Download Conga Drumming: A Beginner's Guide to Playing With Time W/ by Alan Dworsky, Betsy Sansby PDF

By Alan Dworsky, Betsy Sansby

This publication will train any musician, step-by-step, the best way to play the conga drum utilizing genuine Afro-Cuban rhythms: calypso, bomba, conga, rumba and bembe. The transparent textual content, life-like illustrations and easy charts make studying to play those beats effortless, even for non-musicians. The participant can listen all a hundred seventy five rhythms within the ebook at the incorporated CD.

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Extra resources for Conga Drumming: A Beginner's Guide to Playing With Time W/ CD

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We’ll look at some specific tips on how to do this in a moment. More broadly, there are three techniques you can make use of: experimentation, exploration and repetition. Experimentation is, in some ways, the simplest of the three. Sit at the piano, perhaps with some of the chord charts in this book in front of you, perhaps with some chordmarked sheet music. Play around: accustom yourself to the sounds of different chord in different keys. How does E♭ followed by A♭ followed by Gm7 sound? Construct some short sequences of your own.

You need to address the issue of what you’re going to do with your left hand from the start, and to train it to do things independently of your right hand. Of course, all piano playing involves a bit of work on hand independence, but when you’re improvising the problem becomes more challenging. Challenging, but not impossible. When you look carefully at piano improvisation in most genres, you’ll find that the relationship between the two hands is usually in one of two states: 1. The two hands are playing similar shapes/patterns.

If you talk to skilled pop pianists, a common theme emerges: many of them, when they were learning, branched out from the mainstream syllabus of classical pieces they studied for their exams and looked at other music. Myself, I remember buying a book of songs taken from Disney films about the same time I joined my school jazz band. At first I didn’t understand the chord symbols above the melody line. Once jazz practice had helped me work out what the symbols meant, I began to get a sense of where the chords went and what they did.

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