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  • BEYONDSALSAPIANOTHECUBANTIMBAPIANOREVOLUTION

    VOLUME6IvnMelnLewis,Pt.1

    NOTEFORNOTETRANSCRIPTIONS

    byKevinMoorephotographybyTomEhrlich

    coverphotosubject:IvnMelnLewis

    audioandvideocompanionproductsavailableatwww.timba.com/piano1

    http://www.latinpulsemusic.com/http://www.latinpulsemusic.com/

  • REVISION1.02010BYKEVINMOORE

    SANTACRUZ,CAALLRIGHTSRESERVED

    Nopartofthispublicationmaybereproducedinwholeorinpart,orstoredinaretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopy,

    recordingorotherwise,withoutwrittenpermissionoftheauthor.

    ISBN10:1450545602ISBN13/EAN13:9781450545600

    www.timba.com/pianowww.timba.com/audiowww.timba.com/users/7

    www.beyondsalsapiano.comkevin@timba.com

    2

    http://www.timba.com/pianohttp://www.timba.com/audiohttp://www.timba.com/users/7mailto:kevin@timba.com

  • TableofContents

    IntroductiontotheSeries......................................................................................................................5

    HowtheSeriesisOrganizedandSold................................................................................................5

    Book...................................................................................................................................................5

    Audio..................................................................................................................................................5

    Video..................................................................................................................................................6

    SeriesOverview..................................................................................................................................6

    IntroductiontoVolume6.......................................................................................................................7

    Chapter1:BiographyandDiscographyofMelnLewis........................................................................9

    1995:Elaoqueviene.....................................................................................................................10

    1996:FromAfricatoCamagey......................................................................................................11

    1997:Otraidea................................................................................................................................12

    1997:ExclusivoparaCuba...............................................................................................................13

    1997:GraciasFormell......................................................................................................................14

    2000:Battang.................................................................................................................................15

    Chapter2:TimbaGearsfromthePianistsPerspective......................................................................16

    WhatareTimbaGears?....................................................................................................................16

    TimbaGearsinTheIssacDelgadoGroupof19961998..................................................................16

    TheOverallFlowofGearsinaLiveTimbaPerformance.................................................................17

    NavigatingtheGearChangesonPiano............................................................................................20

    Chapter3:NoteforNoteTranscriptions.............................................................................................22

    Nomemiresalosojos.....................................................................................................................22

    MelnsFingeringofRightHandOctaves....................................................................................22

    ANoteonChordProgressionsandTraditionalSalsaPianoPlaying............................................24

    Lavidasinesperanza.......................................................................................................................28

    3

  • MuelaGearinLavidasinesperanza............................................................................................39

    ANoteonClave............................................................................................................................41

    Chapter4:UnderstandingMelnsOpenMontunoStyle...................................................................50

    TheMindsetoftheTimbaPianist....................................................................................................52

    1. TheNoteforNoteApproach...............................................................................................52

    2. TheThemeandVariationsApproach...................................................................................52

    3. TheThemeandSoloApproach............................................................................................52

    4. TheControlledImprovisationApproach..............................................................................53

    LookingAhead......................................................................................................................................54

    Appendix1:FrequentlyAskedQuestions............................................................................................55

    WhatistheroleofthepianoinaLatinensemble?.........................................................................55

    WhatsTheDifferencebetweenatumbao,aguajeoandamontuno?.................................55

    Whyiseveryexampleshowninboth16thnotesand8thnotes?.....................................................55

    HowcanIimprovemytimefeelandsenseofclave?......................................................................55

    Appendix2:GlossaryGeneralTerms................................................................................................56

    Appendix3:ForFurtherStudy.............................................................................................................61

    SuggestedReading...........................................................................................................................61

    SuggestedListeningtoPrepareforSubsequentVolumes...............................................................62

    Acknowledgments................................................................................................................................64

    AbouttheAuthor.................................................................................................................................64

    EarlierVolumesofBeyondSalsaPiano............................................................................................65

    ContinuingtheBeyondSalsaPianoCourse.....................................................................................68

    4

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  • Lavidasinesperanza8b8thnotenotation,p.2of2

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    Remember that these longerexamplesarenotmeant toberead through.Youshouldcompletelymemorize each twoclave phrase beforemoving on to the next, and the ultimate goal, aswellexplaininthenextchapter,istobeabletoplayyourownspontaneousvariations.

    48

  • Acknowledgments

    photography:TomEhrlich

    editing and conceptual guidance: Orlando Fiol, David Pealosa, Curtis Lanoue, Toms Cruz, BillWolfer,OsvaldoMartnez,MarcBischoff,GabrielWilder,SueTaylor,PeterMaiden,DavidCantrell,RyanMead,Michael Spiro, RobertoMorris,Wendy Black,Alexey Berlind,Michael Lazarus, ColinJohnson,MajelaSerrano,AbelRobaina.

    AbouttheAuthor

    MelnLewis,KevinMooreLosAngeles,2009

    KevinMoore (kevin@timba.com) isthecofounderandmusiceditorfortheworlds largestCubanmusicwebsite,www.timba.com,towhichhehascontributedthefreeonlinemultimediabookTheRootsofTimba,dozensofbooklengtharticles,discographies,recordanalyses, interviewsandthedailyCubanmusicblogLaltima,whichisnearingits10thyearofpublication.

    In the early 2000s Kevin cowrote The Toms Cruz Conga Method, Volumes 13, a criticallyacclaimedmethodbookusedasatextatvariouseducationalinstitutions.

    TheTomsCruzCongaMethodVolumes1,2,and3

    PublishedbyMelBay

    64

    mailto:kevin@timba.comhttp://www.timba.com/

  • Asmusicaldirector, composer,arrangerandviolinistof theCaliforniabased salsabandOrquestaGitanohecoproducedthe1998CDSalsaGitana.

    Availableforpurchaseanddownloadatwww.latinpulsemusic.com/albums/show/2

    EarlierVolumesofBeyondSalsaPiano

    BeyondSalsaPianoVolume1

    www.createspace.com/1000252022

    www.latinpulsemusic.com/albums/

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