Chords for Cuban Masters Series - Piano

_ [C] _ [B] _ _ _ [C] _ [B] _ _
_ _ _ _ [Am] _ _ _ [Am] _
_ [B] _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
The examples played in the ensembles do not have a traditional son montuno, but one can
feel its strong presence in all Cuban music.
_ _ _ _ _ _ _ _
_ _ _ _ _ The following example is a standard piano montuno played in the sun.
It goes like this.
_ _ [F] _ _ _ [C] _
_ [Gm] _ [F] _ _ _ [C] _ [Gm] _ _
The chorus for this montuno would be. _ _
_ [Bb] _ [F] _ _ _ [C] _ _ [Bb] _
_ [F] _ _ We start at tumbao on the tonic, _ _ _ _ _ subdominant [C] and dominant chords. _ _ _
The relationship between the piano, bass and percussion is very important _ _ _ _ since this rhythm
section is the support of everything else.
The first _ thing the [F] pianist has to do is listen to what the bass is doing.
For example, _ _ [C] _ _ [Bb] _
_ _ _ _ [C] _ _ [F] _ _
_ this part may vary, but that is the basic pattern and the piano would go like this.
_ _ _ [C] _
_ [Gm] _ [F] _ _ _ [C] _ _ [F] _
_ _ [C] _ _ _ [F] _ _ _
_ [Bb] _ [F] _ _ _ [C] _ _ _
[F] _ [Em] This montuno has several variations, [F] for instance, _ _ _ _ [Bb] _ [F] _ _
_ _ [Bb] _ _ _ _ [Am] _ _
_ [F] _ _ _ _ [Bb] _ [F] with the same bass _ [C] and _ [F] _ _ [Bb] _
_ _ _ _ just like that one,
there are lots of combinations. _ _ _ _
The most important things to keep in mind when creating a montuno are the rhythmic [G] and
melodic possibilities that one can do, depending upon one's technical and musical development. _ _
_ _ _ _ _ _ _ _
_ On the other hand, it is necessary to think and listen in a collective way when playing
in an ensemble. _
_ _ The bass needs to hear the piano.
The piano needs to hear the bass.
The piano and bass need to hear the percussion.
_ It's a collaboration of elements that have to be very close