
The grooves found in Latin music are full of intriguing rhythmic options. Here’s how to cop that vibe to make the music dance!
Intermediate
Intermediate
- Learn how to create infectious Latin riffs.
- Apply elements of tres guitar technique to the standard 6-string.
- Understand how to play major and minor montunos.
A montuno is a two-measure improvised pattern that you can use to add some authentic Afro-Cuban spice to your Latin-style playing. This pattern follows the clave. A clave is the foundation of nearly all Latin music. In our examples we will be using the 2-3 clave, which refers to how many hits are in each measure. (The first measure will have two and the second will have three.) Each example will start off with the clave pattern. This will help you get the sound in your ear.
The first montunos were played by the tres—a 6-string guitar-like instrument where each pair of strings are tuned in either unison or octaves. The most common tuning is G–C–E. This creates a unique sound with the lowest string doubled an octave higher and the other strings doubled in unison.
In Ex. 1, I play a montuno in the key of A major, using a I–IV–V progression (A–D–E) so you can easily hear the chords move along. To imitate the lowest strings on the tres, I'll play octaves on the top and bottom of each chord. Always be mindful of good voice leading. Knowing all your chord inversions is super helpful when coming up with strong voice leading. You'll also notice I'm not using any extensions on these chords—they're all just basic triads. Later you'll see how we can add more advanced harmonic ideas by using passing chords and substitutions.
Ex. 1
Now I'll take the same chords as in the previous example, but voice them differently (Ex. 2). By inverting the chords you can give the effect of a subtle change without altering the chord structure. You'll start to notice by listening and playing these examples that there is a greater emphasis on beat 4 than on beat 1. Listen to the clave and the bass player, it will help you feel the groove. In this example, I also moved away from having the octaves on each chord. It still sounds great!
Ex. 2
Montunos are traditionally used in solo sections, which are often just one- or two-chord vamps. Ex. 3 is over a C7 vamp. I start with a C triad in 1st inversion, which allows me to have E as my top and bottom note with G and C in between. I take this exact fingering and move it down a whole-step to create a D–F–Bb voicing of a Bb triad. Those notes are the 9, 11, and b7 of a C7 chord. I then move up a half-step to create a passing chord to get me back to my original C triad voicing. Whenever you play a chord a half-step below or above where you're headed, it creates a leading-tone effect. You don't need to over-analyze this—it just sounds cool.
Ex. 3
For Ex. 4, let's start looking at some minor-key montunos. This time our chord progression will be Am–F–E–F. You'll notice that again these are all triads. This style of music employs the clever use of basic harmonic materials combined with African rhythms to create an exciting sound. This example will feature our octaves as outer voices. Our Am chord is in 2nd inversion, yielding E as the highest and lowest note. Both the F and E chords are in root position.
Ex. 4
We'll use the same chord progression in Ex. 5, but we'll revoice our chords for a new sound. Now our Am chord will be in root position, which gives us an A on the outside voices. Our F and E chords will be in 1st inversion, thus giving us A and G#, respectively, as our outside voices. I encourage you to come up with your own voicings for these exercises.
Ex. 5
For our final example (Ex. 6), I'll demonstrate a montuno over Am–E7. As I outline the two chords, I'll lean heavily on the note F. Against the E7 chord, the F functions as a b9. This creates a nice tension that makes E7 want to resolve to the Am. Delaying the resolution of the E7 chord for two bars really helps heighten this tension.
Ex. 6
As with any style, you need to listen to the masters and imitate what they do. Start with Tito Puente and work your way forward and backward from there.
After decades of 250 road dates a year, Tab Benoit has earned a reputation for high-energy performances at clubs and festivals around the world.
After a 14-year break in making solo recordings, the Louisiana guitar hero returns to the bayou and re-emerges with a new album, the rock, soul, and Cajun-flavoredI Hear Thunder.
The words “honesty” and “authenticity” recur often during conversation with Tab Benoit, the Houma, Louisiana-born blues vocalist, guitarist, and songwriter. They are the driving factors in the projects he chooses, and in his playing, singing, and compositions. Despite being acclaimed as a blues-guitar hero since his ’80s days as a teen prodigy playing at Tabby Thomas’ legendary, downhome Blues Box club in Baton Rouge, Benoit shuns the notion of stardom. Indeed, one might also add simplicity and consistency as other qualities he values, reflected in the roughly 250 shows a year he’s performed with his hard-driving trio for over two decades, except for the Covid shutdown.
