc Fp,,re

Gnrue FMf Fmf D,rnl G,rnre Ce

Dnl

IIIIIIIIIIIIIIIIIIIIII-l

D,rnl

Dml G,we Ce

184IbFPtIDIDIIttDDDtDtDtDDDIIDDtDDDtDIIDDItDIID

Photo by Ken FrancklngOscar Stagnaro

I

185 To "o-pl"t" the Brazilian section of the book, here is a piece (based on "rhythm changes"), which mixes a

samba with the baio groove, masterfully played by Oscar Stagnaro.

= 1 1 4( l, t rtr-")

6ffi;)\-,Ml

C"f F7 Fnf

Cnl F7(B"')G7

Cnl

E B b

Bb, Eb,v,e7

cflCuf F7

Etnna' Ab7 Cnf

Ab7 Dr'al G7

G7 Cnf F7D"'t)Bb

cB.-;-tE D '

Cs.-'b-AEeu G7

Frrrf Bb7

B"')G7

BbF7

F Pedal

Ab1

Cnl

(2td choruslCsffi;)

Fml Ab7

186

F7CnfG78"1

Bb G7(cf"'lF7Cn

Cn F7

G7 Cnf F7

Dnl

Ab1 Dn

cBrratED'

F7CnfG7BbG1Cs-'bt

E B '

CSi-b-tBb

(E?)

Bb7 Eb,v*7

Ab7

Fnl Ab7

(5rd chorusl

Cnl

Fr*l

187 IIIIIIIIIIIIIIIIIItII

Cnf F7 Dml G7:

F,r,rl EDmn' Ab7

Fnf Bb7 Ebr*o7 Ab7 Cnf

G7Bb

Bb7 Cn F7

Cn F7

Cnl F7

Bb

cfi;]E D '

Cs.-'b-;)

E B b G7

F7 BbrIIIatIIaIItIaIItaIt

(4+h cheuslCs"-"b-A ff1

E B b G7 Cnl

Fnnl Bb7 Etnm'

(ctr')F7 Dnl

(Db')

G7

Dnl G7

Cn

Cul

Bb

188

EbnnoT Ab7 Cn Fr

cB.ra")

K D '

cs-T5't! B b

I

189 SECTION FOUR ,CARIBBEAN A SOUTH AMERICAN STYLES

CHAPTER ELEVEN - Merengue, Reggae and Other Caribbean StylesWhile the primary purpose of this book is to help you master the bass' role in Afro-Cuban and

Brazilian music, we thought that some of the other main Caribbean and South American styles of musicshould be represented as well. We make no claim to have exhausted the subtleties of these kinds of musichere-just some representative examples of each style to get you familiar with the basics.

First is an example of the calypso. Since this is first and foremost music for dancing, notice howOscar keeps any rhythmic variations from getting in the way of the groove.

Colypso ) = ttz

Db

lffieellrRAcK #s I

Et7 Enr Gbr F7 Bbn

^tc Eb7 Ab Db ^rc

Ab

ttIIIIIIIIIIIIIIIIIIIaaaaaaaaIa

Ab

AbAb

Dbc7Ab

Bbr'ni Ebl

Db Dbmr Cnl Fnl Bbnf Eb7 Ab

Eb7

Bbn Eb7 Bbnl Eb7Enr

.------L

Ab Bbn B " & Bbnf

Ov D"7 =, F1 Bbnl Ebl gAb

Bb"l Eb7 Bbnl Eb7

190

Ab Bbnl F7 Bb,r,ri Db g't gvF,

Gb7 Bbnnir

B"&c

Bbnl Eb7 Ah

Enr

(2rd chorusl

Enr F7

DbAb c7 Db Db,rru CnlFnl BbnlEbT Ab

B'nl Eb7 Bb,',rl Eb7

Ab Bbnl

g F' Bbnl Eb7 Ab Ab

Ab

D"7Db

Bbn Eb7 Bb,r,rl Eb7

Ab Bbnn/ B" &c F7 Bb"f Db F7Ab,.'EbDol

Bbu Ebl

1 9 1Next is an example of a soca groove, a more contemporary version of calypso.

Dul CMI Bb7

Emr' Dnl

l6n;1I rRAcK #6 |

GrEo"l !s- Bb')

Dn

@ Dml Bb?)

Dnf C^^l Bbz A7

Dnnl Enru' Dnl

E o"l

Br) Dnl C^,1 Bb?)

