Santeria Notes
Agenor Ramadan
This is one of my few lessons that doesn't have a printable song sheet / PDF available. If you'd like to request I make one, let me know by clicking the button below! If there's enough demand I'll bump it toward the top of the list.
If you play four beats per measure, using a tempo of 175bpm, the chord progression looks as follows. You could also use a 50% slower tempo (i.e. around 90bpm) but that requires you to strum along on 16th notes, which is trickier to explain. See my video lesson for details.
It looks like the song has E, G# major, A, B, C# minor chords (see -chords.com/chords/sublime/santeria ). I am trying to figure out what is going on with the G# Major in this song. is this in a different mode or scale than E major? Does the G# major maybe represent some other flavor of chord like a 7th chord for another note? Is there something else going on?
And that's fine. It doesn't break any 'rule'. It's common, along with other chromatic chords. Although, as @Richard says, it can be thought of as the dominant of C# minor, it doesn't really indicate any more than the smallest hint of modulation.
i`ve been studying that chord as well!here is what i noticed;as somebody pointed out, III mayor to IV mayor sounds natural because A shares 2 notes with C# minor. thats true but allow me to expand. the tritone of G#7 leads to c# and e.whilst also the fundamental and third of C#minor they are the 3rd and 5th of A mayor.it is definetly a deceptive cadence but more specifically it one where there is an actual tritone resolution as well. if you come to think about it, the relationship between G#7 and A is not so far off from what happens in the key of C when you go from V7 chord to the VI. the tritone resolves but to the 3rd and 5th instead of going to the fundamental and 3rd of Cmayor.another way of looking at it is by assuming that we have lo lead this new note and continue its natural path;in the E,G#,A we have the notes b giong into b# which should lead chromatically into c#. this allows me to think that this III chord is not so far from playing E, Eaug, A.it seems to be a chord that leads into a subdominant chord. most popular is the IV but the i reckon it could move into the II with no problems.hope this helps
Released in 1996, "Santeria" became sort of an instant classic that still resonates with people to this day. A large part of it's success is due to guitarist/singer, the late Bradley Nowell's creative and catchy guitar rhythms and solos. You can tell that he was a very accomplished guitar player that really new his way around the fretboard.
In the first video of this Santeria guitar lesson series, I will demonstrate how to play all the chords and progressions found in this now classic song. The rhythm is very reggae influenced throughout the verse section, so I will demonstrate how to accomplish this quick mute effect. Within this rhythm you will also need to play a lot of bar chords, so try to keep your left hand relaxed since those bar chords are used through just about the entire song. It can be a bit tiring if you aren't using the proper technique.
For the chorus I will demonstrate how to combine the two guitar layers on the original recording into a relatively easy to play guitar part that can be done by just one guitar player. Bradley Nowell played this part different each time with just slight variations so I recommend that you do it that way as well.
I will go through the solo phrase-by-phrase after my initial full performance. I suggest learning these phrases individually before attempting to put them together into one cohesive musical statement.
It starts with Bradley Nowell playing some ascending slide licks into some melodic bends. The groove of this lick and the rest of that solo for that matter is very important. You have to really feel that groove to place all the notes correctly.
After that opening phrase, Bradley Nowell launches into a fast series of licks that incorporate a lot of hammer-ons and pull-offs. Each one of them can make for a great repetitive technique exercise, especially the fast ascending chromatic licks.
You can think of it as a type of automated mini-sequencer, I guess. Typically, when you hold down a chord such as C + E + G (a very simple C major chord), the arpeggiator will interpret this and then automatically play a sequence of notes within this chord range. Sometimes it will trigger random notes, sometimes the notes will be triggered in ascending or descending order, etc., but overall there is nothing special happening, it is simply making your musical life a little bit easier by playing the notes automatically for you. Usually you can also choose the timing of the sequence, whether the notes triggered should be 16ths, 8ths, etc.
The arp command is way too simple to have an exclusive form of use.
It is a very bad inheritance from the old tracker days.
Compared to the music applications on the C64, Developers that made trackers on Amiga did not really had a good sense of what possibilities a good arpeggiator should contain. The 0xy command is a real trade off just to say there is an arpeggiator but it has a minimum use with a decent effect.
Several weeks ago I experienced a mysterious shift in reality precipitated by wind and lightening. The day turned to sheets of rain; wind, thunder and electricity covered the hills. Storming Earth elements brewed the evening into a further series of unexpected events. A brand new relationship to summer hatched open and life now contains a different style of movement; one of spontaneous partnerships, redefined participation in work, and transformation in the presence of death. Then, as I came to study the Nigerian Goddess Oya, I discovered I was entirely in the presence of Her features. How synchronistic, to have been entrained with the rising Orisha whose presence appeared to be guiding my season. Every time I sat down to make notes about her, I was visited by one of her storms.
And yet the songs that call the Goddess in her various incarnations emanate from a collective experience, whether summoned by Shaman, Brujas, Santeria, or activists. This is evident by the mode in which Orisha Oya manifests from stillness or the unseen, not unlike the personal experience that moved me that evening in early summer on a weather beaten mountain side; she ushered in love, change, death, and a new model for work. It strikes me that this motion from invisible containment to a storming of the threshold in potently embodied gestures is similar to the style of continuous, awakening attention utilized in active imagination as Carl Jung practiced it in his analytical work with his patients and himself. In her book Boundaries of the Soul, June Singer describes the process of active imagination as Jung was understood to use it:
Welcome to the Santera music database, a collection of information aboutafro-cuban folkloric music. The main purpose of this database is tocross-reference the different resources and recordings to the bat drum rhythms("toques") and chants ("cantos") of the Santera religion.
This work is in constant progress, maintained by a single person. New informationis to be added daily during my listening time, and the site is updated every nowand then. If you would like to contribute information, visit the contributors page, whichdescribes all the information that is missing from the database, as well assimple instructions on how to submit new data. For other information about thissite, see the about page.
At some point in the past, the author of these pages wrote some code andautomatically converted some bata drummingnotes from someone else into PDF format with musical notation. The PDF filecan be found here.
While we strive to provide the most comprehensive notes for as many high school textbooks as possible, there are certainly going to be some that we miss. Drop us a note and let us know which textbooks you need. Be sure to include which edition of the textbook you are using! If we see enough demand, we'll do whatever we can to get those notes up on the site for you!
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