Kevin Moore

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(This page sells the book only - the supplemental audio files are a separate downloadable purchase. The book also contains a link to a free download of an assortment of audio files from each chapter.) THE BOOK: Beyond Salsa Piano, Vol. 12 is the third volume on C sar "Pupy" Pedroso, and covers his last decade as the pianist and one of the principal songwriters of the Cuban supergroup Los Van Van. The book contains music notation and analysis of Pedroso's piano tumbaos as well as historical and discographical information about Los Van Van and its many famous members, including Juan Formell, Samuel Formell, Mayito Rivera, Angel Bonne, Robert n Hern ndez, Pedrito Calvo, Boris Luna and Jos Luis "Changuito" Quintana. During the period under study (1989-2001), Los Van Van released seven albums generally considered to be among the best Cuban popular music recordings of all time: Cr nicas (1989), Aqu el que baila gana (1990), Az car (1992), Lo ltimo en vivo (1994), Ay Dios amp rame (1996), Te pone la cabeza mala (1997) and the Grammy-winning Lleg Van Van (19990. Volumes 10 and 11 of the Beyond Salsa Piano series cover Pupy Pedroso's earlier work with Los Van Van and Volume 13 will cover his work as the leader of Pupy y Los Que Son Son from 2001 to the present). Los Que Son Son is currently one of the most popular bands in Cuba. Volumes 1-5 are a beginning-intermediate-advanced course in Latin piano playing in general; Volumes 6-9 are an in-depth study of piano giant Iv n "Mel n" Lewis and his work with the pivotally important Issac Delgado Group. Volume 14 covers the piano style of Tirso Duarte with Charanga Habanera. Interestingly, Duarte was also a lead singer with Pupy y Los Que Son Son. The Beyond Salsa series also includes 5 books on bass, 3 on drums and timbales, a course for Latin ensemble, Understanding Clave and Clave Changes, and a special book, Beyond Salsa for Beginners, that teaches basic rhythms and history for dancers and other interested non-musicians.

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(book only - audio files are a separate downloadable purchase - the book also contains a link to a smaller free download of audio files)THIS BOOK: Beyond Salsa Bass, Vol. 2 covers the same period as Beyond Salsa Piano, Vol. 2 - Cuba from 1940-1959, aka, the "golden age of Cuban music". After a theoretical chapter covering clave alignment and rhythmic breaks, or cierres, the second chapter, over 100 pages, is devoted to the bass tumbaos and cierres of Arsenio Rodr guez. Chapter 3 is on the great bassist Cachao L pez and the final chapter covers the multitude of great Cuban artists of the 1950s: Beny Mor , Celia Cruz, Orquesta Arag n, Jos Fajardo, et al. THE BEYOND SALSA SERIES: The Beyond Salsa Bass series is designed to be used either as a stand-alone bass course, or as a companion series to Beyond Salsa Piano, enabling you to practice each exercise along with a friend or band member who plays piano. There's a corresponding bass tumbao for every piano tumbao covered in our sister series. That said, each bass series book is much longer than its piano counterpart, and quite a bit more ambitious, especially the first four volumes. There are many additional tumbaos and several chapters of conceptual exercises that go beyond the piano books. Music history and music theory are also given significantly more space and attention in the bass series. Volumes 1 and 2 match up almost perfectly, except that the bass series adds an extensive additional section on Arsenio Rodr guez and son montuno in Volume 2 (this one). Volumes 3 and 4 of the piano series are combined in Volume 3 of the bass series, which also has a section on salsa and pre-salsa music of Puerto Rico and New York. Salsa was not covered in the piano series, as salsa piano has already been thoroughly covered by Rebeca Maule n in her Salsa Guidebook and 101 Montunos. The bass series covers timba in two volumes instead of one because the bass plays such a pivotal role in the rhythm section gears. Individual Artists: From Volume 6 onward, each volume of each series is devoted to the style of one musician. These volumes have their own philosophy and game plan: -Find the very best musicians. As of this writing, the bass series includes Alain P rez and the piano series includes Mel n Lewis, Pupy Pedroso and Tirso Duarte.-Avoid asking the musicians to self-analyze or participate in the pedagogic process any more than necessary.-On a case-by-case basis, find the most natural way to capture each musician doing what he or she does on recordings and at concerts.-Convert these captured performances - whether MIDI, audio, or video - into bite-size exercises that can be easily studied, understood and assimilated by a non-Cuban musician.-Never ask the reader to learn an exercise without demonstrating exactly how it relates to a given genre, band, song or the style of a specific musician. Volumes 6-9 of each series are directly linked because their subjects - Mel n Lewis (piano) and Alain P rez (bass) - played side-by-side in the legendary 1996-1998 Issac Delgado Group. Each is arguably the greatest player of the timba era on his respective instrument. The songs covered are identical (until Volume 9) and the video products include the two musicians playing along with each other. Mel n's tumbaos are also present in one channel of the audio tracks for the Alain P rez books.

