The Total Latin Guitarist, A Fun and Comprehensive Overview of Latin Guitar Playing. BOOK WITH CD & GUITAR TABLATURE
By Doug Munro
LIBRO METODO DI MUSICA LATINA, CON CD.
SPARTITI PER CHITARRA E BASSO CON :
ACCORDI, PENTAGRAMMA, TABLATURE DELLA CHITARRA.
BASSO SOLO IN PENTAGRAMMA.
Serie: The Total Guitarist
Categoria: Guitar Method or Supplement
Formato: Libro & CD
Instrumento: Chitarra
It’s time to infuse your playing with a little hot-blooded romance! The Total Latin Guitarist is an exciting journey into the world of Latin guitar playing. The book begins by teaching you soloing and accompaniment techniques used in all genres of Latin music, as well as the rhythmic backbone of many Latin styles, the clave. You'll learn to play in the Afro-Cuban styles of salsa, rumba, guaguancó, cha-cha-cha, mambo, and songo. You'll get a solid introduction to the Brazilian styles of choro, samba, batucada, partido alto, bossa nova, baião, and frevo. Other Latin styles featured are meringue (Dominican Republic); calypso, soca, and bachata (Trinidad); tango (Argentina); and ranchera, mariachi, norteño/conjunto, and tejano (Mexico). Aside from all of the important techniques involved with playing these styles, you will also learn all of the relevant theory. This book is for guitar players who are already familiar with the basics, but are looking to expand their vocabulary and repertoire in new and exciting ways. The CD features a full band demonstrating the examples in the book.
This book is intended for the intermediate to advanced guitarist who hasan interest in exploring Latin guitar styles. To get the most out of this book, you should have a firm grasp on playing technique and theory, including scale theory, chord theory, and diatonic harmony. You should also be able to read standard music notation or tablature (TAB). For a refresher on some of these topics, refer to the Appendix on page 126.
The Total Latin Guitarist is a sampler of 23 different Latin music styles from six different countries. For every famous person mentioned in this book, there are many more that are not mentioned. In doing the research for this book, I found many contrasting explanations and points of view on musical and historical information. This book only includes material that musicians and historians are in general agreement about. Many of the common questions asked by musIcians studying Latin music are addressed in these pages. Concepts like the clave and specific rhythmic patterns are explained and demonstrated. All of the examples are hands-on, practical solutions for creating the distinctive sounds of each style. The Total Latin Guitarist, while not a history book, provides some background on each style of music played. Gaining a historical perspective on the music helps in interpreting and understanding the particular harmonic and rhythmic patterns intrinsic to each style. Every recording listed in this book is still available (at least at the time of this publishing). It is vital that you listen to the music that you study in this book. There are subtleties that can only be learned through immersing yourself in the music. Be sure to memorize the musical examples and play along with the recorded tracks on the CD. As you master the information in this book, it is vital that you go out and play it. Get together with like-minded musicians and play in these styles. There is a whole other education you get from playing and sharing this music with others. Most of all, it is so much fun to feel the groove and be a part of making this unique and exciting music. A compact disc is available with this book. Using the disc will help make learning more enjoyable and the information more meaningful. Listening to the CD will help you correctly interpret the rhythms and feel of each example. The symbol to the left appears next to each song or example that is performed on the CD. Example numbers are above the symbol. The track number below each symbol corresponds directly to the song or example you want to hear. Track I will help you tune your guitar to this CD.
Doug Munro is a critically acclaimed New York jazz guitarist. Since 1987, he has released I I albums as a bandleader and has appeared on over 50 recordings as a sideman, producer, and arranger, working with a diverse array of artists including Dr. John, Michael Brecker, and Dr. Lonnie Smith. Doug has over 75 published compositions and over 300 recorded arrangements by the finest players on the scene today. Doug has received two Grammy nominations and two NAIRD awards. Amazon.com picked Boogaloo to Beck, which Doug performed on, arranged, and co-produced, as one of its Top Ten Jazz CDs of 2003. Doug also did orchestration work on the Oscar-winning 1997 documentary When We Were Kings. Doug continues to actively perform with around 100 live dates per year.
As an educator, Doug created and was Director of the Jazz Studies Program at The Conservatory of Music at Purchase College from 1993-2002. He continues to teach there as Director Emeritus. This esteemed jazz program boasts a faculty that includes John Abercrombie, Todd Coolman, Jon Faddis, Eric Alexander, John Riley, and many other top jazz performers. Doug has written three books on jazz improvisation for Alfred Music Publishing: • Swing to Bebop (Alfred 00-0388B) (Winner of The Music and Sound Retailers' Instructional Book of the Year Award in 2000)
• Bebop and Beyond (Alfred 00-0609B)
• Organ Trio Blues (Alfred 00-0758B)
Acknowledgements
There are many people who helped make this book possible. I would first like to thank Aaron Stang, my longtime editor and friend, from back in the Warner Brothers days. After Alfred Music Publishing merged with Warner, it was Aaron who put me in touch with the people at Workshop Arts, who co-publish many instructional music books with Alfred. Thanks to Jason Shadrick for introducing me to everyone at Workshop Arts; he has always been very generous with his time and contacts, and his help and friendship has been invaluable to completing this project. Next up is Burgess Speed, my new editor; working with Burgess has been great, he has a solid view of the "big picture" but never loses sight of the small details involved in writing a meaningful book. I look forward to, hopefully, doing many more projects together. Thanks also to Gil Parris, a longtime friend and guitarist. His generosity in helping me with this, and pretty much every project I've ever done, is greatly appreciated. Lastly, I would like to thank the good Lord for his love and guidance and my wife, Kathleen, and my sons, Eugene and John, for their love and support.
About the Author
Introduction
Chapter I: Latin Accompaniment Techniques
Accompaniment Styles Without a Bass Instrument
Accompaniment Styles with a Bass Instrument
Chapter 2: Latin Soloing Techniques
Soloing Based on a Scale or Mode
Soloing Based on an Arpeggio
Voice Leading
Chapter 3: Clave
Son Clave
Rumba Clave
BossaClave
Chapter 4: Montuno/Guajeo
Chapter 5: Afro-Cuban
Son
Salsa
Salsa solo
Rumba
Rumba Solo
Guaguancó
Guaguancó Solo
Cha-Cha
Cha-Cha solo
Mambo
Mambo Solo
Songo
Songo Solo
Mozambique
Mozambique
Chapter 6: Brazil
Choro
Choro Solo
Samba
Samba
Batucada
Batucada Solo
Partido Alto
Partido A/to
Bossa Nova
Bossa Nova Solo
Baião .
Baião Solo .
Frevo .
Frevo Solo
Chapter 7: The Dominican Republic
Merengue
Merengue Solo
Bachata
Bachata Solo
Chapter 8: Trinidad
Calypso
Calypso Solo
Soca
Soca Solo
Chapter 9: Argentina
Tango
Tango Solo
Chapter 10: Mexico
Ranchera
Ranchera Solo
Mariachi.
Mariachi Solo
Norteño / Conjunto
Norteño Solo
Tejano
Tejano Solo
Conclusion
Appendix
Reading Tablature (TAB)
Scale Diagrams
Major Scale Theory
Intervals
Diatonic Harmony
Circle of 4ths/5ths
Extended Chords
Italiano
English
