When it comes to technical knowledge
of Latin music, there's a general perception when dealing with
its common characteristics and application that tends to impart
an ambiguous impression especially amongst the general music
student population.
While more college school
programs are now embracing some Latin music education, it seems
that the most important theories and application are not generally
found in the classroom; but rather passed on from musicians that
are knowledgeable in the language of Latin music, to the few
apprentice musicians that become interested in performing this
music--that is if a musician is lucky enough to land a gig with
a Latin band.
Music students who are seriously
interested in learning about the technical application of such
music, are encouraged to embrace all aspects of Latin music.
Like learning how to walk, the goal is to internalize the language
of Latin music by starting with the basics: listening to sound
recordings. Remember that every advance aspect of Latin music
is based on simple motifs carefully centered in and around its
corresponding rhythm. As a result, it is highly recommended that
the student attempt to transcribe some Latin music.
When transcribing a tune,
start with something simple and work your way up to a more complex
arrangement. This exercise will help you become familiar with
the relationship of the instruments to the rhythm. In addition,
it is also highly recommended that a student learn how to play
at least one Latin percussion instrument (conga, bongos, clave,
guiro, maracas, etc.).
For those (in particular,
Jazz musicians) wanting to take it to the next level especially
if you're dealing with Afro-Cuban rhythm, I recommend taking
some Latin (salsa) dance lessons. This will help you "feel"
the movement of the clave (2-3 and/or 3-2) in relation to the
music.
Also, like scatting is to
Jazz, Latin vocalists play a major roll in the authentic performance
and interpretation of the style. A student will gain great insight
as to the "touch-n-feel" of the music by attempting
to sing-a-long with recordings. Don't be discouraged just because
the lyrics are in Spanish. The important thing is to emulate
the vocal rhythm of the notes you hear.
By nature, an advanced musician
should be able to scat/sing different rhythm patterns, while
at the same time, tapping your foot or snapping your fingers
to the (Afro-Cuban 2-3 or 3-2) clave. This ability will also
help you see and hear the character of the style; thus, change
a melody of any tune and correctly adjust it to a clave rhythmic
pattern--a skill that is critical in Latin Jazz improvisation.
Further, in speaking about
Latin Jazz improvisation, musicians should take note that there
"is" an authentic interpretation and application within
the style of Latin Jazz--which differs from the style of bebop
Jazz swing). Just like a musician would attempt to study the
music of some of the greatest Jazz masters in history like Charlie
Parker, John Coltrane, Miles Davis, Duke Ellington, Bill Evans,
Dizzy Gillespie (just to name a few), the style of Latin Jazz
improvisation is distinctly discernible in the work of master
musicians like Paquito D' Rivera (saxophone and clarinet), Mario
Rivera (saxophone and flute), Arturo Sandoval (trumpet), Juan
Pablo Torres (trombone), Chucho Valdez (piano), Israel "Cacho"
Lopez (acoustic bass), Tito Puente (percussion), Giovanni Hidalgo
(percussion); Flora Purin (vocals), Airto Morena (percussion),
just to name a few.
Also required listening would
be the work of arranger Chico O'Farrill, Machito and his Afro-Cubans
which included the groundbreaking work of its musical director
Mario Bauza, as well as the work of bandleader Stan Kenton, guitarist
Charlie Byrd (considered the father of Bossa Nova), innovative
bands from Cuba like Los Van Van which include a percussionist
nicknamed "Changuito" who develop the rhythm called
"Songo", and Irakere founded by pianist Chucho Valdes.
Among others, a noteworthy
mention is the extremely creative orchestration work of arranger/pianist
Sonny Bravo as part of the famed Tipica-73 orchestra based in
NYC during the 1970s and later as part of the Tito Puente Orchestra,
and the work of Puerto Rican composer Catalino "Tite"
Curet.
And of course, we cannot depart
from this discussion without mentioning the Queen of "Salsa",
"La Guarachera De Cuba" Celia Cruz--required listening
of the highest level.
Equally important is to study
the music of other Latin American countries like Peru, Chile,
Argentina, Uruguay, Colombia, Vanezuela, Puerto Rico, Dominican
Republic, Mexico, El Salvaro, Ecuador, Brazil, and others. An
entire region influenced by the African Diaspora and diverse
indigenous populations, there's a vast wealth of knowledge pertaining
to the characteristics of Latin rhythm associated within each
country.
And last but not least, take
some time and read about the roots and history of Latin music.
In terms of learning the language of Latin music--as it pertains
to this article--we've only scratched the surface. As a musician,
you'll find the study of Latin music indispensable and powerful
knowledge that will ultimately enable you to become much more
creative in your musical endeavors. With a little effort and
time, you'll be speaking the universal language of Latin music
in no time.
Also read: (Part 1) The Universal Language of
Latin Music