Tumbao over changes — Scivales's Ex. 6 (i iv V i, moved from D minor to G minor). When the chord changes every bar, the tumbao's beat-4 note anticipates the next bar's chord: the G on beat 4 of the Gm bar is already the root of the Cm that follows, the D on beat 4 of the Cm bar belongs to the D7, and so on. Levine makes the same point in fig. 20-27.
Here the bass also plays beat 2 before the and-of-2, so each bar is "2, and-of-2, 4" — a common salsa dura shape. The piano plays a single-line montuno whose own anticipations (the note on the and-of-4) change to the new chord at the same moment as the bass.
Listen for how early the harmony moves: the ear hears Cm on beat 4 of bar 1, not on the downbeat of bar 2. In salsa the whole rhythm section changes chords there.
Practice: bass line alone with the clave until the beat-4 anticipation feels like the new bar; then add the right hand. Felt in 2.