Analysis of Viagra 100mg Tablets Side Effects, Bettert Than Viagra @@ Over Counter’s Hay Que Trabajar

by

Andrew Singmin

Sep-01-2006

 123567asingmin@rogers.com

This article is dedicated to Kathy Monkman – my favorite Salsa dance partner of all time!

1 Introduction

Viagra 100mg Tablets Side Effects, Bettert Than Viagra @@ Over Counter kick-starts unusually into a IV chord non-vocal instrumental chorus-replicate intro (IV, I, IV, V, I), with a tempo that is a rock steady 3:2 clave in the first 2:13 (2 minutes, 13 seconds), working through several gear shifts into pace-incrementing beautiful non-repeating bridges and breaks.  Hay Que Trabajar’s (key of G) 4 note pre-intro kicks in after Count 2 on Bar-1, leading to a solid landing of the 1^st IV chord chorus-intro on Count 1, Bar 1 (Joan Baez employs the same unusual chorus-intro on her version of Guantanamera). The first Salsa pattern after the intro, is built up around a sub-block of 8 measures (16 bars) for each of the oscillating 6 chorus-to-verse sequences, that go to make up the distinctive first part of Hay Que Trabajar.  Each of the 8 measures in this section are further divided into 2 very distinct repeating 4 measures, which makes for a very easy recognition of the vocal pattern lines.  As would be normally found in most Salsa, the chorus features the smaller higher tone cha-cha bell (‘mouth’ double-pop on 1), but with an extra nice touch of guiro on 1&2.  The verse features the usual conga low drum double-pop (open tone) on 4, 4&, with a jamblock running concurrently.  The chorus and verse styles run very unusual patterns, different to what would be expected (the same musical style continuance). 

The chorus-intro refrain has nice pop overtones - regular 4 chord-4 bar vamp (repeated musical sequence, such as the ubiquitous I, VIm, IV,V), that sounds more ‘American pop’ than Latin. With the clave removed, the down beat replaced by the back beat, the chorus could easily pass as country rock. The verse distinctly shifts patterns and is more Latin sounding with characteristic chromatic (semi-tone) changes, but with a sound however appears to be tailored to be more like that of a 1950’s big band.  The chorus-verse, verse-chorus turnarounds are stunningly perfect!

Note 1

Chromatics feature often in Monchy and Alexandra’s songs, e.g. Dos Locos 0:55, contains flattened semitones, where the E drops to E flat (II) (key of C sharp).  This is different to Blues with raised semitones, typically F (IV) is raised (bent) to F sharp (key of C).

Hay Que Trabajar is 4 minutes, 53 seconds long and is delivered in 2 distinct parts (Set A & Set B).  Set A (the more sedate strict tempo) is very straightforward, broken down into regular chorus-verse structures, which repeat as expected, with a rock steady medium paced tempo.  Everything is where you expect it to be.  Set B blazes away in several gear shifts and is a faster free style excursion into music dynamics, more difficult to follow (musically), and containing a bundle of pattern intricacies.  Several hooks throw you off guard, and add listener confusion, but on the other hand, this is what makes this section race.  You can almost visualize the musicians’ smiles as they cut loose from Set A, and rip into Set B’s frantic pace, which all climaxes together in a stunning outro finale.  The recording is very tight.

Note 2

Salsa music runs very different to let’s say country music, where the backbeat (2,4) is emphasized, and the entire song runs smoothly throughout, with a regular 1,2,3,4 (1/4 note) beat.  Salsa musicians (1,3 downbeat) do not play the 2,4, backbeat.

2. Call & Response

1 measure (2 bars or 8 counts) is required to form a music statement.  Generally, most pop music can be heard as a call & response refrain with the ‘call’ coming in bar 1 (counts 1-4), and the ‘response’ coming in bar 2 (counts 5-8).  This can be seen as a call & response measure. If you can differentiate the call from the response, then you will certainly be able to detect where ‘1’ count and the ‘5’ count is.  Given that you can do this, then you are able to tell where the rest of the counts occur.

