Montuno Patterns Introduction
In this lesson we explore the most common montuno patterns that we hear in Salsa and Cuban music from the early 1940s. Montuno patterns are an adaptation the role of the tres guitar in the earliest forms on son which are “changüí” and “nengón”.
This lesson includes montuno demonstrations and we then break down the individual components of early montuno patterns.
Changüí Form Of Montuno
We explore another form of traditional montuno which is called Changüí. Changüí is considered a predecessor of son montuno (the ancestor of modern salsa), which has enjoyed tremendous popularity in Cuba throughout the 20th century.
The Changüí is the most complicated to play as it is very highly syncopated. The Changüí uses an instrument called the ‘bongo del monte’ – the predecessor of the today’s bongo – and a wooden bass instrument called the marímbula.
This lesson includes explanation and visuals of the percussion instruments used in Cuban music. Understanding the role of the percussion instruments can help to shape and inform the way that we interpret and rhythms when playing Cuban music in a solo piano context.
Tres Guitar Patterns
We explore tres guitar rhythmic patterns and it’s important to understand that these montuno patterns originate before the piano was added into the traditional son montuno. Notice that there are no downbeats in the tres guitar pattern – everything is syncopated.
The Evolution Of Montunos To The Piano
In the next lessons we explore the evolution of the montuno pattern once it arrived into the city of Havana. We examine this music is interpreted from the context and the stylistic nuances when adapting montuno patterns to the piano.
Lesson Downloads
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Montuno Patterns Introduction File Type: pdf
Related Lessons
Learn how to improvise over montunos that can be used when playing with a bass player and also when playing montunos in a solo piano context.
In this lesson we explore some common exercises that are useful for students who have never played Cuban piano styles or montunos.
In this lesson we explore two of the most important and foundational elements of Cuban music which are the clave and the cascara.
Practice Tips
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Move the montuno pattern around the chord progression to add variety and to avoid a mechanical sounding montuno.
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Practice the right hand pattern and then once comfortable add the left hand bass line.
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Study Elio's demonstrations to understand the history and the evolution of montuno patterns in Cuban music of the early 1940s.
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Notice that there are no downbeats in the tres guitar pattern - everything is syncopated.