On his new I Hear Thunder, Benoit still proudly plays the Fender Thinline Telecaster he purchased for $400 when he was making his debut album in Texas, 1992’s Nice & Warm. After that heralded release, his eclectic guitar work—which often echoes between classic blues-rock rumble-and-howl, the street-sweetened funk of New Orleans, and Memphis-fueled soul—helped Benoit win a long-term deal with Justice Records. But when the company folded in the late ’90s, his contract and catalog bounced from label to label.
Tab Benoit - "I Hear Thunder"
This bucked against Benoit’s strong desire to fully control his music—one reason he settled on the trio format early in his career. And although his 2011 album, Medicine, won three Blues Music Awards—the genre’s equivalent of Grammys—he stopped recording as a leader because he was bound by the stipulations of a record deal, now over, that he deemed untenable.
“I wanted to make records that reflected exactly how I sounded live and that were done as though we were playing a live concert,” Benoit says. “So, I formed my own label [Whiskey Bayou Records, with partner Reuben Williams] and signed artists whose music was, to me, the real deal, honest and straightforward. I couldn’t do anything on my own, but I could still continue putting out music that had a positive impact on the audience.”
Benoit’s new album, which includes Anders Osborne and George Porter Jr., was recorded in the studio at the guitarist’s home near the bayou in Houma, Louisiana.
Those artists include fellow rootsers Eric McFadden, Damon Fowler, Eric Johanson, Jeff McCarty, and Dash Rip Rock. Benoit also spent plenty of time pursuing his other passion: advocating for issues affecting Louisiana’s wetlands, including those around his native Houma. His 2004 album was titled Wetlands, and shortly after it was issued he founded the Voice of the Wetlands non-profit organization, and later assembled an all-star band that featured New Orleans-music MVPs Cyril Neville, Anders Osborne, George Porter Jr., Big Chief Monk Boudreaux, Johnny Vidacovich, Johnny Sansone, and Waylon Thibodeaux. This ensemble, the Voice of the Wetlands All-Stars, has released multiple CDs and toured.
Essentially, Benoit comes from the bayous, and when it’s time to record, he goes back to them, and to the studio he has in Houma, which he refers to as “the camp.” That’s where I Hear Thunder came to life. “George and Anders came to me and said, ‘Let’s go make some music,” Benoit offers. “So, we went out to the camp. They had some songs—and George and Anders and I go back so many years it was really a treat to put everything together. It only took us a couple of days to do everything we needed to do.”
“George Porter and Anders Osborne and I saw this alligator sitting around the boat where we were writing the entire time. I guess he really liked the song.”
I Hear Thunder has become his first number one on Billboard’s blues chart. Besides the fiery-yet-tight and disciplined guitar work of Benoit and Osborne, the latter also an esteemed songwriter, the album features his longtime rhythm section of bassist Corey Duplechin and drummer Terence Higgins. Bass legend Porter appears on two tracks, “Little Queenie” and “I’m a Write That Down.” Throughout the album, Benoit sings and plays with soul and tremendous energy, plus he handled engineering, mixing, and production.
Once again, that ascribed to his aesthetic. “My main reason for taking on those extra duties was I wanted to make sure that this recording gives the audience kind of a preview of how we’re going to sound live,” he declares. “That’s one of the things that I truly don’t like about a lot of current recordings. I listen to them and then see those guys live and it’s like, ‘Hey, that doesn't sound like what was on the album.’ Play it once or twice and let’s run with it. Don’t overdo it to the point you kill the honesty. All the guys that I love—Lightnin’ Hopkins, Albert King—they played it once, and you better have the tape machine running because they’re only going to give it to you that one time. That’s the spontaneity that you want and need.
“One of the reasons I don’t use a lot of pedals and effects is because I hate gimmicks,” he continues. “ I’m playing for the audience the way that I feel, and my attitude is ‘Let’s plug into the guitar and let it rip. If I make a mistake, so be it. I’m not using Auto-Tune to try and get somebody’s vocal to seem perfect. You think John Lee Hooker cared about Auto-Tune? You’re cheating the audience when you do that stuff.”
Tab Benoit’s Gear
Benoit in 2024 with his trusty 1972 Fender Thinline Telecaster, purchased in 1992 for $400. Note that Benoit is a fingerstyle player.
