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This book presents an encyclopedic selection of all the basic rhythm parts used on timbales and drums in Latin music (salsa, timba, Afro-Cuban folkloric rhythms, rumba, danzón, chachachá et al). The central premise is for the student to master each rhythm by singing and tapping before attempting to play it on an instrument, so as to avoid bad habits of technique during the critical period when the rhythm is being memorized and internalized.To accommodate as many learning styles as possible, each rhythm is presented in eight ways: two types of standard notation, two types of graphic or "box" notation, full speed audio, slow motion audio, and two speeds using a special "task-by-task" learning method where the rhythm is learned one stroke at a time against a steady rhythmic accompaniment.Each rhythm is first presented as a single part in its historical context and then in the combinations of two and three parts at once that a percussionist would be expected to play in various group situations.One group of audio files (107 tracks) is available as a free online download, with the link provided in the book. The remainder (the more advanced files) are available as a separate downloadable product.The book will also be useful for those who can already play drums and timbales but need to quickly learn the necessary rhythms for salsa and timba, but for true beginners, our strategy is to learn to sing and tap all of the basic rhythms before taking your first lesson and there's a very important reason for doing it this way: As with golf or tennis lessons, learning to play a musical instrument is about physical movements, dexterity, timing, coordination and body language - the types of things that are easier to demonstrate than to explain and are easier to master when your brain stays calmly out of the way as your body goes through the learning process. If your brain is struggling to learn what to play, it interferes with your body's natural ability to learn how to play. To put it another way, if you're concentrating on mastering the pattern of a new rhythm, you won't be able to give 100% of your effort to tone production, posture, hand position, and feeling the groove, and you're likely to develop "bad habits" that are hard to unlearn later. But if you've already learned to sing, clap and tap the rhythms before you take your first lesson on drums or timbales, you'll be much more likely to succeed, and - just as important - you'll be much more likely to enjoy the process.
After writing over 20 instructional books on Cuban piano, congas, drums, timbales, clave and bass, this is Kevin Moore's first book for non-musicians - listeners, dancers and fans of Latin music. Beyond Salsa alternates between "Listening Tours" (music history, analysis of songs, and record-collecting advice) and Rhythm Exercises chapters with singing, clapping and dancing exercises (including audio files) designed to enhance listening skills.The four Listening Tours are: I. Pre-Revolution Cuban Popular Music (1900-1959); II. Salsa and Post-Revolution Cuban Popular Music (1959-1989); Timba (1989-2012); and a special section covering Afro-Cuban Folkloric Music, Comparsa, Changüí and Rumba.The rhythm exercises include the basic rhythms of each instrument, clave, various types of basic dance steps, a section on learning to feel the Latin groove properly, and a special chapter on the problems that new listeners of Afro-Cuban folkloric music sometimes have with hearing the beat and meter correctly. A link is provided for a free audio download with 107 audio files corresponding to the exercises. There's also a second download for sale with additional audio files.Also included are an extensive glossary and a beginners guide to the Spanish language and Cuban slang in music for English-speakers.
Written by the editor of the world's largest Cuban music website, www.timba.com, and the author of the popular "Tomás Cruz Conga Method", "Beyond Salsa Piano" is a series of method books and historical/discographical guides chronicling the role of the piano in Cuban music. After the 5 introductory volumes, Volume 7 is the second of a series of books on specific Cuban pianists, using note-for-note transcriptions from MIDI files. Iván "Melón" Lewis is one of the greatest timba pianists, having recorded and played with The Issac Delgado Group and Manolín, el Médico de la Salsa.
Volume 6 of Beyond Salsa Bass begins our 4-volume study of the style of Alain Pérez - the composer of La sandunguita, Salsa timba y amor, and Amigo Juan. Pérez is one of the most talented bassists, composers and arrangers of modern Cuban music. He shared a very unique musical chemistry with Issac Delgado and pianist Melón Lewis, the subject of Volumes 6-9 of Beyond Salsa Piano. The bass series follows the piano series exactly, covering the same songs, now from the perspective of the bassist. In addition to transcribing the notes, we also transcribe the percussive sounds that he uses to create his funky style. Each musical example is provided in 16th note notation, 8th note notion and bass tablature. There are corresponding audio and video products for each volume.