D,rnl Enf

I

II

C l

C^ l

E o"l

t92

Gr

\-,l A

C^/& Bb1 A7

D,r,rf

Dnf

(E^'r,?)

CMI

CMI Bb7 A1

D,rnl G7

E,,,rI

Ct,l

E o^nl

Eml

Dr',rl

A7

Dnl

Dnl

Dnf G7 C

C^ l Bbz A7

Eml

E o"l

B6zq C?qI IDnf

r93Here we have an example of how to play a reggae bass part, a style that has a lot of room for bass creativ-ity while still keeping a room fulI of people dancing. This track is based on Bob Marley's reggae classic,"Could You Be Loved?".

R gga, )=rcBnnf

E g"l

E o

E g"l

B"f

B"f

Bnrl

Bnnf E g"l

(--

II

F#,tl

Bnrl

B,,,rl

E D

E g^nl

195 Here are some more typical reggae bass lines, suggested by the multi-talented Attila Nagy. Sample keyboardand drum parts are shown too, so you can see when each kind of line would be appropriate. Reggae is prima-rily an improvised music-it's about feel. The bass tone should be fat and round and dominant in the mix.Reggae bass lines define the rhythm of a particular tune and are melodic, syncopated ostinato pattems. (Drumhits with a * under them are played on the snare, all others on the kick drum.) There is no CD track here.

#1 One Drop * With the "One Drop" beat (kick drum on the third beat), the first note of the measure for thebass is on the third beat, with the bass drum, implying a hesitation by leaving out the first beat in the measure.

A,r,rr G A,r,rl G

#2 One Drop variation - Another approach for a bass pattern over the "One Drop" beat.

Allr trMl Amr trMl

DIIttDDtDtttItIDDtIIt

196

#3 Dub - Dub is a style originating from studio recordings where the engineer would cut out sectionsof instrumental pas, creating space. In live performance, dub is executed by dropping notes out ofthe bass pattem or resting for several measures and then coming back with just bass and drums.

#4 T$o Four - '"Ttvo Four" is like a slow rock ballad. In this example the bass and bass drum playtogether on the down beat while the snare plays a back beat. The drum beat is akin to the traditionalNyabingi heart beat rhythm.

#5 Mix Down - This universal pattern can be recognized as a half clave. In reggae it is used as breaksand under "dance hall" style reggae toasting (rap). Usually all the instruments hit at the same time withbass and drums.

G

Arru G Amr G

Anrl G A,ul

IIIIIIIIaIIIIIIIIIIIIIIIaIIIIIIfIaaIIaIIIII

197

#6 Four On Floor - Four quarter note beats on the kick drum with the bass playing on down beatswith syncopated gtace notes.

#7 ska - Ska is a predecessor of Reggae and has remained popular over the years. It's like Reggaeplayed in double time. On many early Ska recordings the bass plays a walking quarter note pattern.other times the pattem is more syncopated, playing off the vocals or hom parts. The same pattem as# works with the Ska beat as well.

For reference on reggae bass, listen to Jamaican originators of the style, like Familyman Barret ofthe Wailers, Robbie Shakespear. or Fullv Fulwood.

Amr G A,rnl G

198

Juan Formell o Los Van Van

199Here is an example of one of the most popular dance styles in the world, the merengue, from the DominicanRepublic. Notice Oscar's use of rhythmic displacement to create interest while still holding up the bottom.(But be cautious about using them if you are playing for dancers.)

Merengue(perc. brcak) E o ' G6

D7 G6 D7%D)AT

G6

D7

G6

D7

D7

D7

D7

G6

D7

G6

D7

G6

D7

D7

G

D7

GG

G

G6

D7

D7G

G

200

G

D7

D7G

G

D7

D7

D7G

G

D7G

D7

GDr

G6D1

D7

D7

G6

G6

! G 6

G6D7

D1

203 CHAPTER TWELVE - South American StylesIn this chapter we present some very interesting music from various countries of South America. These

styles are not as well known in the rest ofthe world as the ones we have studied earlier, but after going through

them, we're sure you'Il be glad you did.For this version of the merengue, originally from Caracas,Venezuela, some people believe that it is in

5/8 with a laid back eighth note at the end of the bar and others that it is a short 6/8. The basic bass pattem is

a dotted quarter note and a quafer note in the same bar, but sometimes the bass anticipates the next bar, giving

it a tumbaolike feel. The modern instrumentaion for this style of music is usually mandolin, cuatro, flute and

acoustic suitar.

t \Merenque ) = tZS (.' = 250 |q"a

E B"'n't' Ar'aI

Aml

Enl$u'

Annl

Aml

Bml('u'

(-t

r,----. \ rutro,

204

fibr gt F+7

DMI

205

lAzl g"1r'st

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c.G

Bnrl'u) AnnI

Emrn'u) Dnnl

c.n

\-

206P

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D,v,,c7

tr ar,rs

Abl G7 F+1

frbt gt

20'7 IIIIIIIIIIIIIIIIIIIIIaIIIaIIIIIIIaIIIIIIaIt

G7BbF7

tr Du

Here is a faster version of the same style.

