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.
The wildly talented Mexican guitar duo selected nine tracks from their last two albums, reworking them with the ace guidance of British jazz pianist Alex Wilson and the 13-piece C.U.B.A. orchestra.
Area 52
ATO Records
This album’s birth is more complex than meets the eye. The songs aren’t new, in the conventional sense. The wildly talented Mexican guitar duo selected nine tracks from their last two albums—11:11 and Rodrigo y Gabriela—reworking them with the ace guidance of British jazz pianist Alex Wilson and the 13-piece C.U.B.A. (Collective Universal Band Association) orchestra.
For full effect, place a few of the originals next to new versions and you’ll find that the stripped-down guitar instrumentals, the ancestors of these new compositions, are infectious. But the result of meshing Latin, Cuban, jazz, metal, rock, Arabic, and Hindi influences is downright hot and sexy—the sense of urgency on Area 52 is overwhelming.
The DVD offers an intriguing behind-the-scenes glimpse of the music in the making, as the Cuban musicians attempt to match their classical training with Rod and Gab’s madly original phrasing. The musicians are shown clapping out syncopated beats, trying hard to grasp the rapid-fire rhythms, though they eventually find a common ground.
“Hanuman” is a lively track outshining its former self with added rock drumming and fleeting electric solos. Besides the nylon and steel strings, some electric and lap steel guitar (Gab gives an acoustic wah a whirl), the instrumentals incorporate experimental percussion, horns, piano and organ, bass, violin, sitar, oud, and rare Cuban drums. The adventurous “11:11” features David Gilmour-like tones (Rodrigo calls it an ode to Pink Floyd) and closes with native chanting. It’s not all exotic, though. The primal acoustic strummer “Logos” was given a jazz alter ego with subtle piano, drums, and bass.
If this all sounds complex—and literally, it does—imagine these formidable players trying to dismantle the sheer genius of Rod’s mind-boggling speed and Gab’s off-kilter rhythmic stylings. They play so percussively, harmonically, and passionately that at time as it’s hard to discern the guitar from the other instruments, especially on “Juan Loco.”
The primarily self-taught Rodrigo y Gabriela plunged into an alien world of orchestrated Cuban music, and it’s awe-inspiring to hear the result and see even a bit of how it was done. —Tessa Jeffers
Must-hear track: “Juan Loco“
Los Lonely Boys deliver a different flavor of their "Texican" music
Keep on Giving: Acoustic Live!
Playing in Traffic
While most artists tend to ratchet things down a notch when they go “unplugged,” Los Lonely Boys went the other direction with their recent acoustic tour, which is captured here over two nights in Colorado. Henry Garza can still burn without his Texas Special-loaded Strats, and he isn’t afraid to let the world hear him do so in a very different way. Refreshing to some but perhaps lacking to fans expecting more of the same, this album is like a cool, high-quality bootleg in that you’re hearing raw, undoctored audio from the power trio’s most stripped-down performances ever. What’s lacking in production gloss is more than made up for with energy from Henry, JoJo, and Ringo Garza, who have carved quite a niche for themselves with their “Texican” fusion of melodic pop and Texas blues.
Highlights include a fervent take on Santana’s “Evil Ways,” a guest appearance from Alejandro Escovedo on the Stones’ “Beast of Burden,” and, of course, a stripped-down version of their hit “Heaven.” The Boys’ tight, three-part harmonies really shine in the extra sonic space left open by the acoustic renditions. The raw nature of the project precludes the soaring tonal qualities that so many people appreciate Henry and LLB’s music for, but kudos to the brothers Garza for having the balls to mix things up with the acoustic tour and then release a CD showing another side of their persona. Fans looking for a new flavor of Texican will really dig this album.