Photo by Doug Hardesty
Guitar
- 1972 Fender Telecaster Thinline
Amp
- Category 5 Tab Benoit 50-watt combo
Strings
- GHS Boomers (.011–.050)
The I Hear Thunder songs that particularly resonate include the explosive title track, the soulful “Why, Why” and the rollicking “Watching the Gators Roll In,” a song that directly reflected the album’s writing experience and environment. “George and Anders and I saw this alligator sitting around the boat where we were writing the entire time. I guess he really liked the song. He’d be swimming along and responding. That gave it some added punch.” As does Benoit and Osborne’s consistently dynamic guitar work. “I’m not one of these people who want to just run off a string of notes or do a lot of fast playing,” Benoit says. “It has to fit the song, the pace, and most of all, really express what I’m feeling at that particular moment. I think when the audience comes to a show and you play the songs off that album, you’ve got to make it real and make it honest.”
When asked whether he ever tires of touring, Benoit laughs and says, “Absolutely not. At every stop now I see a great mix of people who’ve been with us since the beginning, and then their children or sometimes even their grandchildren. When people come up to you and say how much they enjoy your music, it really does make you feel great. I’ve always seen the live concerts as a way of bringing some joy and happiness to people over a period of time, of helping them forget about whatever problems or issues they might have had coming in, and just to enjoy themselves. At the same time, I get a real thrill and joy from playing for them, and it’s something that I always want the band’s music to do—help bring some happiness and joy to everyone who hears our music.”
YouTube It
Hear Tab Benoit practice the art of slow, soulful, simmering blues on his new I Hear Thunder song “Overdue,” also featuring his well-worn 1972 Telecaster Thinline.
The ’60s Were Weird and So Were the ’90s—Thanks, Santana
Was Supernatural his ultimate gift to the world?
Carlos Santana’s career arc has been a journey. From blowing minds at the far edges of psychedelia at Woodstock to incendiary jazz experimentalism with the likes of John McLaughlin and Alice Coltrane to later becoming a chart-topping star with some of the biggest collaborators in pop and rock, his guitar playing has covered a lot of ground.
On this episode of 100 Guitarists, we’re covering everything about Santana’s playing we can fit in one neat package: How did Santana’s sound evolve? Has any other rock star mentioned John Coltrane’s A Love Supreme on morning network television? Was Supernatural his ultimate gift to the world?
In our new current listening segment, we’re talking about a Bruce Hornsby live record and a recent release from guitarist Stash Wyslouch.
This episode is sponsored by PRS Guitars.
Learn more: https://prsguitars.com.
Lollar Pickups introduces the Deluxe Foil humbucker, a medium-output pickup with a bright, punchy tone and wide frequency range. Featuring a unique retro design and 4-conductor lead wires for versatile wiring options, the Deluxe Foil is a drop-in replacement for Wide Range Humbuckers.
Based on Lollar’s popular single-coil Gold Foil design, the new Deluxe Foil has the same footprint as Lollar’s Regal humbucker - as well as the Fender Wide Range Humbucker – and it’s a drop-in replacement for any guitar routed for Wide Range Humbuckers such as the Telecaster Deluxe/Custom, ’72-style Tele Thinline and Starcaster.
Lollar’s Deluxe Foil is a medium-output humbucker that delivers a bright and punchy tone, with a glassy top end, plenty of shimmer, rich harmonic content, and expressive dynamic touch-sensitivity. Its larger dual-coil design allows the Deluxe Foil to capture a wider frequency range than many other pickup types, giving the pickup a full yet well-balanced voice with plenty of clarity and articulation.
The pickup comes with 4-conductor lead wires, so you can utilize split-coil wiring in addition to humbucker configuration. Its split-coil sound is a true representation of Lollar’s single-coil Gold Foil, giving players a huge variety of inspiring and musical sounds.
The Deluxe Foil’s great tone is mirrored by its evocative retro look: the cover design is based around mirror images of the “L” in the Lollar logo. Since the gold foil pickup design doesn’t require visible polepieces, Lollartook advantage of the opportunity to create a humbucker that looks as memorable as it sounds.
Deluxe Foil humbucker features include:
- 4-conductor lead wire for maximum flexibility in wiring/switching
- Medium output suited to a vast range of music styles
- Average DC resistance: Bridge 11.9k, Neck 10.5k
- Recommended Potentiometers: 500k
- Recommended Capacitor: 0.022μF
The Lollar Deluxe Foil is available for bridge and neck positions, in nickel, chrome, or gold cover finishes. Pricing is $225 per pickup ($235 for gold cover option).
For more information visit lollarguitars.com.
A 6L6 power section, tube-driven spring reverb, and a versatile array of line outs make this 1x10 combo an appealing and unique 15-watt alternative.