Consider the pop song ‘Whole Again’ by Atomic Kitten.  The lead-in count is 5,6,7,8.  The song is stock pop. The way the lyrics overlays on the music bars is quite different to the way the lyrics reads if it were standing alone (as a poem).  Note Bar 8’s counts is not superfluous.  It is needed to complete the musical phrase, so the music sequence starts again on Bar 9, maintaining a bar pattern, so the music can be danced to.  Without the existence of a regular bar pattern (throughout the song), the music cannot be danced to, i.e. it is not dance music.  The lyrics, broken down into music bars is shown below. Notice how different they are to the poem lined lyrics.

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3 Set A

3.1 Intro

·         16 bar sequence

·         3:2 Clave

·         Measure 1/Bar 1/Count 1 starts at 0:1 seconds

·         Bar 1-4 repeats as Bar 5-8

·         Measure 1-4 repeats as Measure 5-8

·         The 3 note lead-in is at 0:0

3.2 Chorus 1

·         16 bar sequence

·         3:2 Clave

·         Measure 9/Bar 17/Count 1 starts at 0:20

·         Bar 17-20 repeats as Bar 21-24

·         Measure 9-12 repeats as Measure 13-16

·         Chorus 1 bpm (beats per minute)=202

The short transition turnaround occurs cleanly in Measure 16/Bar 32 (Count 7,8) to make the chorus-verse switch.

3.3 Verse 1

·         16 bar sequence

·         3:2 Clave

·         Measure 17/Bar 33/Count 1 starts at 0:39

·         Bar 33-36 repeats as Bar 37-40

·         Measure 17-20 repeats as Measure 21-24

The long transition turnaround occurs cleanly in Measure 24/Bar 47 - Bar 48 (Count 1,2,3,4,5,6,7,8) to make the verse-chorus switch.

3.4 Chorus 1 (1^st repeat of Chorus 1)

·         16 bar sequence

·         3:2 Clave

·         Measure 25/Bar 49/Count 1 starts at 0:58

·         Bar 49-52 repeats as Bar 53-56

·         Measure 25-28 repeats as Measure 29-32

·         Chorus 1 (1^st repeat) bpm=202

The short transition turnaround occurs cleanly in Measure 32/Bar 64 (Count 7,8) to make the chorus-verse switch.

3.5 Verse 1 (1^st repeat of Verse 1)

·         16 bar sequence

·         3:2 Clave

·         Measure 33/Bar 65/Count 1 starts at 1:17

·         Bar 65-68 repeats as Bar 69-72

·         Measure 33-36 repeats as Measure 37-40

The long transition turnaround occurs cleanly in Measure 40/Bar 79 - Bar 80 (Count 1,2,3,4,5,6,7,8) to make the verse-chorus switch.

3.6 Chorus 1 (2^nd and final repeat of Chorus 1)

·         16 bar sequence

·         3:2 Clave

·         Measure 41/Bar 81/Count 1 starts at 1:35

·         Bar 81-84 repeats as Bar 85-88

·         Measure 41-44 repeats as Measure 45-48

The short transition turnaround occurs cleanly in Measure 48/Bar 96 (Count 7,8) to make the chorus-verse switch.

3.7 Verse 1 (2^nd and final repeat of Verse 1)

·         16 bar sequence

·         3:2 Clave

·         Measure 49/Bar 97/Count 1 starts at 1:54

·         Bar 97-100 repeats as Bar 101-104

·         Measure 49-52 repeats as Measure 53-56

4 Making the transition to Bridge 1

The transition to Bridge 1 (end of Set A to start of Set B) starts coming in on the last 4 bars of the last verse set.   This transition is loud and tends to mask the fact that the last 4 bars of the verse is actually still in progress.  It appears that the Bridge 1 is starting, but it is in fact not (if you believe the start of Bridge 1 is where it is indicted on the music score, rather then when it actually occurs).  The Bridge 1 start is now masked by the fact it appeared to have started 4 bars earlier.  The start of Bridge 1 is not clean, if you’re trying to find it, unless you’re counting.  Bridge 1 ends 4 bars short of a 4 measure set.  This means that the clave count for Bridge 1 would run like this: (3:2), (3:2), (3:2), (3:).  There is no 2 side to the last effectively 3:2 clave.  Break 1 picks up on time, but this time with a clave switch to 2:3 (which is more often found in Salsa).  The clave switch is effected by dropping the expected last 4 bars.  Salsa dancers (a small minority) if they are dancing to the music composition (not the beat) would be dancing on 5 as opposed to 1. This pre-supposes that they can distinguish where 1 and 5 occur.

