Author's Introduction

In order to b egin the study of any musical style, it is essential to look at the
roots and history of that style - as you would when studying jazz or classic music.
Therefore, I begin chis guidebook by presenting a background of basic informa­
tion which will provide the newcomer to this music with an essential foundation.
This information is extremely condensed, and is based on several years of contin­
ued research and study. A more thorough examination of Afro-Caribbean music
I will soon be available, however, which will delineate the evolution of this music in
much closer detail. This forthcoming work, entitled The Roots ofSalsa, will be
' produced in collaboration with percussionist and musicologist John Santos,
known throughout the U.S. and Europe as a leading scholar and teacher of Afro­
Caribbean music.
I This guidebook focuses on cenain technical aspects and fundamentals of salsa
Included in this work are musical examples, excerpts of musical scores, a discogra­
phy and recommended listening list, as well as a glossary of the terms mentioned
throughout the book. A companion cassette tape will soon be available, which
follows the score samples in chronological order. A future volume will indude
I more in-depth analyses of improvisational and arranging techniques.
Throughout the guidebook are references to recommended recordings; while
I some of these are no longer available, most can be obtained here in the United
States and/or in Europe, and are listed in the Discography (Appendix B). Appen­
dix A {Ustening List) contains a partial listing of the many artists and/or groups
recommended by the author. Any recording featuring any one of these artists is
worth adding to your record collection. The Discography also includes several
record stores where salsa recordings are available, in particular those that are hard
to find. Although it has generally been difficult to obtain recordings by Cub�
and other Caribbean artists here in the U.S., several Canadian, European and
U.S.-based record companies have begun to take notice of the vast musical
treasures in Afro-Caribbean music, and numerous artists' recordings are being re­
distributed. With the advent of digital technology, we are fonunate to have many
vintage recordings re-mastered, so that future generations can also appreciate the
wealth of this music in new, state-of-the-art digital sound.
In order for the beauty and wonder of Afro-Caribbean music to survive in a
world of slick, high-tech musical "products", it is essential that you, the student,
music lover or professional musician, continue to buy records, tapes, c.d.'s, and
attend live performances!

"La musica es el alma de los pueblos."

Jose Marti
("Music is the soul of the people")

I I I ""
CHAPTER IV
The tcrm uscd to idcnrify t.he repcatcd, syncopatcd piano vamp is montuno
(mone-too-noh). Montuno-playing is crucial to the sttcngt.h of t.he rhythm
section, and muse provide strong support for t.he mdodic insttuments and/or
vocalists in an ensemble. Thcreforc, it is important to maintain a solid pattern
t.hat does not distract from the fcarurcd instrUmcnt or singer. A solid montunois
one thac acates a balance betwecn reperirion and variarion. The followi ng 2-bar
pattern is the most cypicaJ montunorhythm, consisri ng of a phrase with two
strong bcats and sevcn up-bcats, and is dcrivcd from typicaJ tres pattcrns. With
a few exccptions, this pattcrn may be playcci for many rhythmic scylcs, indudi ng
mambo, guaracha and son-montuno (refer to Chap. V). (fig. 4.106):

4.106 Typlcal Montuno Rhythm

(2-3)

lt can be extended to four, eight or more measurcs depcnding on the chord

progrcssion. Thcre are many possiblc variacions and ornamcnts in montuno
playing; however, this is che cssential pattcrn, and it is dcsigned to fit with the
clave in a very spccific manner (which will be e:xplaincd in a moment). Bcfore
understanding the 11UJntuno's rdationship to the clave, is important to understand
its rdarionship co the� (and fcd ic as wdO. Hcre is che same 11UJntunoshown
with che half-note pulse. (flg. 4.107):

4.107 Montuno and Pulse

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