Examples from Beyond Salsa Piano, Volume 2

Chapter 1 is devoted to the seminal tumbaos of Jesús and Cachao López of Arcaño y sus Maravillas.

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Chapter 1 also introduces the rhythmic underpinnings for the tumbaos which would later be used for chachachá. While "invented" by Enrique Jorrín, many of the rhythmic elements originated with Arcaño's group.

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Chapter 2 pauses in the historical chronology to tackle the ever-present issue of clave, including a long series of clave exercises.

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Chapter 3 studies the tumbaos of the Cuban big band or "jazzband" genre: Beny Moré, Pérez Prado, Orquesta Riverside, etc.

Chapter 4 studies the tumbaos of the charanga genre: Aragón, Fajardo, Sensación, Revé, etc. It also pays special attention to the idea of layering tumbaos, the foundation for all Latin music arranging.

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Chapter 5 studies the tumbaos of the conjuntos which took up the slack when Arsenio moved to New York: Modelo, Chappotín, Sonora Matancera, etc.

Chapter 6 returns to the technical side of things, showing how piano tumbaos relate to the clave.