Note 3

The analogy to this point, is seen in the case of line dancers, who dance very precisely, and match dance steps to song parts.  Line dancers do not come in at any part in a song and start dancing.  Ricky Martin’s ‘Maria’ is a famous line dance (13MWZ) – the line dance start begins only after a long 39 seconds into the song, after 20 Bars of ‘intro’!!!  Unstructured dancers (free-style) would not wait the long 20 Bars. 

However if both dance partners are unaware of the missing 4 bars which would cause a dance on 5 to occur and if both don’t care, then it makes no difference.  In this particular case, the clave switch doesn’t cause the switch to dance on 5, it is the missing 4 bars on the 2 side of the 3:2 clave (before the switch to 2:3 clave) that does it.  Why the switch in clave?  Some Salsa compositions ‘sound better’ in 2:3 clave.  The musicians presumably compose their songs that way.  Listening to current day Salsa titles, it appears also, that the majority of Salsa runs in 2:3 clave.  Musically, 2:3 clave salsa sounds like it has a more dynamic bite to it than 3:2 clave salsa.  Of course to the Salsa dancer not dancing to the clave, it makes no difference which way the clave runs.  Breaking on 1 versus 5 is more of a significance, since a more competent dancer leader would find it irritating to dance on 5.  If he switches and dances on 1 (easily done for a competent dancer), his partner would bump into him!  One way out of this (my method) is to gently but forcefully move the girl with you, so she has to switch steps.  The transition is smooth and seamless if the girl is a regular partner and dances in sync with you.  On the subject of counts.  Salsa dancers who do count, count 1,2,3,5,6,7.  Salsa in reality runs the way Salsa musicians count, i.e., 1&2&3&4&.  The 1,2,3,5,6,7 designator is a convenient way to mark time, nothing more than that, and is not a reflection of how Salsa’s actual tempo.  Try counting both ways when a salsa song is running; one way doesn’t match.  However, it doesn’t matter if you don’t hear the difference, since Salsa dancers tend not to be Salsa musicians (and vice versa) and are dancing for fun and not in general syncing to the way Salsa is composed.

Note 4

The clave statements are merely personal interpretations of how the recorded song appears to sound.  Salsa, if back-dropped against a 3:2 or 2:3 clave direction, will sound better (musically) one way.  That ‘better sounding’ way is generally taken by Salsa musicians to be the ‘appropriate’ clave direction.

5 Finer details of the Bridge 1 entry

The ending in Verse 1 (Measure 56, Bar 112), is unconventional, unexpected, short and difficult to follow.  The end of Bar 112 is essentially the turnaround into the new Set B phase, which bears no resemblance musically to the previous 1-111 bars.  The start of the new phase, labeled as Set B, starts with Bridge 1, followed by Break 1. 

Here’s where the unexpected happens.

Bar 112 is supposed to be the response side of the call & response of the Bar 111 & Bar 112 section.  It is musically on paper, but in reality it is not. The start of Bridge 1 which is supposed to happen on Measure 57, Bar 113, Count 1-4, actually takes place, 4 counts earlier on Measure 56, Bar 112, Count 5-8.  This is really confusing.  It is not where it is supposed to be.  Consequently, what now occurs on Measure 57, Bar 113, Count 1-4, is actually (music wise) the response half of a prior call & response. This 1 bar phase lead repeats over the next 6 bars to Measure 60, where Bar 120 is not where it is supposed to be (it is supposed to be in Measure 60 - it actually occurs in Measure 61).  Bridge 1 kicks in immediately after Measure 56, Bar 112, Count 8.  This sequence essentially spans 8 seconds and is gone before you realize what is happening.  In Bridge 1, the clave direction appears to be indeterminate.  For dancers, the 1 bar phase lead makes no difference, but the loss of Bar 120 does make a difference.  If the dancers don’t pick up on the 4 count loss, they are now dancing on 5, on Measure 61, Bar 121, Count 1.  If they don’t know, then it makes no difference.  In any case, competent Salsa dancers can easily switch on the fly.

