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TECHNIQUE ; OLIGARNO. DIAZ ABOUT THE AUTHOR MR. OLEGARIO DIAZ Mr. Diaz studied at the Beriise College of Music, eaming a Bachslor in Composition, an the Man- ‘hnttan School of Muxic, and holds « Mater in Jazz Stuxties. ‘He has performed plano in the New York and West Coast aroas with such artists as Tito Fuente, ‘Willie Bobo, Cetia Cruz, Johny Pacheco, Willie Colon, José Fajardo, Luiz Ramirez, Afro-Cubans, ‘Mario Bauza Big Band, Paquito de Rivera, Victor Paz, Daniel Ponce and many others. Mr. Diaz sill ‘plays in the New York area with many different Latin and Jazz banda ‘The late 19408 saw the emergence of a néw schiol of Grummers who combined many influences ‘Afro-Cuban and Latin rhythms, imported into the Dizzy Gillespie Band by the late Chano Pom in 1948 ‘were rapidly takon up, Within a few years their use, previously a rarity and regarded us distracting from the: cof jazz, could be detected nt one paint arancther is almest every performance by mod- ern jazz groups This infusion of Latin rhythms drew the to the periphery of jazz a wealth of previously. ‘unfamiliar percussive sounds Latin Music in founded on a two-tneasure rhythm pattern, « formula played on « pair of thick hard- wood sticks known as the “claves,” This is the continuum of all Cuban music, Authentic mambo melo- ‘les are "in clave,” that i, their main accents corrsspond with the accent af this two-reeasure artery, ‘Fundamentals such aa rhumbe, mambo, merengue and cha-cha constitute a diversity ofaccentustions, applied to the subdivision ofa four-four measre into eight nots, ‘The piano plays a Very important role in this music, for the chords are brakén in comtinnows heeno- ‘Phonic unison. This is called “Montuno-Guajeo” or “tumbas™ in the Latin vocabulary. Montunos are ‘usually performed with both Ihatids in tinison, heft txtid coupled with right hand on the octave. Harmo- ay chord structures ar written the sage aa jazz This book will explain to the student how to play Latin rhythms from any particular chord inversion, according to the melody, whether instrumental or vocal. For best results, any individual or class using this book should listen 16 aa much Latin music (both live and recorded) as powslble. ‘Olegarto Diax amy 10 9 mea, Sh New Yk A DH inertness Caoy'gne Merina ‘a Nig Neer Chapter T Frogsemions on the I-IV, V7 Major ce I, iim, V7 Minot were commonly played in the 50s by Cuban ‘bends, and is well known as “Son Montuno," *Guiiims,” “Charanga Chords.” or “Tipico ‘These pattorns are playd in major or minor tonalities; right hand will couple unison at the octave with the left hand. ‘The base player will play the notes of bass clef: The lef hand and right hand will play the sume uni- ‘som atthe Bva. These particular exercises should be played in all keys, and memorized for & good Knowledge of the material, ‘Planse be simple and specific when playing the Mantuno, otherwise the harmony ‘will be dense.