Enhancing Montunos
In this lesson we demonstrate the application of the arpeggio and chordal drills outlined at the start of this course, and how these components can be applied to create interesting montuno patterns.
Montuno Harmony
Montunos are typically formed from the I chord, the IV chord, the V chord, back to the IV chord, and then back to the I chord.
We apply chordal motions and arpeggio patterns to this I-IV-V harmonic sequence starting with root position voicings in our right hand and the bass line starting on the root.
Montuno Variations
There are many variations that can be created from inverting the right hand chord structures and also playing the left hand part starting on the 3rd of the chord.
We explore right hand chordal techniques built from the 3rd, the 5th, and the 6th of each chord, and also how to create contrary motion between the right and left hand when playing montuno patterns.
Lesson Downloads
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Enhancing Montunos 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 the most common montuno patterns that you hear in Salsa and early Cuban music from the early 1940s.
In this lesson we explore some common exercises that are useful for students who have never played Cuban piano styles or montunos.
Practice Tips
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Adding accents and varying the volume of the notes in the montuno is an important stylistic element of Cuban music.
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Emulate how Elio 'ghosts' certain notes to enhance the overall groove and syncopation of the montuno patterns.
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The right hand parts of the montuno can be inverted. Start in root position and then build the right hand parts from the 3rd, 5th, and 6th of each chord as Elio demonstrates.
