Wow, at first I thought this would be a review but I love your insight on how to catch breaks and recognizing how song keeps changing every 4 parts. You're a great instructor.
Fascinating! A lot of really, really good insights here, well-presented with examples. It spurred on some exploration today for me, listening to some songs. From a rough survey, salsa songs tend to stick to the 4-"sentence" paragraph pattern ~80% of the time. For the introduction, they usually use it to add-in instruments in layers, or change motifs, maybe previewing the motifs that will dominate post-intro montuno/mambo sections. After the intro, the most-common use of that 4-"sentence" paragraph pattern seems to be weaving chorus/verses, and is even more consistently patterned like that than in the intro (intros tend to get a bit more creative with the number of bars in which new motifs are introduced, probably because all the instruments aren't in rhythm yet anyways), e.g. La Malanga by Edie Palmieri. Also, usually in 4-sentence-patterns, the bonguero will swap between bongos y campana. Examples: - Preview: "Soy La Ley" by El Conde, with the trumpet blares - Instrument-Layered Introduction: "Yo no sé mañana", (1:piano,2:vocal verse, 3: bongos, 4: brass) - Chorus/Verse swapping: "La Malanga", by Eddie Palmieri --- Another thing that I found is that songs tend to swap the 1&5 in one of two ways: (I can't find any examples of them straight- 1. cutting straight to it, truncating an 8-count to a four-count (1/2/3/4-1/2/3/4) e.g. "Te Lo Voy A Jurar", by Roberto Roena 2. adding another bar of what feels like 5/6/7/8 (1/2/3/4-/5/6/7/8-5/6/7/8) e.g. "Do You Wanna Dance" by the Boogaloo Assassins e.g. "En Barranquilla Me Quedo" by Joe Arroyo The second type smacks of something that Harry Conick Jr. did at a blues concert in order to swap the clap from 1/3 to 2/4. "Rhythmic displacement" was the term I heard for this. He improvised to throw in a 5/4 measure in order to shift the effective count of the clappers by one, before the rest of the band entered. Link here, the 5/4 happens 40 seconds in: ruclips.net/video/yD3iaURppQw/видео.html To relate the 5/4 insertion even more cleanly back to dance, there is this couple, in which the guy swaps from On1->On2 by throwing in an extra count of rest on the 1: ruclips.net/video/SXvTD0f7gaI/видео.html --- Seriously great stuff, it's great to see someone leading some more technical discussion in the salsa world. "Musicality" is a hard but rewarding skill, so I hope you keep producing material on it since you can break it down so well.
HI Mr. Redstone. What is your real name? I am totally impressed by your one day study. It makes me so happy to notice people actually start on their own quest. That personal adventure can never be replaced by any teaching. Great! And even more beautiful: thanks for sharing! I will definitely listen to what you have found. Take care and... yes... lots of more interesting stuff coming your way. Morry Salsaventura
Excellent explanation of catching the one in the song. The best explanation, I have heard in two years since I have been dancing salsa.. can’t wait for the video. Wow!!
Outstanding overview...I get asked sometimes about musicality in a dancer, and I used to describe it as having gotten so accustomed to the music where the structures and patterns are felt and internalized to the point where they can be expressed without conscious thought. I think now I can just send them to this video!
I literraly came to the conclusion that dutches are the best persons in the world. this is the only place where I've seen people trying to understand what they don't understand to make It there. There is no surprise on why the dutch economy is one of the most competitive in the world...You guys are good at learning and respecting cultures.
Really great tutorial. You break it down and explain things we should have learned long ago but better late than never. Thank you for your effort. Greetings from the Caribbean.
Wow I did not know consciously about the 4 sentence structure of salsa songs (I did hit a few breaks perfectly on songs I didn't know so suspect some part of my brain was aware). That alone is a game changer and makes this one of the best salsa videos on youtube!
Excellent video. It will be great to find some examples of dancing on the different sections such as hitting the breaks to give the students an idea of how to style those parts
Loved this workshop on Latin Weekender! There was a lot of chatting about breaks and skips in our cottage after it, which is a good sign. Speaking of breaks, I could use a couple more idea's! From the workshop, I remember 1.) cross body lead + "sit" or look away 2.) Dip.. and then there are some shines (shoulders, head) of course. Some additional idea's would be very helpful. Many thanks for your lessons, both online and offline!
