Latin Piano Riffs.pdf

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Ultimate Latin Piano/Keyboard Riffs
by Carlos Campos & Andrew D. Gordon
Featuring Salsa, Mambo, Merengue, Cha Cha, Songo,
Bomba, Cumbia,Calypso styles
isbn 1-882146-35-2
Front Cover Artwork: Jim Stubbington
Published & Distributed exclusively by A.D.G. Productions
15517 Cordary Ave., Lawndale CA 90260
web site address http://www.adgproductions.com
e mail adgordon@adgproductions.com
copyright © 2003 A.D.G. Productions
No part of this book may be reproduced or transmitted in any form, electronic or
mechanical, without permission in writing from the copyright holder.
Printed in Canada
A Message from the Authors
From Carlos Campos
My good friend and publisher, Andrew Gordon, came to my house over a year ago to
show me some sketches from a book he was beginning to write.
The book consisted of numerous piano riffs in various Latin and Afro-Caribbean
styles. When I first saw his music examples, I started to rewrite all of them. When
Andrew saw this, he asked if I wanted to co-write the book with him, starting from
scratch.
I really liked the concept behind the book, so I accepted right away. It took us
more than a year to finish the book, with Andrew coming to my studio every Thursday
afternoon for three or four hours. Andrew would write the chart for the song, I
would change a few things, and then play and record the examples. After we were
finished recording, I transcribed all the piano parts and notated the music examples.
It was a lot of work, but we had a lot of fun. I hope that you will enjoy learning
from this book as much as we enjoyed putting it together.
From Andrew Gordon
I grew up in London, England during the 1960’s, when most of the music that I
listened to on the radio was pop music consisting of songs by The Beatles, Rolling
Stones, and Beach Boys, etc., as well as classical music.
My first recollection of Latin music was listening to Santana's first album in
the late 1960's. This album made a very big impression, especially with the driving
Latin percussion instruments mixed with Carlos Santana's bluesy guitar solos. The
only way I could hear the album, as well as other progressive rock music, was to listen
to a pirate rock radio station from 12:00 am to 3:00 am on a Friday night, and with a
transistor radio and a tape recorder I would try to tape the whole three hour show
each week. The music played on this station greatly influenced my composing and
piano/keyboard playing for many years, as I played with many progressive rock bands
before I became heavily influenced by funk and jazz.
Moving to Los Angeles, California in 1979, I soon started to play with musicians
from all over the globe, including musicians from Latin America; hence, my appreciation
and understanding of Latin music developed.
I hope that the numerous examples in this book go a long way in helping musicians
and students master the elements that make up Latin piano/keyboard styles.
1
About Latin Piano Riffs
This book contains 50 riffs of popular latin piano styles. Each riff has been
recorded twice, once with piano, bass and percussion and then once with only bass
and percussion, for study and practice. The 50 riffs cover a wide variety of latin
styles such as:
Salsa: Salsa, which some historians say developed concurrently in New York, Cuba
and Puerto Rico, uses mostly Son clave, and even though it is primarily known as a
dance genre, it also has served as a musical vehicle for a lot of Latin Jazz
exploration as well.
Mambo: Mambo was popularized by great band leaders in the 50’s like Machito,
Perez Prado, Tito Puente, Tito Rodriguez, etc. It uses mostly Son clave and is one
of Salsa’s predecessors.
Songo: “Changuito,” drummer of the group “Los Van Van” has been credited with
helping to create this rhythm, but two of Cuba’s foremost fusion groups also
deserve to be mentioned, Grupo Afrocuba and Irakere.
Cha Cha: The “Cha Cha” evolved from the Cuban danzón and mambo and its creation
has been attributed to violinist Enrique Jorrin. Before it was called the "cha cha"
it was referred as the "triple mambo." The triple step would make a scraping and
shuffling noise on the floor that some would describe as "cha cha cha." Thus a new
name was born.
Son: A late 19th century peasant style. The original instrumentation of the Son was
the Bongos, Maracas, Clave, Guitar and Botija (jug) for bass and vocals. The verse
and lyrics were based on the Spanish poetic form known as “Decima” which was
followed by the “coro” or “estribillo”. This would become the basic framework for
Salsa music that survives to this day.
Bomba: This is the Puerto Rican equivalent of the Cuban Rumba - African based
folkloric music that consists of percussion, vocals and couple dancing. Although the
standard Bomba rhythmic pattern is a one bar phrase, and thus does not have clave
in it, a Salsa arrangement of a bomba would still be written in “clave” and sound
quite well.
2
Merengue: This is a rhythm from the Dominican Republic. Originally it was played
with tambora, güira and accordion, and later on congas, piano and bass were added.