(This page sells the book only - the supplemental audio files are a separate downloadable purchase. The book also contains a link to a free download of an assortment of audio files from each chapter.)THE BOOK: Beyond Salsa Piano, Vol. 12 is the third volume on César "Pupy" Pedroso, and covers his last decade as the pianist and one of the principal songwriters of the Cuban supergroup Los Van Van. The book contains music notation and analysis of Pedroso's piano tumbaos as well as historical and discographical information about Los Van Van and its many famous members, including Juan Formell, Samuel Formell, Mayito Rivera, Angel Bonne, Robertón Hernández, Pedrito Calvo, Boris Luna and José Luis "Changuito" Quintana. During the period under study (1989-2001), Los Van Van released seven albums generally considered to be among the best Cuban popular music recordings of all time: Crónicas (1989), Aquí el que baila gana (1990), Azúcar (1992), Lo último en vivo (1994), Ay Dios ampárame (1996), Te pone la cabeza mala (1997) and the Grammy-winning Llegó Van Van (19990.Volumes 10 and 11 of the Beyond Salsa Piano series cover Pupy Pedroso's earlier work with Los Van Van and Volume 13 will cover his work as the leader of Pupy y Los Que Son Son from 2001 to the present). Los Que Son Son is currently one of the most popular bands in Cuba. Volumes 1-5 are a beginning-intermediate-advanced course in Latin piano playing in general; Volumes 6-9 are an in-depth study of piano giant Iván "Melón" Lewis and his work with the pivotally important Issac Delgado Group. Volume 14 covers the piano style of Tirso Duarte with Charanga Habanera. Interestingly, Duarte was also a lead singer with Pupy y Los Que Son Son. The Beyond Salsa series also includes 5 books on bass, 3 on drums and timbales, a course for Latin ensemble, Understanding Clave and Clave Changes, and a special book, Beyond Salsa for Beginners, that teaches basic rhythms and history for dancers and other interested non-musicians.
Written by the editor of the world's largest Cuban music website, www.timba.com, and the author of the popular "Tomás Cruz Conga Method", "Beyond Salsa Piano" is a series of method books and historical/discographical guides chronicling the role of the piano in Cuban music. Volume 5 is a complete introduction and guide to timba, the innovative genre that exploded onto the Cuban scene in the 1990s. Included are a full history, discography, analysis of rhythm section gears and harmonies, and a series of tumbao exercises to develop each of the innovations of the timba pianists.
[Note: Audio files do not come with any of the Beyond Salsa books - they're a separate downloadable product.] Written by the editor of the world's largest Cuban music website, www.timba.com, and the author of the popular "Tomás Cruz Conga Method", "Beyond Salsa Piano" is a series of method books and historical/discographical guides chronicling the role of the piano in Cuban music. Volume 1, with a "beginning" difficulty level, covers the earliest antecedents of the piano tumbao and provide exercises for beginning pianists to develop the technique necessary to play salsa and timba piano tumbaos. It begins with piano adaptations of tres guajeos from the seminal folkloric genre of changüí, which predates the first Cuban recordings, and then proceeds to the danzón and son genres of the 1900-1940 period to look for early roots of the modern piano tumbao in the tres and violin parts. The volume concludes with an extensive study of the various types of tumbaos pioneered by Arsenio Rodríguez in the 1940s. Other volumes can be found at https: //www.createspace.com/3419799
At 130 pages, the fourth and final volume on the legendary Iván "Melón" Lewis is also the longest and most extensive, continuing the survey of his tumbaos and also including three full transcriptions and in-depth analyses of his playing style on introductions, cuerpos, fixed montuno sections, mambos and other parts of the arrangement. It also uses Issac Delgado's never-released live masterpiece La temática to launch our most in-depth study of the art of "controlled improvisation".
Written by the editor of the world's largest Cuban music website, www.timba.com, and the author of the popular "Tomás Cruz Conga Method", "Beyond Salsa Piano" is a series of method books and historical/discographical guides chronicling the role of the piano in Cuban music. After the 5 introductory volumes, Volume 6 is the first to cover a specific pianist, using note-for-note transcriptions from MIDI files. Iván "Melón" Lewis is one of the greatest timba pianists, having recorded and played with The Issac Delgado Group and Manolín, el Médico de la Salsa.
Calixto Oviedo is the first featured artist in "Beyond Salsa Percussion", the companion series to author Kevin Moore's acclaimed "Beyond Salsa Piano" series. Oviedo, who played with such groups as NG La Banda and Adalberto Álvarez y su Son, is a living legend among Cuban drummers.This, the second volume of the series, "Calixto Oviedo - Drums and Timbales: Basic Rhythms", covers the wide range of traditional rhythmic styles that Oviedo mastered before embarking on the dramatic innovations for which he later became famous. He plays each rhythm in its traditional form and then shows how it can be adapted to drumset in a variety of modern situations. At 144 pages, with dozens of carefully transcribed musical examples, the goal of "Calixto Oviedo - Drums and Timbales: Basic Rhythms" goal is to help experienced Latin drummers find new ways of approaching traditional Cuban styles, to help American and European drummers master Latin drumming in general, to prepare for the dramatic innovations covered in the following volume of the series: "Calixto Oviedo - Drums and Timbales: Timba Gears", and to explain the intricacies of Cuban music to arrangers, listeners and dancers.