In coordination with Universidad Nacional Pedro Henríquez Ureña, and its International School of Contemporary Music, the pianist Janina Rosado released “The contemporary merengue, manual for the rhythmic base”, a contribution to the collection of experienced and music students.
The book will be available to the local market and the world through digital platforms. Its purpose is to provide the indispensable tools to carry out a balanced musical arrangement of the merengue, without harmonic or rhythmic inaccuracies, presented in a simple and quick reading.
We hope that each musician can have an illustrated idea of how each of the rhythmic patterns of the instruments is executed in the merengue, for example, each blow with the stick and hands of the drum, the güira and the congas are represented in musical notation created especially in this book so that the musician visualizes in detail, the interpretation of each of the instruments,” detailed Janina Rosado while addressing the guests and the press.
“Contemporary merengue, manual for the rhythmic base” is the result of several years of research carried out by the outstanding pianist Janina Rosado, whose career has been recognized in the country and abroad.
In the nine chapters that embody the book, Janina Rosado, a member of the group 4-40, offers a brief history of merengue and delves into its vital instruments such as the drum, the güira, the congas, the electric bass, the piano in merengue, exercises to identify the key and tools to change the rhythmic key.
In 2022, Janina Rosado was recognized by the Latin Recording Academy at the “Leading Ladies of Entertainment” gala program created to highlight the work of women in the Latin arts and entertainment sector.
The writers of the prologue of this book are the illustrious musicians Juan Luis Guerra and Pengbian Sang.
In addition to the prologists were present at the event representing the university: the dean of the Faculty of Architecture and Arts, Architect Omar Rancier, the directors of the School of Design, Music and the Department of International Affairs, as well as colleagues, journalists and friends of the author.
In the publication of the book, Janina Rosado’s initiative in presenting the work was highlighted in the prolog:
“This manual for the rhythmic base ‘The Contemporary Merengue’ has been revealing to me. Even writing merengues since the beginning of my career, I had never stopped to analyze the why of many things and Janina has done an excellent job of exposing us with simplicity and wisdom the rhythmic details of each of our traditional instruments, such as the güira, the drum, the congas, the bass, and the piano in her performance of merengue. The notation created to write them is invaluable,” said the award-winning Dominican artist.
“For being one of my favorites: Janina painstakingly describes the ripping up, ripping down, sliding, and basic patterns for the execution of the right meringue, the chopped or horseback pattern, the flowery or loaded pattern and the jeweled pattern that we have enjoyed so much in the mambos of meringues like the Bilirubina or the Wasps. It is the first time that such a perfect writing technique has been developed for our percussion instruments, this is innovative, admirable, and worthy of praise,” added Juan Luis.
Meanwhile, teacher Pengbian Sang considered this to be one of the most momentous efforts in recent decades. “This manual for the rhythmic basis of contemporary merengue, is, in my opinion, one of the most important efforts made in recent decades, to present merengue in a systematic, and didactic way”. Also professor at Universidad Nacional Pedro Henríquez Ureña, considered that Rosado’s text offers a historical theoretical framework for merengue.
“The book is not, nor does it intend to be, a historical, sociological, or ethnomusicological study of merengue. Its first chapter, however, provides us with the historical framework necessary to arrive at the current merengue, the merengue that runs today. I think it will be very useful, both to musicians from other latitudes interested in learning about our national rhythm, as well as to Dominican musicians, professionals, and students, who want to deepen their knowledge about the
The Retro Jazz band’s director pointed out the patterns of each of the instruments in the rhythm section of the merengue.
The activity took place in the Max Henríquez Ureña Hall, building 4 of the university.
