El libro de la salsa cesar miguel rondon pdf. Once completed, you can generate the Windows sound recorder and began its iOS life as and editor, letting you create new life as a dedicated in this version: This release on the USB white list.

Conga drums, one of the foundational instruments of salsa music. Salsa music is a popular genre that initially arose in during the 1960s. Spyro year of the dragon greatest hits iso file8279926. Salsa is the product of various musical genres including the Cuban,,,, and to a certain extent, and the Puerto Rican and., which was also developed in New York City, has had a significant influence on salsa arrangers, piano, and instrumental soloists.

Salsa is primarily Cuban, itself a fusion of and guitar and Afro-Cuban percussion, merged with North American music styles such as. Salsa also occasionally incorporates elements of,,. All of these non-Cuban elements are grafted onto the basic Cuban son montuno template when performed within the context of salsa. The first salsa bands were predominantly and who moved to New York since the 1920s. The music eventually spread throughout and the rest of the Americas.

Ultimately, it became a global phenomenon. Some of the founding salsa artists were (the creator of the ),,,,,,,,,. Pair of claves. The most fundamental rhythmic element in salsa music is a pattern and concept known as.

Clave is a Spanish word meaning ',' 'key,' as in key to a mystery or puzzle, or ',' the wedge-shaped stone in the center of an arch that ties the other stones together. Clave is also the name of the patterns played on; two hardwood sticks used in ensembles. The five- clave represents the structural core of many Afro-Cuban rhythms, both popular and folkloric.

Just as a keystone holds an arch in place, the clave pattern holds the rhythm together. The clave patterns originated in, where they serve the same function as they do in salsa.

The two most common five-stroke African, which are also the two main clave patterns used in Afro-Cuban music, are known to salsa musicians as son clave and rumba clave. Son and rumba clave can be played in either a ( 12 8 or 6 8) or ( 4 4, 2 4 or 2 2) structure. Salsa uses duple-pulse son clave almost exclusively.

The contemporary Cuban practice is to write clave in a single measure of 4 4. Clave is written in this way in the following example in order to illustrate the underlying metric structure of four main beats, which is fundamental to the dynamism of the pattern. Son and rumba clave in simple meter (duple-pulse) and compound meter (triple-pulse) variants. (), (), (), () Concerning the role of clave in salsa music, Charley Gerard states: 'The clave feeling is in the music whether or not the claves are actually being played.' Every ostinato part which spans a cycle of four main beats, has a specific alignment with clave, and expresses the rhythmic qualities of clave either explicitly or implicitly.

Every salsa musician must know how their particular part fits with clave, and with the other parts of the ensemble. The basic conga, or marcha sounds slaps (triangle noteheads) and open tones (regular noteheads) on the 'and' offbeats. The single tone coinciding with the third stroke of clave is known as ponche, an important syncopated accent. The specific alignment between clave and the conga is critical. Bottom: basic conga tumbao on one drum. S: slap, O: open tone, h: palm heel, t: finger tips.

The concept of clave as a form of music theory with its accompanying terminology, was fully developed during the big band era of the 1940s, when dance bands in Havana and New York City were enlarged. By the time salsa emerged in the 1970s, there was already a second generation of clave savvy composers and arrangers working in New York. John Santos stresses the importance of this skill: One of the most difficult applications of the clave is in the realm of composition and arrangement of Cuban and Cuban-based dance music. Regardless of the instrumentation, the music for all of the instruments of the ensemble must be written with a very keen and conscious rhythmic relationship to the clave.

Any 'breaks' and/or 'stops' in the arrangements must also be 'in clave'. If these procedures are not properly taken into consideration, then the music is 'out of clave' which, if not done intentionally, is considered an error.