This 11nth volume in the Beyond Salsa Piano series is the second of four that focuses on César "Pupy" Pedroso, the founding pianist and one of the principal composers of Cuba's most popular band, Los Van Van. He is now the leader of Los Que Son Son, the most successful new Cuban group of the first decade of the 2000s. This volume covers Pupy's work from the years 1984 - 1988. New to BSP: BSP Vol 11 includes complete piano and bass charts for "El buena gente" and "Calla calla", as they are now currently played by Los Que Son Son. This is the eleventh book in an instructional series set to become the new standard for contemporary Latin piano styles. 144 pages (144 páginas) with 94 audio tracks (94 pistas).

Special notes about Beyond Salsa Piano Volume 11:

** Beyond Salsa Piano Volume 11 is the eleventh in a series of instructional methods composed of an eBook with audio tracks. The eBook and audio tracks are sold separately. The eBook is a personalized pdf download compatible with Adobe Acrobat (more eBook info here).

** All 94 audio tracks have stereo separation: the left channel has the bass tumbao part and the right channel has the piano part.

Volume 11 of the Beyond Salsa Piano series is the second of four being written about César “Pupy” Pedroso, and covers songs and piano tumbaos first created with Los Van Van in the period of 1984 to 1988. When we get to songs that have been re‐arranged by Pupy’s new band, Los Que Son Son (founded in 2001), we cover the modern versions. To get a feel for how this critical five‐year period fits into Los Van Van’s trajectory, let’s start with an overview. In the chart on the next page Los Van Van’s various style periods are shown by shading.

In Volumes 1‐9, we panned the piano parts such that the left hand is only in the left channel and the right hand is only in the right. This way you could use the balance control on your stereo to solo just one hand. For the Pupy Pedroso volumes, however, we’ve included bass tumbaos for each example. So, in the Volume 10 audio files, we pan the entire piano to the right and the bass to the left so you can either solo the piano, or mute it, which allows you to practice along with the bass, clave and bell. In Volume 11, we’ve made another adjustment. In the full‐speed tracks, we pan the bass hard left and the piano hard right as in Volume 10, but for slow‐motion tracks, we pan the piano left‐right and the bass center.

On songs where Pupy plays more freely, we’ve included multiple similar tumbaos (e.g., Quien bien te quiere 3a, 3b, 3c, and so on). The sooner you’re able to allow these to blend together so you’re playing freely, with the variations coming out naturally, the better. You don’t need to retain which one is “a” and which is “b” in your long term memory; it’s far superior to develop a vocabulary of interchangeable variations that flow out naturally in performance.

BSP Volume 11 features dozens of excellent photographs by Tom Ehrlich, David Garten, Patrick Bonnard and others top photographic artists.

Beyond Salsa Piano is a history and anthology of the role of the piano in the Cuban rhythm section – from its first appearance to the present. In a broader sense, it’s a study of the tumbao – the art of creating music from layers of repeating rhythmic and melodic phrases. Whether these syncopated figures are called tumbaos, guajeos, montunos, riffs or vamps, this Afro-Cuban concept lies at the heart of nearly every popular music genre from salsa to rock , funk, R&B, hiphop and jazz.

While presented as a set of method books, the series doubles as a history course and record collecting guide for listeners, dancers, and players of instruments other than the piano.

Perhaps the most important goal of the series is to provide a comprehensive understanding of how tumbaos are constructed, their central role in the texture of Latin music of all eras, and the endless possibilities they provide for creative composing and arranging.

Click here for a pdf sample of the Beyond Salsa Piano Volume 11 eBook.

Email the author = kevin [at] timba [dot] com

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