Merengue

t,t,

) = s occii,"

CD ThreeTRACK #10

Bb

$tr. & bs)

E c"l

D,rnl

Cnl

Cnf Bb

Dnf

208

Dnnl

209

Dnl

Eml

Enru'

Cul FI

Eml

F7

Cnl

IIIaIIIIaIIIaIIIII

Here is a list of groups and bass players from South America that you should listen to if you want to explorerhese styles further.

Country Group or recording artist

2t0

Venezuela

Argentina

Gumrfio EnsembleAldemaro RomeroMaroaCecilia ToddEl GuacoAquiles BaezEl CuartetoUn solo Pueblo

Omar AcostaOnkoraPabellon sin BarandaSimon DiazMarco Granados

Raul CamotaCesar FranovMercedes SosaLucho Hoyos

Susana BacaZambo Cavero y Oscar Aviles

Eva AyllonNicomedes Santa CruzAndres Soto

David PenaMike VertizAlejandro RodriguezRoberto CoxCarlos PucciAlexis EscalonaTelesforo NaranjoFlorentino PeralesLorenzo BarrientosJesus GonzalesRoberto Koch

Juancito Farias GomezCesar FranovCarlos GenoniJavier NunezWilly Gonzales

David PintoJuan RebazaWalter FuentesFelipe PomaradaCarlos HayrePepe Hernandez

2tlNext is a sample of another Venezuelan style, the Joropo. This is the most typical ofthe Venezuelan

rhythms and it has alot of variations-Tuyero, Llanero, Guayanes and Oriental. The Joropo is in 3/4 andoriginally was played by the harp, bandola, cuatro, maracas and singers. The bass usually plays on beats 1and 3. Sometimes the Joropo changes the feel to 6/8 and the bass will then play on what was beats 2 and 3,(still counting in 3/4.)

t = 2 2 8

E,rnl

CD ThreeTRACK #11

Ennl

Emr'

troPo

tr A7B7D5t

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A7

AE7A

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E7DA7D E e^nl

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213

Amf'u)

Gml A7

G,rnl

C ? E F F#"

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G,r,r/

Dnl c7

c7

E1 Eb7

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Gr'rl

c7

\2Ml

Dnr'I

A,rnI'u) D7 Gnnl

F#" \,MI

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--------l ^ -

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215Also from Venezuela, here is an example of the Pajarillo. A form of Joropa, the Pajarillo is a fast 3i4, maintya I-[V-V progression in a minor key that modulates to major at the bridge. It is a showcase for the virtuosityof the ham and cuatro.

CD ThreeTRACK #12

Pojorillo ) = 224

Cjrtu-) \ Yenezualan Cuatro)

E c"l

$tr. k bs.l

Fml G7 Cnl Fnl\ t l

__a-

C"l FmIG7 G7

Cul F"l Cnl FnlG7_-a_

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G7

G7 Cnl Fr'nl

Cnl Fnl Cnl Fu

2t6

G7G7 \-,Ml Fnnl

Cnl Fnnl G7 \-,Ml Fnnl

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Cnl

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Et

e7

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2 t7

G7 Cnf Fr*l G7

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\-,Ml

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Bb7

Cnl F,trl

IIIIIIIIIIIIIIII

G7, G7

Cnl Fr,,rICnf Fml

C"f Fml G7G7

Cnl Fnrl G7 Cnl Fnf

Ab1Cu G7

E o

aIIIIattaIIIIIIIItII

2t8The last Venezuelan piece in the book is called a Gaita, originally from Maracaibo, located on the west coastof Venezuela. It is a festive rhythm that is played mostly during Chdstmas. It may have been influenced by orhave influenced the Tumba from Curagao. A very typical instrument called the fum.rco plays the bass part.The rest of the ensemble is usually the charrasaca, giro, maracas, cuatro and tambor de gaita.

