Could you do the DX7 on the zynth…?
It all sounds fantastic as ever.
My daughter is in Rome at the moment so it’s highly evocative.
@wyleu
I have to admit that I like Arturia’s DX7 more than Zynthian’s… but maybe because I’ve been using it for longer and it got into my ears… Thanks for your opinion and compliment…
Ahhhh! Rome the eternal city… you have to tell your daughter to eat, eat and eat… in Rome you eat very well (as in all of Italy)… she must ask: “Du fetuccine” or “na carbonara” or whatever… 
P.S.
Of course, with a full belly there are thousands of artistic sites to see… One day in Rome I was lucky enough to visit an exhibition of Salvador Dalì and a few hours later, I visited the “Cappella Sistina” where for half an hour I waited for Adam got up and walked after the touch of God… same thing with Michelangelo’s Pietà… they are works that you stop to look at for a long time waiting for them to move…
PP.SS.
@wyleu…I hope your daughter doesn’t do like some “Italians” who asked for “spaghetti” in the Red Sea… With all the wonders you can eat in Egypt…
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Nooooo, pizza with mortadella nooooo. Listen, you have to tell your daughter that in Rome they eat “pastasciutta” and drink wine… The beer is better in England… If she wants to eat pizza she has to go down to Naples, meat in Tuscany. … Mortadella only in Bologna… please!!! 
Otherwise you tell them that on the way back up they stop here with us… my wife is an excellent cook (that’s why I weigh more than 100kg)…
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I recorded a beautiful song “Latin” by Vinicio Capossela… Fun at the highest levels. I await constructive criticism from percussionists and lovers of this wonderful musical genre.
Guiro (Vinicio Capossela)
Zynthian: Piano, Rhodes
Native instruments : Brass, Guitar
Omnisphere: Bass
SWAM: Trumpet solo
EZDrummer: Drums, Percussion, guiro
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Fantastic @Lanfranco !!
I really like the song and the feeling you got. It’s a true journey into several genres and subgenres. Well done!!
As a lover of latin percussion and specially “del guaguanco y la rumba cubana”, i would suggest to allow the initial guaguanco pattern to develop more slowly. The genre deserves more “empty” space to penetrate the soul and create this magical atmosphere the guaguanco creates.
After you enter into the guaguanco, you could turn the song towards the “guaracha” or “salsa”, keeping the “clave” straight. I’ve noted the “clave” is broken at some point and this creates an uncomfortable feeling to anybody used to the genre, specially dancers, that would find themselves dancing with “la clave virada”. I.e. at second 38, the clave ask for a deep breath when phrase ends, before start singing next phrase,
Here an example from the purest tradition, just to serve as inspiration for the initial guaguanco part:
LOS MUÑEQUITOS DE MATANZAS - Óyelo de Nuevo - El marino
Note the long spaces between phrases in the initial part, called “the inspiration”, then the singing “closes”, when the chorus enters, what is called the “montuno” o “coro”.
And here an old guaracha from the queen, just to show how guaguanco singing is deployed over a guaracha pattern. It’s a beautiful piece, “sencilla y sabrosa” that contains all the fundamentals:
Celia Cruz - Madre Rumba
OK … i will stop here because i can be boring … jajaja! 
All the best!
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To @Lanfranco I travelled a lot through Italy and tested many mortadellas there but the best mortadella sandwich I had was in São Paulo. I did not expect to find that it is very popular there.
THANK YOU @jofemodo !!! This is what I mean by “constructive criticism”… I played a long time ago with percussionists (one also Chilean), who created a unique atmosphere… they said it was because they “held back”… in my opinion it was because they had two big balls!!! Thanks for the material you gave me… I will definitely study it and then publish the results. Thank you
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@stojos , to eat a good sandwich with mortadella you have to go to the historic center of Bologna, where the scent can already be felt several hundred meters away. but it will certainly be eaten well in other parts of the world too. Here I ate an excellent Paela… but it will certainly never be like in “her land”… In Italy they say: “Wives and oxen from your countries” (a rhyme is created in Italian)
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OK! I couldn’t resist … jajaja! I need to put something “not so old”. I’m sure you and some others will enjoy these 2 master pieces from Irakere, @Lafranco:
Chucho Valdés & Irakere - Babalu Aye - Solo te Echaron un Medio
Chucho Valdés & Irakere - Babalu Aye - Por Romper el Coco
Enjoy!
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@jofemodo Can you put titles and musicians of these wonders? I have to rebuild a library of this musical genre… I stopped (stopped?) at Antonio Carlos Jobim and Tito Puente…
I just added the info just before each song.
I think Irakere’s work could be really interesting to your ears.
Of course, listening the roots is always inspiring and very instructive
The best,
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I completely agree with you…The author put a half measure which speeds up the beginning of the chorus too much…taking away “the breath” as you say… I think I will modify the score according to my tastes. Thank you
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Does anyone have a multitrack audio or MIDI SMF of some of this type of (Latin) music? My old inflexible brain is struggling to break down the parts. I hear the regular rhythm but can’t lock onto the percussion.
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If the author was so explicit, perhaps he’s looking for breaking the clave just like this. I’ve listened this kind of things in other songs. I personally don’t like breaking the clave (i’m a dancer too), but if it’s on-purpose, it could be OK from a musical perspective.
Regards,
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It takes time to understand to european brains. I remember myself struggling to understand what clave is
I will search for something you can use for “opening” your neurons …
Cheers!
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@riban For us Europeans the Clave is not simple… only Latin Americans have this type of rhythm in their blood which for them is as simple as our 4/4…
This is the rhythmic configuration of the Clave…
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@riban I inserted a cowbell that keeps the Clave rhythm in the first bars of this song.
Midi track:
Clave-1.1.mid (646 Bytes)
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I would say Latin American afro-descendants. The clave is an african music concept.
Clave is related to swing, but it balances the rhythm in a wider domain. The clave structures the musical tempo in 2x4/4 bars (or 12/8, when using ternary subdivisions) subpatterns. In Latin America it’s associated with specific “clave” patterns, but you don’t need these patterns to be explicitly expressed to have the feeling of clave. It’s more a way of structuring rhythmic figures in 2-bars subphrases.
There are many claves, and different claves have influenced modern music in different ways , being the most popular the “clave de son” (salsa) and “clave de samba” (bossa), not to forget “clave de rumba” or the “güiro de cumbia”, that is present in reggaeton. Well, perhaps the last one is not a “clave” in a strict sense
Cheers
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@Lafranco, guaguanco have “clave de rumba”, that delays by 1/8 the third clave beat, as can be listened in the first bars of this piece:
Thanks
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