FRANK MALABE AFRO-CUBAN RHYTHMS FOR DRUMSET PDF

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bestthing.info - Download as PDF File .pdf), extensive idea of how to apply afrocuban rhythms to a western drumset. Uploaded by. Frank. Big Band Drumming. Uploaded by. Luciano Beccia. Description An indespensible guide to applying traditional Afro- Cuban Rhythms to Drumset. [PDF] Download Introduction to the Theory of Quantum Information Processing ( [PDF] Download Journeyman Electrician Exam Questions and Answers eBooks Textb. Afro-Cuban Rhythms For Drumset sheet music - Drumset sheet music by Frank Malabe: Manhattan Music. Shop the World's Largest Sheet.


Frank Malabe Afro-cuban Rhythms For Drumset Pdf

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Frank malabe, bob weiner - bdxpdfsinpreppers frank malabe, bob weiner drumset book cd p Afro cuban rhythms for drumset book cd ebooks pdf pdf afro. By Frank Malabe and Bob Weiner. Drumset Book & CD. An introduction to Afro- Cuban rhythms, including the history, traditional instruments, and basic styles. You can download this ebook, i provide downloads as a pdf, site, word, Afro- Cuban Rhythms for Drumset - Book and CD by Frank Malabe.

Afro Cuban Rhythms For Drumset

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You can download the soft file of this book in this website. This website is available with pay and free online books. The next example is another palito pattern that is often used. In this pattern the unaccented notes are played as ghost notes.

Notice that this pattern breaks on the 2-part of the clave, giving a reference as to where the clave falls. Listen to the phrasing and again try to imitate it: 26 Our third palito pattern is also based on rumba clave. Remember, the clave within the palito pattern is not accented. Palito pattern 3: A fourth variation on the basic palito pattern differs from the first palito pattern in that the first note of the second measure is played on the "and" of "1".

Palito pattern 4: Cascara: Cascara is the Spanish word for shell, referring to playing on the side or shell of the timbale. Cascara is played in salsa during verses and softer sections of music such as piano solos.

On drum set we can imitate this technique on the side of the floor tom. The basic cascara pattern is the same as the basic palito pattern, except that it is played with one hand.

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The other hand usually the left plays a muffled tone on "2" and an open tone on "4" on the low timbale. Seeing timbales played live is the best way to understand how this works.

As son music moved from the rural areas to the cities the instrumentation changed. Bongos, maracas and clave were played in early son bands.

Arsenio Rodriguez, the great tres a three stringed guitar-like instrument player and band leader, was one of the first to use congas in his ensembles. Eventually timbales were added, creating a drum section of three drummers: a conguero playing congas, a bongocero playing bongos and handbell, and a timbalero playing timbales.

Timbale is the Spanish word for timpani orchestral kettle drums. The timbales were the Cuban adaptation of the larger European drums which were used in danzon orchestras. The danzon orchestras played music for the upper classes, most of which was refined dance music from Europe and the United States.

From the danzon orchestras came charangas, which also played for upper class social gatherings. Timbales were used in charanga bands, and later congas were added. Timbales were eventually brought into the bands and orchestras playing son music, and have become an integral part of the salsa rhythm section as well. We're playing it with rumba clave only to show how the cascara pattern is related to the rumba clave.

Some of the modern bands in Cuba and New York are using cascara with rumba clave. Cascara played with right hand rumba clave : Try playing the cascara figure on the side of the floor tom while playing rumba clave with a cross stick on the snare drum.

This is not a traditional pattern, but it is played by some current timbaleros, such as Nicky Marrero, and some modern bands in Cuba. Cascara in right hand, with rumba clave in left hand: We can play the cascara figure by reversing the measures of the previous example: Now play rumba clave with a snare drum cross stick while playing the cascara pattern on the side of the floor tom: Let's see how cascara is traditionally played with son clave: Now reverse the cascara pattern and try it with son clave: 29 Try the cascara figure on the side of the floor tom and son clave with a snare drum cross stick.

After playing several patterns without stopping, count "1" on the second bar of the pattern, changing it to a pattern. After several patterns go back to counting "1" at the beginning of the first bar. This is an important concept to learn because many charts for Afro-Cuban music will go in and out of and clave within the same song.

Malabe-Afro-Cuban Rhythms for Drum Set (w/CD)

All they are doing is starting figures and phrases on different parts of the same clave. To help feel the difference between rumba and son clave, let's try four bars of cascara with rumba clave going to four bars of cascara with son clave.

Four bars of cascara with rumba clave to four bars of cascara with son clave: Let's try the same exercise played 30 Let's listen to the basic conga drum pattern played in son music, called tumbao: Tumbao played to son clave: Until recently, Afro-Cuban dance music did not involve drumset. In adapting traditional rhythms played in son music to the drumset, we can look to the timbales.But remember, the hi-hat is not a traditional sound in Afro-Cuban music, it is used more in African popular music, Calypso, Reggae, Brazilian music, jazz and rhythm and blues.

History of Afro-Cuban Rhythms

Your band might as well "hire" a drum machine. In fact, you can try playing clave with the hi-hat in many of the different sections of this site. Notice the metallic sound of the timbale shell. As son music moved from the rural areas to the cities the instrumentation changed. We're playing it with rumba clave only to show how the cascara pattern is related to the rumba clave.

Theexpression in this word makes the reader feel to read and read this book again and again.

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