Experimenting with Latin Percussion - quintet for marimba, vibraphone, and 3 percussion

Continuing in the tradition of The Rhythmic Construction of a Salsa Tune this DVD explores the various rhythmic elements involved in World Music. Steve Thorton brings his years of experience to a one-on-one setting withLatin Percussion Inc. founder Martin Cohen as they discuss how to piece together a rhythm section for four separate World Music tunes. Steve details four different rhythms - Samba 6/8 Calypso and Inang. You will see and hearexactly how each musician's part interacts with the others. Special features include: 2 Extra Performance Video Chapter Selection Performance Only Selection Musician Bio Pages

Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards guitar bass drums/percussion in various different Latin styles including Calypso Mambo Salsa Songo Bossa Guaracha Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting offpoint for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track around 3 minutes in length recorded without the solo part so you can practice the riffs that you have learned. Also these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible.

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards guitar bass drums/percussion in various different Latin styles including Calypso Mambo Salsa Songo Bossa Guaracha Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting offpoint for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track around 3 minutes in length recorded without the solo part so you can practice the riffs that you have learned. Also these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible.

The idea for this book series is to give instrumentalists the opportunity to practice solo improvisational techniques while playing along to rhythm tracks of keyboards guitar bass drums/percussion in various different Latin styles including Calypso Mambo Salsa Songo Bossa Guaracha Samba and Latin-Blues. The 24 grooves totalling over 200 riffs/phrases and play-a-long tracks consists of a variety of tempos and keys. Each groove has a variety of riffs to learn that are generally 4 or 8 measures in length. It would be beneficial if you could memorize these riffs so that you can experiment using different permutations of the riffs as well as being used as a starting offpoint for one's own improvisations. Each riff has been recorded with a rhythm track with each style having an extended play-a-long track around 3 minutes in length recorded without the solo part so you can practice the riffs that you have learned. Also these musical phrases or riffs may be interchanged from one groove to another and should be learned in as many keys as possible.

Salsa Music Styles for the Classroom & Beyond-Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author & bi-lingual educator Alejandro Jimenez. Connect with educational philosophies and cultural backgrounds of the SpanishCaribbean to understand how they influenced the music of that area. Learn how song dance rhythmic instruments and drama all come together to help build confidence and promote personal expression. Originally developed and used inurban multi-cultural settings here in the United States the works featured in Picante are for all general music classes. Students form their own Latin Music ensembles and explore the highly rhythmic beat of the plena from PuertoRico the regueton which is popular among urban Latino youth the fast two-step beat of the merengue from the Dominican Republic the bomba from Puerto Rican folk music and the son from Cuban dance music. These different stylesinfluenced what we now call Salsa music. The kid-friendly ensembles have been written for Grades 5-9 and are presented from easy to more difficult. A variety of short easily-learned ostinato rhythm patterns are played on Latinpercussion and Orff instruments and added one at a time followed by the Spanish and English lyrics. These voice parts are also made up of short ostinato patterns that when layered in create easily-sung harmonies in an instant!You can perform all or some of the voice parts so do what best fits your situation. A helpful teaching sequence dance steps and objectives linked to the National Standards are provided for each song and all ensemble parts arereproducible! The piano/vocal printed score represents the form of each song as recorded on the companion CD and is only a suggested guide to follow. Encourage your students to be creative and make up their own song form!Available separately: Teacher Edition (with reproducible pages) Performance/Accompaniment CD Classroom Kit (Teacher and P/A CD). Suggested for grades 5-9.

Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author