CD ThreeTRACK #13

Gaito ) = 158

ct $tr. & perc.l$tr.)

DaaDDD!tlrDD

Anl

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D7

2ZOIBb

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E nnnl Bnf

G D^^tF E7

B,rnr' ( z-? An

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,---.c

221From the province of Salta in the northern part of Argentina, close to Bolivia, comes the style known asZamba. The Zamba is a slow and romantic type of music in 6/8 (or 314) wherc the bass is primarily respon-sible for playing on beat 1 of each bar.

Zomba ). =47

(l,rt $+r')

CD ThreeTRACK #14

D7

B7

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Er*fG6A7G6

G6A7

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E rnnl

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From the province ofArgentina known as Santiago del Estero comes the kind of music known as the Chacarera.It is played in a medium or fast tempo in 6/8 and the bass plays the bottom part of the rhythm played by theBombo.

CD ThreeTRACK#15

Chocarera ) = 166qr,r-") G7;)

I nnnl Dnl Dul

.r-

F#'7 Bnlbu,ET

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224

Hrs.) Hrs. & gtr.) E7 A,rnl

f;n"f Dnl DnD7

E7 A"l @ An

Anl

Dml

NC

F F#7 Bmf' t E7 Anl

225 IIIIIItItIIIItItItIItIIaIIIItaatIIItIttIttt

From Peru, Oscar Stagnaro's home country, comes a type of music called the Lando. Originally from Chincha,it is an old art form that re-appeared in the 1960s after the recording of El Toro Mata. It is very similar toTondero and Resbalosa and is a sensual and romantic dance in 6/8. It is performed by a lead singer with a calland response format. It is usually played by an ensemble consisting of singers, acoustic guitars, bass, cajon,cajita and quijada.

CD ThreeTRACK#16

AMI(bst D7 Anluut D7

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Bbr*I A^nl't'

Bb"

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226

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Lord,o)

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f blst+llt

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Cnl

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llso from Peru comes our final South American piece, a happy groove called Festejo. This i, un Af.o- 228

Peruvian rhythm originally from the Central Coast of Peru which has a large black population from the daystri colonization. It is in 1218 and uses a percussion instrument called the cajon. It is usually played by anensemble consisting of vocals, guitar, cajon, quidada (donkey jaw), cajita and bass. Rescued from obscurityb1 Porfirio Vasquez at the end of the 1940s, the Festejo narrates the events of daily life.

CD ThreeTRACK #17

Festejo ). = 1E3

Ct-r? CL

CL

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D7

cr

c1

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Bb B" >c D7 Gnf C7 E ct",

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Bb B' Fc D7 Gm/ C7Gnl C7

231 SECTION FN/E .LATIN JAZZ BASS LINES

CHAPTER THIRTEEN - Latin Jazz, Bass LinesLatin music has influenced j azz greatly through the yeas and. jazz players have developed their

own way of playing or insinuating Latin rhythms in a jazz contexf. These are usually less strict and repeti-tive than traditional Latin bass lines. Jaco Pastorius, Eddie Gomez, Stanley Clarke and Ron Carter, to namebut a few, have played some amazing music in this style.

What follows are some of the more memorable bass lines in the Latin jazz style, all in D minor.Read through them all first, then take one at a time (and variations on it) through any CD track you want,making adjustments for the type of chords involved, of course. There is no CD track for these lines.

Dnll

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232

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Here are some miscellaneous Latin iazz bass lines to add to vour reDertoire. There is no CD track for theselines.

D,v*7

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B phrygan Gdd 3)

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Photo by David GafenCarlos Del Puerto

235 To give you a state-of-the-art Latin jazz bass line to study, here Oscar is featured on the changes ofHorace Silver's beautiful tune, "Nica's Dream". Notice how many of the rhythms we have studied earlierappear here. Even if you can't read Oscar's line up to tempo, use the track to make up your own bass lines inthis style.

CD ThreeTRACK#18

(Guaguorc lntro)

E Bl"l*tt

Ab,r,r Ab,u Db7

CMI$s)

Bb",t,trtrzl Ab"/*tl

Abm Abm

Db7 Gl,vr

Bb",t,urt

Cnl('ul IItaIIItIItI-l

Ab",t,uezt

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Abn Db7 G,

Bbr*r Abnrl Db7 Gb

Ab^ Db7 Gb

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II(

238

Abnl

Abnl Db7

Abnl Dbl

Bb", Abnl Db1

Arnl Db7

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Abnl Db7

Bbnrl Abnl Db7 Gb

gra/luol loet. . .