I enjoyed this video very much! I always have trouble with the skips. Your strategy of stepping back twice on count five is the solution to that trouble. I would like to know how you would address dancing to songs with long introductions, such as Ojos Chinos by El Gran Combo.
Hi, thanks for your response and happy to be of help. Well, good question: 1. Just wait to ask someone for a dance until the song starts 2. Once you are on the floor already than it depends on the song. What I explain under the Wals strategy; stepping on 1-3-5-7 is a nice option. Just take the lady in your arms and stand in place moving from one leg to the other till the song starts. Goodluck!
Thats really a great explanation and Video, thanks a lot! Sadly after rewatching multiple times the "Skip Part" I still dont get it... Ist the video already Out with the longer explanation?
Great Video with many good tips! I have one concern though. May be I'm wrong but as far as I know the term 'montuno' musically wise describes the rythmic pattern of the piano in salsa music. ?
Montuno can also refer to a style of Cuban music. Within Salsa however it refers to the part where the bongosero puts down the bongo and picks up the campana. The word montuno derives from the word Montar in Spanish language and means to "get up", "to saddle up". It is the part in the music where the song goes to the next stage. That is probably also why musicians many times refer to the Montuno bell instead of the Campana.
Thanks for the great video! Very professional. After many years, makes me think: Why on one hand would we recognize that the swinging on 1-3-5-7- is a valid relation to salsa music, but at the same time we do not recognize it as salsa dancing?? Do we maybe have a 'system error' here?
@@musicalflow_skillslab I think the people who preach On2 rhythmic timing as "superior" are missing a large point which is that it really depends on what you like to listen to, and what you'll end up usually dancing to. If you listen to classic Puente-era music, the tumbao is going to be super dominant, and so emphasizing the 2/6 will make more sense, and if you listen to tumbao-dominant songs most of the time, even in songs where it isn't dominant, your ear and internal sense of rhythm will be trained to it. However, if you're dancing to music that emphasizes the 1/3 as the main pulse, and has no congas, it won't make a ton of sense to emphasize the 2 & 6 of the conga-slap if there is none. For example, Rebelión starts with a super-dominant cowbell on 1/3 when it enters out of the introduction. Then take a song like Ché Ché Colé -- it has a very dominant 2/4 swing to it. It may feel nicer to dance On2. The interesting thing about salsa is that there really is no right rhythm to listen to. Not only are they usually overlapped, but they also switch ostinatos throughout the song. Maybe the bongo player drops out and swaps in for the campana, so a On2-ish timing to a more On1-accented rhythm. For a lot music, it is much more clear, and there is only one driving element to create the sense of rhythm. The snare for rock, for example, often on 1/3. Almost all classical music emphasizes 1/3 as the main pulse with various percussion instruments. And then reversing that for swing, if you clap or tap your foot on 1/3 instead of 2/4, you'll be out-of-synch with its dominant back-beat, and it will just feel off. Salsa as a medley of many different cultures, has a lot of these elements. People who preach 2/4/6/8 tend to misleadingly pretend like salsa is just mambo with some extra elements. But salsa is distinct from mambo, when vocal phrasing, percussion instruments, brass instruments etc. all enter on 1, it changes the rhythmic feel completely. Just because the congas and clave are still often there doesn't mean its rhythmic flavor is exactly the same.
GREAT VIDEO:) CAN YOU DO A VIDEO ON SHINES?...THE TIMING RULES AND SECRETS ON HOW TO PLAY WITH THE MUSIC ?...THANKS!! ALL THE WAY FROM CANADA, IT WOULD BE AWESOME IF YOU CAN MAKE IT TO THE WINNIPEG SALSA CONGRESS:)
Hi, when is the Winnipeg Salsa Congress? Love to come over to do some teachings. About the video with the shines... I just added it to my list so will come in the near future.. Take care, Morry Salsaventura.tv
@@salsaventura Other than being overwhelmed by coordinating four things at the same time? Now you are telling me I also have to listen and be prepared for a change in rhythm or break. I am one of those guys without access to his database, and this after six years and a dozent "teachers", of learning choreography but not how to dance. And at most salsa events in Montreal,QC. all the Latin American dancers dance Cuban Salsa. So when I lead her into New York style salsa she doesn't know what I am doing. The newer Salsa orchestration is also a handicap because I have a hard time picking up the count. No conga, no cowbell, no bass. Thanks for asking.