Cumbia: This rhythm comes from Colombia and combines Hispanic melodies with
African rhythms along with Native American harmonic components. The original
cumbia is characterized by the dancers’ feet remaining directly one in front of the
other practically all the time. Mostly in clubs today people dance cumbia using salsa
steps.
Calypso: This is the national rhythm of Trinidad. It has enjoyed tremendous
popularity world-wide, and probably was the dominant sound of the Caribbean for
many years due to its association with the Steel Drums.
Samba Cruzado: A jazz influenced Samba form played with drum set. The Samba is
best known for as the carnival rhythm from Rio de Janeiro. In its carnival form it
is known as Samba Enredo or Batucada and it is played with a wide variety of
percussion instruments with no drum set.
Partido Alto: This rhythm also comes from Brazil. it can be heard in big cities like
Rio and Sao Paulo. It consists of different ways of playing the Samba by using
elements from funk, jazz and rock. The percussion instrument called “Pandeiro” plays
one of the most important parts in Partido. Electric bass uses slap technique and
the drummer will use heavy accents on the snare.
3
Index
Riff s
Styles
BPM
CD Tracks
Page No.
Riff 1
Salsa 2/3
164
Tracks 1 & 2
5
Riff 2
Salsa 2/3
164
Tracks 3 & 4
6
Riff 3
Salsa 2/3
200
Tracks 5 & 6
7
Riff 4
Salsa 2/3
164
Tracks 7 & 8
8
Riff 5
Salsa 2/3
164
Tracks 9 & 10
9
Riff 6
Salsa 2/3
200
Tracks 11 & 12
10
Riff 7
Salsa 2/3
164
Tracks 13 & 14
11
Riff 8
Salsa 2/3
164
Tracks 15 & 16
12
Riff 9
Salsa 2/3
164
Tracks 17 & 18
13
Riff 10
Salsa 2/3
164
Tracks 19 & 20
14
Riff 11
Salsa 2/3
164
Tracks 21 & 22
15
Riff 12
Salsa 2/3
164
Tracks 23 & 24
16
Riff 13
Salsa 2/3
200
Tracks 25 & 26
18
Riff 14
Salsa 2/3
232
Tracks 27 & 28
19
Riff 15
Salsa 2/3
200
Tracks 29 & 30
20
Riff 16
Salsa 2/3
200
Tracks 31 & 32
21
Riff 17
Salsa 2/3
200
Tracks 33 & 34
22
Riff 18
Mambo 2/3
200
Tracks 35 & 36
23
Riff 19
Mambo 2/3
200
Tracks 37 & 38
24
Riff 20
Mambo 2/3
200
Tracks 39 & 40
25
Riff 21
Songo 3/2
200
Tracks 41 & 42
27
Riff 22
Songo 2/3
232
Tracks 43 & 44
28
Riff 23
Songo 3/2
200
Tracks 45 & 46
29
Riff 24
Songo 2/3
232
Tracks 47 & 48
30
Riff 25
Cha Cha
120
Tracks 49 & 50
31
Riff 26
Cha Cha
120
Tracks 51 & 52
32
Riff 27
Cha Cha
120
Tracks 53 & 54
33
Riff 28
Cha Cha
120
Tracks 55 & 56
34
Riff 29
Cha Cha
120
Tracks 57 & 58
35
Riff 30
Son 2/3
120
Tracks 59 & 60
36
Riff 31
Bomba
216
Tracks 61 & 62
37
Riff 32
Bomba
216
Tracks 63 & 64
38
Riff 33
Merengue
124
Tracks 65 & 66
39
Riff 34
Merengue
124
Tracks 67 & 68
40
Riff 35
Merengue
124
Tracks 69 & 70
41
Riff 36
Merengue
124
Tracks 71 & 72
42
Riff 37
Merengue
124
Tracks 73 & 74
43
Riff 38
Merengue
124
Tracks 75 & 76
44
Riff 39
Merengue
124
Tracks 77 & 78
45
Riff 40
Merengue
124
Tracks 79 & 80
47
Riff 41
Merengue
148
Tracks 81 & 82
48
Riff 42
Merengue
148
Tracks 83 & 84
49
Riff 43
Merengue
148
Tracks 85 & 86
50
Riff 44
Cumbia
200
Tracks 87 & 88
51
Riff 45
Cumbia
200
Tracks 89 & 90
52
Riff 46
Calypso
92
Tracks 91 & 92
53
Riff 47
Calypso
96
Tracks 93 & 94
54
Riff 48
Calypso
96
Tracks 95 & 96
55
Riff 49
Samba Cruzado
192
Tracks 97 & 98
56
Riff 50
Partido Alto
216
Track 99
57
Suggested Listening
58
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