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@rebeccaclinemusic · Piano · Boston
Boston-based pianist and teacher.

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From the album, Chanchullo, (World Circuit, 2001). After an extended piano solo, Rubén González takes a proportionately long exit containing four descending glissandos. Notice that measure 8 begins the… More…

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From the album, Greatest Hits, Salsound, 1996. Willie Rodríguez ends his solo, first with a brief montuno, then with an octave bell on the fifth scale degree (D) of the key of the song (G minor). More…

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From the album, Sonando!, Ahi Nama Music, 1998. Oswan Ponciano brings his high-energy piano solo to a close with a sweeping glissando from the highest G on the piano with the sustain pedal down. He continues… More…

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From the album, Indestructible (Fania, 1973). Oscar Hernández finishes his piano solo with a montuno over the changes for four measures. He adds an octave bell in the last measure to set up the next section,… More…

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From the album, Fuerza Gigante/Giant Force (Fania, 1980). As Oscar Hernández finishes his solo and heads toward the mambo section, he plays a very clear montuno in the last two measures of his solo. More…

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From the album, Indestructible (Fania, 1973). Eddie Martínez indicates that he's finishing his solo and ready to move on to the next section by playing an octave bell on the pitch, A, the fifth of the… More…

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From the album, Bailemos Con La Riverside (Tropical, 1959). Peruchín signals that he is ready to move on from his solo to the next section by playing D octaves, the 5th of the key the song is in (G major). More…

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From the album Palo Pa' Rumba (Fania, 1984). After a long phrase of montuno cross-rhythms, Eddie indicates that he's ready to move on to the next section by playing three four-octave bells in a row, all… More…

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From the album, Indestructible (Fania, 1973). Oscar Hernández signals the end of his piano solo with a quick, percussive octave bell on beat three, on the pitch, G, the 5th of the song's key of C. More…

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From the album, Se Rompieron Los Termómetros. Eurotropical, 2002. Manolito transitions from his piano solo to the mambo section with a chromatic walk-up in the last two beats of the last measure of his… More…

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From the album, Giant Force (Fuerza Gigante). Fania, 1980. Oscar Hernández indicates that his piano solo is ending by playing a chromatic walk-up during the last two measures of his solo. More…

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From the album, Mozambique, Tico, 1965. Eddie clearly indicates that his piano solo is wrapping up by playing two measures of chromatic walk-up. More…

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From the album, Mozambique, 1965. Eddie clearly indicates that his solo his finished when he plays quarter notes that walk up from G to C. More…

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Peruchín begins this passage with ascending unison double octaves using the A melodic minor scale. On the A harmonic minor descent, he follows each chord tone in the left hand with a note a 3rd above in… More…

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Peruchín begins this phrase with double octaves. After the first six notes, he opens up into harmony between the hands. The first interval he uses is the 6th (13th). Then he changes the interval between… More…

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Peruchín ascends to the highest register of the keyboard in this passage of octaves and melodic thirds. From Piano Con Moña, Gema, 1960. More…

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This is the chorus that pianist Larry Harlow quotes, or references, to end his solo on the same tune. More…

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This is the chorus that pianist Lilí quotes at the end of his solo. The solo ending slice is also available on my channel. More…

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Lilí references the first chorus ("A-na-ba-co-a co-a co-a, A-na-ba-co-a co-a coa") at the end of his solo. This quoting of the melody signals that the arrangement can progress to the next section featuring… More…

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Pianist Larry Harlow quotes the coro (chorus) of the song at the end of his solo, followed by a descending glissando, to signal to the band that he's ready to continue to the mambo section of the arrangement. More…

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From Bailemos con la Riverside (album) by Orquesta RIverside (1946-1959). More…