Brazilian Rhythm Section TrainingThis book reflects the perspective of a Brazilian musician living in Europe, where he came across a sincere interest for Brazilian music but lots of difficulties concerning its rhythm. The author currently teaches at the JIB-Jazz Institut Berlin. He approaches Brazilian music through the rhythm section. If you play the drums, percussion, bass, guitar or keyboard and are interested in Brazilian rhythms, this book is certainly for you.You will learn how to translate the main percussion rhythms which are typical for Brazilian music styles, into your instrument. You will also learn how to interact with fellow musicians, avoiding unnecessary repetition and adding transparency to the rhythm section.The book contains brief explanations of jargons, history and styles and also provides useful information on what to hear, what to read and how to find sheet music, among other useful tips.Have fun!Nombre de pages :136
L´outil idéal pour enseigner le rythme à vos élèves tout en s´amusant.Inclus 24 cartes format A4 de rythme recto-verso pour des mesures à 3/4 et 4/4, un CD avec des pistes de musique Funk pour permettre aux élèves de retrouver les rythmes qui sont joués à la basse.Support : Livre + CD
Jazz DrummingThe recordings contain two mixes of each composition, one mix for listening and one mix to play along with (without drums).Sidemen include John Abercrombie (guitar), Richie Beirach or Bill Dobbins (piano), Jimmy Knepper (trombone), David Liebman (soprano & tenor saxophone), Ron McClure or Rufus Reid (bass), Louis Smith (flugelhorn) and Bobby Watson (alto saxophone).The book contains transcriptions of Billy Hart´s playing with helpful commentary of each recorded performance: A Night In Tunisia - Dizzy Gillespie, Equinox - John Coltrane, Day & Nite - David Liebman, Ralph´s Piano Waltz - John Abercrombie, Embraceable You - George Gershwin, Lo Flame - Bill Dobbins.Nombre de pages :28
Percussions Training Session est une collection de méthodes destinées à faire travailler le percussionniste dans des conditions musicales proches de celles du groupe. En effet, le CD joint comporte des play-backs complets (batterie, basse, guitare) sur lesquels le percussionniste devra s’entraîner à l’improvisation, au rôle de soliste, et ce à l’aide d’exemples musicaux et de nombreux conseils judicieux...Collection : Connection Training SessionSupport média : Compact discLangue : en français
Percussions Training Session est une collection de méthodes destinée à faire travailler le percussionniste dans des conditions musicales proches de celles du groupe. En effet, le CD joint comporte 12 playbacks complets (basse, batterie, guitares, cuivres, claviers, flûte, etc.) sur lesquels le percussionniste (aux congas) devra jouer une interprétation personelle ou guidée de morceaux dans les styles ´´latin-jazz et salsa”.Ainsi, cet ouvrage est plus un support d’expression pour le percussionniste qu’une méthode proprement dite. Celui-ci pourra s’appliquer à reproduire scrupuleusement les indications présentées dans le livre et ainsi s’enrichir de quelques idées d’interprétation ou s’en inspirer pour élaborer de travail reste ainsi libre et ouvert selon le niveau technique et l’approche musicale de chacun.Cet ouvrage, enfin, présente des titres de difficultés variables et aborde différents styles musicaux (Guajira, Cha-cha, Bolero, Pilon, Salsa, Guaguanco, Yambu, Merengue, Songo, etc.) afin d’enrichir tous les aspects de votre jeu.Collection : Connection Training SessionSupport média : Compact discLangue : en français
Le Cajon est l´un des instruments de percussion les plus populaires de la musique moderne. Très divertissant et simple à transporter - il s´adapte à de nombreux styles musicaux. Hakim Ludin vous montre non seulement les techniques et les sons du Cajon mais vous ouvre également de larges horizons aristiques qui vous aideront dans vos compositions.Titres : Baiao (3 Grooves); Bossa Nova (3 Grooves); Djembe Grooves (4 Grooves); Drum ´N´ Bass (3 Grooves); Exercises; Hip Hop (3 Grooves); Introduction; Pop And Rock (6 Grooves); Reggae (3 Grooves); Rhythm And Blues (4 Grooves); Rumba (3 Grooves); Samba (6 Grooves); Solo ´African Queen´; Solo ´Cuban Breeze´; Solo ´Hommage To Buleria Solea´; Solo ´Ocean Side´; Solo ´Rumba De Cajon´; Solo ´To Sohail´; Solo ´To Soraya´; Solo ´Women´s Garden´; Special Effects With Feet; Techniques; World Grooves (9 Grooves)
I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians, students, teachers and all those who take a general interest in this field of music.The focus of this series is on the language of instrumental music nowadays performed in Brazil, based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music, which are presented in the following versions:1. Complete takes ? in other words, the full versions of the pieces included in the book, which are performed by all the instruments playing simultaneously;2. Without melody / solo part ? so that the melodic instruments can play along with the recording, executing their own interpretations and practicing improvisations;3. Without harmony ? so that the harmonic instruments can practice the language of accompaniment, especially with regard to the rhythmic vocabulary of each style.4. Without bass ? so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects;5. Without drums ? so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations.Each book contains the scores in the form of lead sheets in four different versions: in C, Bb, Eb, and bass clef. Due to the widely defined concept of this method, it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution.The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos, rhythmic comping phrases, bass lines and drum grooves, for instance, can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition to their traditional roles: the bass can act as a melodic or solo instrument, the piano can execute bass lines, and so on.The complete music was recorded ?live? in the studio to preserve as best as possible the spontaneous character and spirit of working together - features which have always determined even the most diverse genres of Brazilian music. The authors and accompanying musicians were deliberately chosen: The team unites dedicated instrumentalists known for their vast experience and true mastery of the musical style in question.Good luck with your studies! (Carlos Ezequiel Producer)
An in-depth study (324 pages) of all the percussion instruments, rhythms and song styles of Afro-Cuban music, along with their applications to the drum set. Detailed technical studies of each instrument are presented along with notations of many rhythm styles. The entire rhythm section (parts for bass, piano, horn section, string section, tres, and guitar) is also studied in detail. The book comes with two CDs that include performances of each percussion instrument, drum set, all rhythm section instruments, as well as examples of all musical styles with full instrumentation in score form.
The Flex-Ability series, arranged by Victor Lopez, fills the need for multi-level instrumentalists to play popular music together. Each instrument book includes 11 songs in four-part score form. The top line (solo) is for level 2 1/2-3. The second line (duet/harmony) is for level 2-2 1/2. The third line (trio/harmony) is for level 1 1/2. The bottom line (harmony or bass line) is for level 1(only whole, half, dotted half, and quarter notes and rests). The songs are: La Bamba * When the Saints Go Marching In * Eye of the Tiger * Peter Gunn * In the Midnight Hour * China Grove * Jeepers Creepers * Soul Man * Sweet Georgia Brown * Frosty the Snowman * Celebration.