I hear you bud, our endless efforts for their entertainment will be unseen into the grave; BUT, just take it easy an breathe. Keep practicing and try to enjoy it the best you can, even if you don't get the ending or outcome you planned for; if you do, you will get it. I've been where you are. La vida es un carnaval😉.
awesome video!! could you do a video on how to be fun and creating connection with our partners? (how to make them feel special and give them all our attention)
Hi, i really love your way of explaining this stuff! But i was left with one question on the 3rd timing hint (Walz) how do you figure out, where to start? I mean even if you don't care about 1 or 5 your are still only 50% accurate. Or did i miss something?
![Lil Uzi Vert - We Good [Official Audio]](http://i.ytimg.com/vi/DrSfBULAsek/mqdefault.jpg)
Wow, at first I thought this would be a review but I love your insight on how to catch breaks and recognizing how song keeps changing every 4 parts. You're a great instructor.
Fascinating! A lot of really, really good insights here, well-presented with examples. It spurred on some exploration today for me, listening to some songs. From a rough survey, salsa songs tend to stick to the 4-"sentence" paragraph pattern ~80% of the time.
For the introduction, they usually use it to add-in instruments in layers, or change motifs, maybe previewing the motifs that will dominate post-intro montuno/mambo sections. After the intro, the most-common use of that 4-"sentence" paragraph pattern seems to be weaving chorus/verses, and is even more consistently patterned like that than in the intro (intros tend to get a bit more creative with the number of bars in which new motifs are introduced, probably because all the instruments aren't in rhythm yet anyways), e.g. La Malanga by Edie Palmieri. Also, usually in 4-sentence-patterns, the bonguero will swap between bongos y campana.
Examples:
- Preview: "Soy La Ley" by El Conde, with the trumpet blares
- Instrument-Layered Introduction: "Yo no sé mañana", (1:piano,2:vocal verse, 3: bongos, 4: brass)
- Chorus/Verse swapping: "La Malanga", by Eddie Palmieri
---
Another thing that I found is that songs tend to swap the 1&5 in one of two ways: (I can't find any examples of them straight-
1. cutting straight to it, truncating an 8-count to a four-count (1/2/3/4-1/2/3/4)
e.g. "Te Lo Voy A Jurar", by Roberto Roena
2. adding another bar of what feels like 5/6/7/8 (1/2/3/4-/5/6/7/8-5/6/7/8)
e.g. "Do You Wanna Dance" by the Boogaloo Assassins
e.g. "En Barranquilla Me Quedo" by Joe Arroyo
The second type smacks of something that Harry Conick Jr. did at a blues concert in order to swap the clap from 1/3 to 2/4. "Rhythmic displacement" was the term I heard for this. He improvised to throw in a 5/4 measure in order to shift the effective count of the clappers by one, before the rest of the band entered. Link here, the 5/4 happens 40 seconds in: ruclips.net/video/yD3iaURppQw/видео.html To relate the 5/4 insertion even more cleanly back to dance, there is this couple, in which the guy swaps from On1->On2 by throwing in an extra count of rest on the 1: ruclips.net/video/SXvTD0f7gaI/видео.html
---
Seriously great stuff, it's great to see someone leading some more technical discussion in the salsa world. "Musicality" is a hard but rewarding skill, so I hope you keep producing material on it since you can break it down so well.
HI Mr. Redstone. What is your real name? I am totally impressed by your one day study. It makes me so happy to notice people actually start on their own quest. That personal adventure can never be replaced by any teaching. Great!
And even more beautiful: thanks for sharing! I will definitely listen to what you have found.
Take care and... yes... lots of more interesting stuff coming your way.
Morry
Salsaventura
Excellent explanation of catching the one in the song. The best explanation, I have heard in two years since I have been dancing salsa.. can’t wait for the video. Wow!!
Please check it out: ruclips.net/video/jQJ7erCtNJo/видео.html
Your pedagogy is amiable... Wow! Awesome! Kudos to you, Morry.
Thanks, I appreciate it
Outstanding overview...I get asked sometimes about musicality in a dancer, and I used to describe it as having gotten so accustomed to the music where the structures and patterns are felt and internalized to the point where they can be expressed without conscious thought. I think now I can just send them to this video!
Be sure to download the pdf. That helps a lot.
I literraly came to the conclusion that dutches are the best persons in the world. this is the only place where I've seen people trying to understand what they don't understand to make It there. There is no surprise on why the dutch economy is one of the most competitive in the world...You guys are good at learning and respecting cultures.
