Percussive Slap Bass

Afro-Cuban rhythms are hot and the bass is the beating heart of the groove! Now you can learn to play slap bass in seven popular Afro-Cuban styles: cha cha son montuno songo timba Afro-Cuban 6/8 Latin jazz and Latin jazzin 7. Whether you read tab or standard notation you will quickly learn all these styles and develop your slap bass techniques to create style-appropriate articulations. The included CD has percussion tracks play-alongtracks and complete songs to help you improve your groove to an Afro-Cuban rhythm.

A guide to Applying afro-cuban grooves to funk rock and jazz for bass and drums. CLAVE and TUMBAO. Traditional bass tumbao examples Cascara paila and bell ride patterns. SONGO. Drumset orchestrations Funfified slap songo tumbaos Songo style jam. GUAGUANCO. Conga patterns on the drumset combining traditional and hybrid bass lines with rumba and funk. AFRO-CUBAN 6/8 6/8 patterns as a vehicle for other rhythmic possibilities and diferent time feels CHA-CHA-CHA. Adaptability to rock Spap cha-cha-cha playing a backbeat. MOZAMBIQUE. Mozambique in rock and funk context. Lincoln Goines is one ofNew York's most respected and recorded bassists. His concept of the bass as a rhythm instrument and his ability to incorporate traditional Latin lines with ideas drawn from percussion patterns can be heard on recordings with well known Latin-jazz artists Dave Valenting Michel Camilo Gato Barbieri Paquito D'Rivera Tania Maria and Eliane Elias. Lincoln is also known for his contemporary jazz-funk playing with John Scofiel Mike Stern and Bob Berg. Bobby Ameen has made a life study of Afro-Cuban rhythms and combines this knowledge with his own powerful drumming style to create a highly original funk/Afro-Cuban amalgam. Robby's ability to complement a Latin rhythm section can be heard on recordings with Ruben Blades Dave Valentin Dizzy Gillespie Kip Hanrahan and Eddie Palmieri among many others. Robby has also worked with Paquito D'Rivera Gato Barbieri Willie Colon and Paul Simon. Includes separate pull-out in Spanish.

Accompagner notre auteur Ellen Mayer sur leur voyage musical à travers le monde du rythme et de l'émotion!Dans le nouveau volume de 'World of Percussion' le djembé est le focus.L'outil principal de nombreux rythmes traditionnels, chants et danses vous ouvrez le construit à l'origine de feuillus et de tambour en peau de chèvre, aux portes de la fascinante culture musicale de l'Afrique.Vous apprendrez tout sur l'histoire du djembé, comme vous êtes d'accord, la bonne attitude et le style de jeu et les rythmes et les sons principaux.Le livre est complété par un CD qui a été enregistré par l'auteur elle-même.World of Percussion - élaborer un guide unique pour libérer votre créativité, rainures et se remplit - trouver votre rythme! / Djembé

Essential Tones Rhythms & Grooves-Learn to play the Djembe. This complete method by Michael Markus will teach you how to produce a good sound develop a healthy technique and learn the essential concepts sounds and rhythms of West African Djembe drumming. This hands-on workshop includes access to extensive play-along online videos that will help you to practice every technique in the context of a traditional African Djembe ensemble. Beginning Djembe teaches: correct effective Djembe playing technique and posture; how to tune maintain and care for your Djembe; three fundamental sounds of the Djembe: bass slap and tone; exercises and play-along videos to helpyou develop good tone facility and memorize essential rhythms and their variations; historical regional and traditional cultural context of the Djembe; traditional Djembe rhythms from different regions: Sofa Dundungbe Soli Guinea Fare Kuku Mane and Sinte; notated Djembe ensemble parts including for Djembes and Dunduns; techniques for soloing; and more! Video clips are accessed online using the unique code in each book.

Par HUMMEL BERTOLD. The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone - over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo./ Répertoire / Saxophone Soprano et Percussions