Exercises on Trio Style

Exercise 15

˙ ˙3 # ˙ w w ˙ # ˙3 ˙ w
&C Ó œ œ

˙ ˙3 # ˙ w w
&C Ó œ œ ˙ ˙ ˙ w
3

&C ∑ w #w nw ˙ #˙ ˙ nw

˙ ˙ ˙3 # ˙ w w ˙ ˙3 ˙ w
& #˙ nw w

˙ ˙3 ˙ w w ˙ # ˙3 ˙ nw
& ˙ #˙ nw w

& ˙ #˙ ˙ ˙3 # ˙ w w ˙ #˙ ˙
3

w
nw w

>˙ w> w> w>

&
w w Ó œ. œ.
.
œ .
œ w>

. . œ œ >˙ w> w> w> >

&w w œ. œ. œ œ w

> w> >

&w w ∑ œ œ ˙ w w w
> >

. ˙ U
w
&w w œ ˙ œ œ ˙ œ œ ˙ ˙ ˙ ˙

U
˙ ˙ w
&w w œ ˙ œ œ ˙ œ œ ˙. ˙ ˙
U
&w w w w ˙ ˙ ˙ ˙ w
w
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Exercise 16

3 ˙ œ ˙. ˙. ˙. œ
& 4 ˙. ˙ b˙. ˙.

3 ˙. ˙. ˙. ˙ œ ˙. ˙.
& 4 ˙. b˙ nœ

3 œ
& 4 ˙.
˙ œ ˙. ˙. ˙. ˙ ˙. ˙.

œ œ œ ˙ œ ˙. œ œ œ ˙ b˙. ˙.
& ˙. œ

œ œ œ ˙ bœ ˙. ˙. œ œ œ b˙
& œ ˙. #˙.

& ˙. ˙. ˙. ˙. œ #˙. ˙.
˙. ˙

˙. ˙.
& Œ #œ œ ˙. ˙. bœ #œ œ ˙. ˙.

˙. ˙.
& ∑ ∑
˙. œ bœ #œ ˙. b˙.

#˙. b˙.
& ˙. ˙ œ
˙. œ œ œ ˙. ˙.

œ
& œ bœ ∑ œ œ œ ∑ œ œ œ w w w

& œ œ bœ ∑ œ œ œ ∑
œ œ œ w w w

& ∑ ∑ œ œ bœ ∑ w w
œ œ œ > > w
>
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 The Son Montuno
Miguel Matamoros y su Trío was the first group to record and spread son montuno style, (RCA, 1930's).
But Arsenio Rodriguez was the “spokesman” for the Són. He was a trés player of extraordinary rhythmic sense
and many creative energies. Born in Guira de Macurije, (province of Matanzas, Cuba); Arsenio, who was blinded
at a very early age giving him the nickname of “El Ciego Meravilloso”, was a true original composer.
He started as a percussionist and was one of the few acknowledge masters of the “Trés”, (a small Cuban kind
of guitar with three double strings).
Arsenio Rodriguez was the first musician to utilize a permanent conga drummer in a Conjunto band. The Congas
were already being used sometimes before, but Arsenio made it a permanent fixture in the rhythm section. This
change, immediately gave him a bigger and more aggressive sound.
From 1942 to 1952 almost all of Cuba's most prominent and talented musicians worked with his band.
The best trumpeters of this era were: Felix Chappotín, Ruben Calzado, Benitin, Alfredo “Chocolate”
Armenteros, Corbacho, Terry and Carmelo Alvarez.
The trumpet playing of son-montuno, one of the important roots of modern salsa, was to perform their section
lines “legato-staccato” and little bit behind the beat. The section and solo parts were played more boldly phrasing,
more staccato and often using mutes or effects like growls and trills, (typical of trumpeter Chappotín). Melodic and
rhythmic improvisations are still the most employed in this tempo.
The following pages contain samples and transcriptions of solos from this period and style.

DRAWING C

The “Sexteto” was developed to perform the Son. It consisted of clave, guitar or trés, bongoes, maracas,
contrabass and trumpet.
During the early '20s the “Sexteto Habanero” was the most known and most successfull.
In the Sexteto, the trumpet or marímbula (smaller screaming trumpet), was not a standard instrument. Many
groups usually used a guitar and a tres without trumpet player.

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