We smoothen out the transitions between the I, IV, and V chords with chromatic passing chords, walk-ups, and by utilising leading tones.

In this lesson we learn the harmonic framework of the blues which is the I, the IV, & the V chord and we create 7th chord voicings.

We touch upon the advanced grooves in Cuban music and explore a couple of advanced forms of montunos starting with a groovy form of Changüí.

Unstable rhythmic patterns and structures are used in modern Cuban music to create a sense of unpredictability, tension, and excitement.

We explore Guajira which is a slow tempo form of Tumbao, and the Guaracha which is a fast groove similar to the Son montuno pattern.

In this lesson we explore the Cha-Cha-Cha and the Mambo grooves for solo piano performance and when playing with a bass player.

Learn how to improvise over montunos that can be used when playing with a bass player and also when playing montunos in a solo piano context.

We explore right hand chordal techniques built from the 3rd, the 5th, and the 6th of each chord, and also how to create contrary motion.

In this lesson we explore the most common montuno patterns that you hear in Salsa and early Cuban music from the early 1940s.

In this lesson we explore some common exercises that are useful for students who have never played Cuban piano styles or montunos.