(this page sells the book only - audio files are a separate downloadable purchase - the book also contains a link to a smaller free download of audio files) Beyond Salsa Bass is the companion series to Beyond Salsa Piano, launched in 2009 and now spanning 12 volumes. As of 2013, three bass volumes have been released: Volumes 6 and 7 on Alain P rez, and this book, Volume 1: For Beginners. Included are bass tumbaos for each of the piano tumbaos (aka, montunos) in Beyond Salsa Piano, Vol. 1, but the bass volume is more than twice as long and contains many additional bass tumbaos and other exercises. The book begins by categorizing the 16 most common Latin bass tumbaos by their rhythms and then proceeds to tell the history of Latin music from a bassist's perspective, with notation for bass tumbaos from each era covered: chang , rumba, son, danz n, big band and son montuno (a very detailed study of Arsenio Rodr guez). Audio files are not included with the book. Available online are both a smaller free audio download and an extensive paid audio download.

This book presents an encyclopedic selection of all the basic rhythm parts used on timbales and drums in Latin music (salsa, timba, Afro-Cuban folkloric rhythms, rumba, danz n, chachach et al). The central premise is for the student to master each rhythm by singing and tapping before attempting to play it on an instrument, so as to avoid bad habits of technique during the critical period when the rhythm is being memorized and internalized. To accommodate as many learning styles as possible, each rhythm is presented in eight ways: two types of standard notation, two types of graphic or "box" notation, full speed audio, slow motion audio, and two speeds using a special "task-by-task" learning method where the rhythm is learned one stroke at a time against a steady rhythmic accompaniment. Each rhythm is first presented as a single part in its historical context and then in the combinations of two and three parts at once that a percussionist would be expected to play in various group situations. One group of audio files (107 tracks) is available as a free online download, with the link provided in the book. The remainder (the more advanced files) are available as a separate downloadable product. The book will also be useful for those who can already play drums and timbales but need to quickly learn the necessary rhythms for salsa and timba, but for true beginners, our strategy is to learn to sing and tap all of the basic rhythms before taking your first lesson and there's a very important reason for doing it this way: As with golf or tennis lessons, learning to play a musical instrument is about physical movements, dexterity, timing, coordination and body language - the types of things that are easier to demonstrate than to explain and are easier to master when your brain stays calmly out of the way as your body goes through the learning process. If your brain is struggling to learn what to play, it interferes with your body's natural ability to learn how to play. To put it another way, if you're concentrating on mastering the pattern of a new rhythm, you won't be able to give 100% of your effort to tone production, posture, hand position, and feeling the groove, and you're likely to develop "bad habits" that are hard to unlearn later. But if you've already learned to sing, clap and tap the rhythms before you take your first lesson on drums or timbales, you'll be much more likely to succeed, and - just as important - you'll be much more likely to enjoy the process.

After writing over 20 instructional books on Cuban piano, congas, drums, timbales, clave and bass, this is Kevin Moore's first book for non-musicians - listeners, dancers and fans of Latin music. Beyond Salsa alternates between "Listening Tours" (music history, analysis of songs, and record-collecting advice) and Rhythm Exercises chapters with singing, clapping and dancing exercises (including audio files) designed to enhance listening skills. The four Listening Tours are: I. Pre-Revolution Cuban Popular Music (1900-1959); II. Salsa and Post-Revolution Cuban Popular Music (1959-1989); Timba (1989-2012); and a special section covering Afro-Cuban Folkloric Music, Comparsa, Chang and Rumba. The rhythm exercises include the basic rhythms of each instrument, clave, various types of basic dance steps, a section on learning to feel the Latin groove properly, and a special chapter on the problems that new listeners of Afro-Cuban folkloric music sometimes have with hearing the beat and meter correctly. A link is provided for a free audio download with 107 audio files corresponding to the exercises. There's also a second download for sale with additional audio files. Also included are an extensive glossary and a beginners guide to the Spanish language and Cuban slang in music for English-speakers.