Really great tutorial. You break it down and explain things we should have learned long ago but better late than never. Thank you for your effort. Greetings from the Caribbean.
Thanks Clayton!
Awesome! Thank you. Love listening to your lectures. Keep doing your great work!!
Excelente! No sabía hasta hoy que usted sabe hablar español! Aprendo mucho con sus lecciones
Love it! Thanks so much.
Wow I did not know consciously about the 4 sentence structure of salsa songs (I did hit a few breaks perfectly on songs I didn't know so suspect some part of my brain was aware). That alone is a game changer and makes this one of the best salsa videos on youtube!
Wow! I have been telling myself I need to learn how to stay on beat. This was such an informative video. Great info! Thank you!!
Beautifully explained. Thank you very much.
Thank you for doing these videos on musicality
Thank you! Truly appreciate it. Please check out more at salsaventura.tv/. You can get a 14 day trial for only € 1,-
Thanks for such interesting class
Hi thanks for the tips very useful! The link to the PDF is broken unfortunately, would it be possible to get another link please?
Excellent video
Excellent video. It will be great to find some examples of dancing on the different sections such as hitting the breaks to give the students an idea of how to style those parts
Hi Zaeem,
Oke, I will put that one on my list. Thanks!
Greetings,
Morry
Loved this workshop on Latin Weekender! There was a lot of chatting about breaks and skips in our cottage after it, which is a good sign. Speaking of breaks, I could use a couple more idea's! From the workshop, I remember 1.) cross body lead + "sit" or look away 2.) Dip.. and then there are some shines (shoulders, head) of course. Some additional idea's would be very helpful. Many thanks for your lessons, both online and offline!
Well, a musicality online video series in the making ;-)
Very well explained.
Amazing video!! Thank you!!!
Thank You for a REALLY GOOD video. I will definately share it.
Didn't know #4 - super awesome!!!
Thank you!
i love your videos , keep up the good work 👌
Smart guy! Thank you!
Thank you, now I understand to take two back steps to get back onto the 1 if there's a skip. But what does the follower do to get back on the 1?
This is GOLD 😍😍
Great explenations!!!
Muy bien. Puedo bailar pero gracias a usted lo puedo explicar a gente que empieza a bailar.
I enjoyed this video very much! I always have trouble with the skips. Your strategy of stepping back twice on count five is the solution to that trouble. I would like to know how you would address dancing to songs with long introductions, such as Ojos Chinos by El Gran Combo.
Hi, thanks for your response and happy to be of help.
Well, good question:
1. Just wait to ask someone for a dance until the song starts
2. Once you are on the floor already than it depends on the song. What I explain under the Wals strategy; stepping on 1-3-5-7 is a nice option. Just take the lady in your arms and stand in place moving from one leg to the other till the song starts.
Goodluck!
Thats really a great explanation and Video, thanks a lot! Sadly after rewatching multiple times the "Skip Part" I still dont get it... Ist the video already Out with the longer explanation?
Thank you so much for your compliment. Please check out our Life Time Deal at www.salsaventura.tv
Good talk ! Thanks :)
My pleasure ;-)
Request: Videos on dancing to all 4 sections of the song and videos on where/how to add shines.
Very good one. I will add it to my list for another edition of Salsa Talk ;-). Thank you!
Super interesting ! Thank you !
Very good video thanks
Excellent explanation. I have never heard something like that. We are grateful. You are our man. "Keep Walking".
Great Video with many good tips! I have one concern though. May be I'm wrong but as far as I know the term 'montuno' musically wise describes the rythmic pattern of the piano in salsa music. ?
Montuno can also refer to a style of Cuban music. Within Salsa however it refers to the part where the bongosero puts down the bongo and picks up the campana. The word montuno derives from the word Montar in Spanish language and means to "get up", "to saddle up". It is the part in the music where the song goes to the next stage. That is probably also why musicians many times refer to the Montuno bell instead of the Campana.
Thanks for the great video! Very professional. After many years, makes me think: Why on one hand would we recognize that the swinging on 1-3-5-7- is a valid relation to salsa music, but at the same time we do not recognize it as salsa dancing?? Do we maybe have a 'system error' here?