Db7 Gb

F7 Bbm..-..

Abn Dbl

(Bbm)

239 A'PENDIX I . RECORDED BASS LINESPEDRO PEREZ' bass line on "LA RUMBA ESTA BUENA" from Descarga Boricua's CD "Esta Si Va!"

G octavesC,rnl9

E c"l

ffumboo)

Abts

@ F,*'e $beost

(wl e,s.l -

F7(rql\,

E%q

Dnl"ul G7('\C,ure

Dml,u) G7(bel Crtrf

DMI(b5'

(Tumbaol

Ab13 G7k5t CMf

Gt3

IIIIIIIIIIIIIIIIt

I

Eb6zq

Ebr,^eEsru

t .

240

Frntt $biost

ful cns.lDnl('ul

ffu-boo)

| . i l '

r-^7(bql\,

$beost

EC",e

BbL Ablus Gbq,ti Crqftlll

Ab,ul Dbq

E%c Eb%q Abrz

DMI(bst G7 Cntq

Abts

F#nnle B1i3)

D7(iil G'ftst C,r,ueG octoves

CSTA tutcorol.----.9rF-l Cnnr

Aml Abnf Dbc

- - - _ _ 1

Abr',r Dbq

Aml

@ ttc

D7 Ab,r,r Db

Grs F*e Eb^oe F2q,,.E '

EG':

G13 F,rr,re Ebr,ne Fmf, Ebr'lo9

D7*e) Gt3

Gr3 Fmre EbmotFnnf, Gr5 NC.

Cnnrrc .cN

Cr*rMIc

,,^..\tMl,-,1rgl"rD

Cnt-i.

C,r,rl

CntqAb,vtf

L-MllKlvMl G)S'

AbnfAMt'

Cmr Cnnr

AmI Cr,,r'e

A,rnl

,,,..--.-.CmlG7('etDbqD7

ItIIaIIIttIIIIIIIataIIIaIIaIaIaIIIIIaaaIIIr

243

MIc

G70e)Abr*

(;fi)

G)S'

(Horns)

Crtnr

C,rnr

( Vocol sofo )

Cnt

Abm

\-Ml

t-7(bq',\t

G etaves

G7(bql

Abnl Dbq

IL-

245ANDY GoNzALEz' bass line on "LITTLE SLINT'LOWER" fmrn Manny oquendo & Libre's cD"Ritmo, Sonido y Estilo"

1'661 D,ul 6olo' os s)

Q^l Gdd pn.ldr.2* xl

D,v*7

tIItI

246bbb

tBbbbbIDbbttIDbDItIDbDtIItDDDDt)

)

tItID

DMf

(Fl. solo)D,r,fl92

247

Dmre_t_ -L

D,rnrq 11 Q4

I--l

249OSCAR STAGNARO'S bass line on "SIN SABER PORQUE" from Victor Mendoza's CD,"This Is Why"

IazzMombo)=l2O; q-..- Bbntuzq

G7(t!)ca,*

wn, Ce* A7$5t Bb13$51 A13(iEl Abts(i|l Ebmot

Db,*,e Qb7{+tt

E9oo BblsooBbts Anf

F7('e)

trK,:

Ebr,^e

Ganplel

Br*f

B,rnl9

D.c %Dbr,,r'e

E9oo

IIIIIIIIIIIII-1

(F,r,ue)Brtu A,rnlgBbrs

ttttt

Eb,vrqe

S

250P

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IIIItIL.

GMf

Cff i ) (J=prev. ) )Bbrfu

Bb'fu

Dnnre

@ Abnr'

Fr*oe NC

F#ml'u) Crfu Bbrs*

A?03)

F#ml'u' B?fi!)

Dv(il,l b

( ) = p rev . ) l- - ,--3--1

Cnl

%

%

t u t t i , - - , :

E c"l Gbutc Ab6zq

Bmfl,u) Bb7('n Ebil?

D7(TEI

CL

Ab6zqGb6zq c?fig)

--- ---1

(Vibes solo)

>c G4

- 3 - - . l

Bb1i3)

Alig)

Eeru

Qb7r+tt

.9l- sus

D7(itl

F#,rnl'u)

I

III

BbL

Nbcs *lo contiruedl

Dmre

Dnuq

FMf Bmf'u'r l l$lalst Eb^ A'

l - r

GtB

fibTr*tt

L- 'l

(Sox solo cotftinuedl

Gr*oe F#ml'u'

IIIIIIIIIIIIIIIIIII

Dbn,re

BMf

EBbL

Bbe* A?(ig)

B?(rg)

Dbts(itlAb,rnrg

f b7r*et

t

(Sox sofo cutinuedl

D7(Itl

BMI(b5) Bb13tb5t Ebil!

