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How To Play A Piano Montuno on Any SongPlaying piano montunos can transform any song, giving it that infectious Latin groove that makes everyone want to move. Today, we’ll take a jazz standard like “Satin Doll” and turn it into a piano montuno. By the end of this lesson, you’ll know how to create a montuno pattern from any chord progression and apply these concepts to any montuno pattern you want.

Step 1: Choose Your Montuno Pattern

First, we need to decide on the montuno pattern we’re going to use. Here’s a classic 2-3 clave montuno pattern:

Key Tip: Choose the correct pattern for the clave you’re using. The downbeats go in the 2 part of the clave, and the upbeats on the 3 part. A 4-measure pattern works best for most forms.

Step 2: Decide on the Compound Line

Next, we need to decide on the compound line for our montuno. Compound lines emerge from different layers when you play patterns. For example, in a previous video, we used Billy Joel’s “Summer, Highland Falls” to illustrate this concept.

Piano montunos have two layers:

Outside Layer: Creates the montuno line, usually a guide-tone line.

Inside Layer: Provides the harmonic context.

For example, in an Em7 to A7 progression, we can play:

Notice how the line D to C# acts as a guide tone for the Em7 to A7 progression.

Guide Tones: These are the 3rd and 7th of the chord.

Em7: G (3rd) and D (7th)

A7: G (7th) and C# (3rd)

In an Em7 to A7 progression, the D moves to C#, and the G stays fixed, turning from the 3rd of Em7 to the 7th of A7.

Step 3: Create the Inner Layer

The inner layer provides harmonic context. For Em7, you can play G and B, completing the chord since E is already in the bass. For A7, you can play G and A or G and E. A more effective inner line for A7 is G and B, the same as Em7, because it reinforces the guide tones.

Now, choose the other note for the inner harmonic line:

Options: Chord-tone (E or A) or tensions (9th B or 13th F#)

The 9th (B) works great and is easy to play as it’s the same note as on Em7.

Simplified Approach: The left hand often mirrors the bottom notes of the right hand. This straightforward approach opens up the sound of your arrangement.

Applying the Concepts: “Satin Doll” Example

Here’s how we applied these concepts to “Satin Doll”:

First Measures: The b7 of Dm moves to the 3 of G7 (C to B). Inner harmony uses F and A for both chords. The same technique is applied in measures 3 and 4 with Em7 to A7.

End of Measure 2: Notes anticipate the Em7 in the next measure, acting as pickup notes.

Turnaround: Break the montuno with interesting voicings or tensions like #9 chords.

Line Cliches: Use them to create movement in static chords (e.g., 7-6-5 over Fmaj7).

Conclusion: Practice and Create Your Montuno

These techniques are foolproof for creating that classic montuno sound.So, what are you waiting for? Start practicing your montuno patterns and let’s see your creativity in action!

Remember that the pdf with all the exercises and concepts is available to all “exclusive access” members on the mDecks Music Youtube Channel.

If you enjoy this content remember there’s a library of more than 200 music lessons and piano tutorials in our mDecks Music Journal

Learn More on mDecks.com