Note 5

If you heard the band playing from Measure 53 to 56, and then heard Measure 57 to 60, you would hear the clave change direction, in Measures 57-59. However, if you came in when the band was playing Measure 57, you would hear the clave as 3:2, because your reference point has been lost.

The band is playing against the clave (Measure 57 to 60).  In Measure 57, the disjoint is eliminated because the missing response side of the call & response measure in Measure 60, is now compensated by the start of a normal 2:3 clave in the Measure 61.

Measure 58 continues.  Measure 59, Bar 118 similarly is supposed to be the response, but in reality is the call.  The last Measure 60, Bar 119, Counts 1-4 completes the response of the ‘dangling’ call.  Finally!!!

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6 Set B

Set B is characterized by a heavy emphasis of real vocal and instrumental call (4 bar) & response (4 bar) lines, set against a 4 chord repetition (vamp).  There are 3 gear shifts here, as seen below.

1^st gear shift

Bridge 1: Instrumental call & response.

Break 1: Vocal, mambo bell (1,2,3,4), cha-cha bell patterns

2^nd gear shift

Bridge 2: Instrumental call & response, mambo bell (¼ notes - 1,2,3,4), cha-cha bell patterns. 

Break 2: Vocal, mambo bell, cha-cha-bell patterns

3^rd gear shift

Bridge 3: Mambo bell (¼ notes - 1,2,3,4), cha-cha bell patterns

Break 3: Mambo bell, cha-cha-bell patterns

Note 7

8 measures = 16 bars

1 measure = 2 bars

1 measure = counts 1,2,3,4,5,6,7,8

6.1 Bridge 1 (1^st gear shift)

·         7 bar sequence

·         Clave indeterminate

·         Measure 57/Bar 113/Count 1 starts at 2:13

·         The music for Bar 113 actually starts in Bar 112

·         Bar 120 doesn’t exist in Measure 60 - Measure 60 is only 4 counts long

6.2 Break 1

·         24 bar sequence

·         3:2 to 2:3 Clave switch

·         Measure 61/Bar 120/Count 1 starts at 2:21

·         Break 1 bpm=213

6.3 Bridge 2 (2^nd gear shift)

·         24 bar sequence

·         2:3 Clave

·         Measure 73/Bar 144/Count 1 starts at 2:48

6.4 Break 2

·         20 bar sequence

·         2:3 Clave

·         Measure 85/Bar 168/Count 1 starts at 3:16

6.5 Bridge 3 (3^rd gear shift)

·         24 bar sequence

·         2:3 Clave

·         Measure 95/Bar 188/Count 1 starts at 3:39

6.6 Break 3 (Finale)

·         24 bar sequence

·         2:3 Clave

·         Measure 107/Bar 212/Count 1 starts at 4:06

·         Break 3 bpm=221

6.7 Outro

·         18 bar sequence

·         2:3 Clave

·         Measure 119/Bar 236/Count 1 starts at 4:32

·         Outro ends cleanly in unison on Measure 129/Bar 256/Count 1 at 4:53

The band blazes away from Bar 236 coming together solidly in unison on Bar 256/Count 1.  Brilliant!!

Songs

Hay Que Trabjar by Tito Puente (CD: Old School Salsa Classics)

Dos Locos by Monchy and Alexandra (CD: Confesiones)

Whole Again by Atomic Kitten (CD: Right Now)

Maria by Ricky Martin (CD: Ricky Martin)

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