I belief it is the mix of instruments with sounds that are not familiar in first contact
I mean why do some teachers seem not to realize that stepping on 1357 is fully valid salsa dancing? Naturally this is a basic you can't not-know.
@@musicalflow_skillslab I think the people who preach On2 rhythmic timing as "superior" are missing a large point which is that it really depends on what you like to listen to, and what you'll end up usually dancing to. If you listen to classic Puente-era music, the tumbao is going to be super dominant, and so emphasizing the 2/6 will make more sense, and if you listen to tumbao-dominant songs most of the time, even in songs where it isn't dominant, your ear and internal sense of rhythm will be trained to it.
However, if you're dancing to music that emphasizes the 1/3 as the main pulse, and has no congas, it won't make a ton of sense to emphasize the 2 & 6 of the conga-slap if there is none. For example, Rebelión starts with a super-dominant cowbell on 1/3 when it enters out of the introduction.
Then take a song like Ché Ché Colé -- it has a very dominant 2/4 swing to it. It may feel nicer to dance On2.
The interesting thing about salsa is that there really is no right rhythm to listen to. Not only are they usually overlapped, but they also switch ostinatos throughout the song. Maybe the bongo player drops out and swaps in for the campana, so a On2-ish timing to a more On1-accented rhythm.
For a lot music, it is much more clear, and there is only one driving element to create the sense of rhythm. The snare for rock, for example, often on 1/3. Almost all classical music emphasizes 1/3 as the main pulse with various percussion instruments.
And then reversing that for swing, if you clap or tap your foot on 1/3 instead of 2/4, you'll be out-of-synch with its dominant back-beat, and it will just feel off.
Salsa as a medley of many different cultures, has a lot of these elements. People who preach 2/4/6/8 tend to misleadingly pretend like salsa is just mambo with some extra elements. But salsa is distinct from mambo, when vocal phrasing, percussion instruments, brass instruments etc. all enter on 1, it changes the rhythmic feel completely. Just because the congas and clave are still often there doesn't mean its rhythmic flavor is exactly the same.
GREAT VIDEO:) CAN YOU DO A VIDEO ON SHINES?...THE TIMING RULES AND SECRETS ON HOW TO PLAY WITH THE MUSIC ?...THANKS!! ALL THE WAY FROM CANADA, IT WOULD BE AWESOME IF YOU CAN MAKE IT TO THE WINNIPEG SALSA CONGRESS:)
Hi, when is the Winnipeg Salsa Congress? Love to come over to do some teachings.
About the video with the shines... I just added it to my list so will come in the near future..
Take care,
Morry
Salsaventura.tv
Salsaventura Thanks :) our Congress is June 12-14 for 2020. I hope you guys can make it !
Salsaventura Correction- June 14-16 🙏🏿
Are you kidding me! I am supposed to lead, think of some choreography, stay in time and now this.
Tell me. What is bothering you?
@@salsaventura Other than being overwhelmed by coordinating four things at the same time? Now you are telling me I also have to listen and be prepared for a change in rhythm or break. I am one of those guys without access to his database, and this after six years and a dozent "teachers", of learning choreography but not how to dance. And at most salsa events in Montreal,QC. all the Latin American dancers dance Cuban Salsa. So when I lead her into New York style salsa she doesn't know what I am doing. The newer Salsa orchestration is also a handicap because I have a hard time picking up the count. No conga, no cowbell, no bass. Thanks for asking.
I hear you bud, our endless efforts for their entertainment will be unseen into the grave; BUT, just take it easy an breathe.
Keep practicing and try to enjoy it the best you can, even if you don't get the ending or outcome you planned for; if you do, you will get it.
I've been where you are.
La vida es un carnaval😉.
@@MR-nl8xr I am still at it!
awesome video!! could you do a video on how to be fun and creating connection with our partners? (how to make them feel special and give them all our attention)
Hi, that wiil be my next one. So stay tuned for Salsa Talk #5 ;-)
Thank you!
awesome video!!! really love your explanations :) could you do a video on what exactly can be done on breaks?
Yes, this video is coming soon ;-)
I hope my song for exams has no skips, no wonder I end up on 5s
Hi, i really love your way of explaining this stuff! But i was left with one question on the 3rd timing hint (Walz) how do you figure out, where to start? I mean even if you don't care about 1 or 5 your are still only 50% accurate. Or did i miss something?
That is partly true. You need to learn how to hear the first part of the measure and the second part in order to find the difference between 1 and 5