Volume 7 of Beyond Salsa Bass continues our 4-volume study of the style of Alain P rez - the composer of La sandunguita, Salsa timba y amor, and Amigo Juan. P rez is one of the most talented bassists, composers and arrangers of modern Cuban music. He shared a very unique musical chemistry with Issac Delgado and pianist Mel n Lewis, the subject of Volumes 6-9 of Beyond Salsa Piano. The bass series follows the piano series exactly, covering the same songs, now from the perspective of the bassist. In addition to transcribing the notes, we also transcribe the percussive sounds that he uses to create his funky style. Each musical example is provided in 16th note notation, 8th note notion and bass tablature. There are corresponding audio and video products for each volume. Volume 7 has a complete 19-page note-for-note transcription of a live Alain P rez performance and extensive discussion of the use of gears, controlled improvisation and improvisation of form in live Cuban dance music (timba, salsa).

Volume 6 of Beyond Salsa Bass begins our 4-volume study of the style of Alain P rez - the composer of La sandunguita, Salsa timba y amor, and Amigo Juan. P rez is one of the most talented bassists, composers and arrangers of modern Cuban music. He shared a very unique musical chemistry with Issac Delgado and pianist Mel n Lewis, the subject of Volumes 6-9 of Beyond Salsa Piano. The bass series follows the piano series exactly, covering the same songs, now from the perspective of the bassist. In addition to transcribing the notes, we also transcribe the percussive sounds that he uses to create his funky style. Each musical example is provided in 16th note notation, 8th note notion and bass tablature. There are corresponding audio and video products for each volume.

At 368 pages, Beyond Salsa for Ensemble, Vol. 1 is the most ambitious of the 15 volume series. The course is designed for college and high school Latin music ensembles and working salsa bands seeking to add modern Cuban "timba" and "songo" material and techniques to their repertoires. The course begins with the basic salsa groove and then presents two modern Cuban grooves (one in 2-3 clave and one in 3-2 clave), with note-for-note transcriptions for piano, bass, bong , timbales, congas, and drums - all explained in careful detail in a conversational style. The next part of the book teaches 36 rhythm breaks, or "efectos", that can be added to any Latin arrangement. Again, every stroke of every part is meticulously transcribed, with lead sheets also provided for more experienced players. Finally, the book contains a complete chart for performance of a popular Cuban hit by the popular group Los Que Son Son, led by Pupy Pedroso, the subject of several of the Beyond Salsa Piano books.

A supplement to the "Beyond Salsa" series, this is a hands-on course with four major sections, using dancing, clapping and singing exercises to explain the mysteries of the Cuban clave rhythm. Part 1 teaches absolute beginners with no training or experience to perform the various clave rhythms. Part 2 covers clave terminology in detail. Part 3 is an intermediate set of exercise designed to explain the confusing topic of "clave direction". Part 4, for musicians and experienced dancers and listeners, tackles "clave changes", one of the most misunderstood and hotly-debated topics in music. Also included is a general Rhythmic Terminology appendix, suggested listening and reading lists, and an introduction to the "Beyond Salsa" series of instruction books for piano, bass, timbales, drums, congas, bong , and rhythm section ensemble.

This is the eleventh Volume of "Beyond Salsa Piano", the fourteenth of the "Beyond Salsa" series, and the second on C sar "Pupy" Pedroso, founding pianist and composer of Los Van Van and leader of Los Que Son Son, two of the most popular and long-running bands in Cuban music history. Volume 10 began with Pupy's first compositions for Los Van Van in 1979. Volume 11 covers the period from 1984 to 1988. Whenever we come to a song that has been re-arranged and re-recorded by Pupy's present-day timba group, we study the modern group's version as well. For two of the Los Que Son Son songs we include complete bass/piano charts of the entire arrangement.