E3l (Piono sofo)

-1

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aIIIIIIIIIIIIIIIII

255ANDY GONZALEZ'bass line on "RAINSVILLE" from Don Grolnick's CD "Medianoche"

(bass line on solos only not melody)

Cha-Cha-Ch )= 128

(Trn. "on,) Bbl

$bts

$brz Bbtz

Bbrz

Cnl IIIIIIIII-t

Cnf F7ftel

F1$e\gbts

(Poo solol

\

Bbtz (F?)

256

Cn F7*e) Bbts (F?)

ANDY GONZALEZ' bass line on "WATER BABIES" from Don Grolnick's CD. "Medianoche"

GiiroCf-td GL (pn.tperc.l

\, srJs

,tL

Cnf

Ect*

Gtlitll (G din.scatel Cmre

lbn{an

258

4... F Bb,fu

..--.

Bb,fuI'F+ A,,F

Gan,

(Tent solol 0 chtusl

\, sr.E

DMI(bs'

Gtli{l(G dim.scatel

f b;[t*rtt

lbr{t+nt

IIIIIIIIIIIItIIIIIIIIIItIIIIaIaIIIIII-l

A..F Bb1fu

C"'e

lbrfr(tr

cl1ri)bt

Bbrfu

c'1ii)

DM'T'5)

GL

Fr*'e

\

(Vibes solo) U chorusl

G'li]il

lb^1r+ttt

--1

I

GrTi'lbt Cn

G,l1i[lvlt

Cmre

(Out chorus)

APPENDIX II - Oscar Stagnaro DiscographyUnited Nations Orchesfa

Paquito D'Rivera

Dave Valentin

Los Hijos del Sol

Charlie Sepulveda

The Caribbean Jazz Project

Dan Moretti

fuchie Zellon

Victor Mendoza

Juan Pablo Torres

.\ndy Narell

,{quiles Baez

Wayne Naus

Patricia Saravia

Oscar Feldman

Oscar Stagnaro

"Live at MCG In Pittsburg""A Night In Englewood" (Messidor Records) with Slide Hampton" 100 Years Of Latin Love Songs" (Heads Up Records)"Live At The Blue Note" (Half Note Records)"The Music Of Paquito D'Rivera" (Jamey Aebersold Play-Along, #75)"Musical Portraits" (GRP Records)"Los Hijos del Sol" (Sono Sur Records) with Wayne Shorter and Emie Watts"Algo Nuestro" (Antilles Records) with David Sanchez"Island Stories" (Heads Up Records)"The Caribbean J azz Project" (Heads Up Records)"Brasilia" (Brownstone Records)"Saxual" (Brownstone Records)"Cafe Con Leche" (Songosaurus Records)"The Nazca Lines" (Songosaurus Records) with George Garzone"Metal Caribe" (Songosaurus Records) with Dave Liebman"If Only You Knew" (RAM Records) with Danilo Perez"This Is Why" (RAM Records)"Trombone Man" (RMM-Sony Records)"Fire In The Engine Room" (Heads Up Records)"Taratara"

"Heart And Fire""Rhythm OfThe Saints" (Songosaurus Records)"The Angel" (Songosaurus Records) with Gato Barbieri & Cluadio Rodiri"Mariella's Dream" (Songosaurus Records)

I262

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001002003004005006007008009010011012013014015016017018019020021022023024025026027028029030031032033034035036037038039040041042043044045046047048049050051052053054055056057058059060061062063064065066067068069070071072073074075076077078079080081082083084085086087088089090091092093094095096097098099100101102103104105106107108109110111112113114115116117118119120121122123124125126127128129130131132133134135136137138139140141142143144145146147148149150151152153154155156157158159160161162163164165166167168169170171172173174175176177178179180181182183184185186187188189190191192193194195196197198199200201202203204205206207208209210211212213214215216217218219220221222223224225226227228229230231232233234235236237238239240241242243244245246247248249250251252253254255256257258259260261262

book

Documents

basic rhythm

bar rhythm

basic tumbao figure

bass lines

basic tumbao pattern

basic afrocuban bass

bass channel

thebasic tumbao rhythm