El Cajón Flamenco

Technique du Cajon flamenco. Toutes les références sur le Cajon, les sons de base, sa technique et son application à la musique flamenca. Cinq caméras ont enregistré et montrent en détail la technique du Cajon. Des explications minutieuses sur le compas (mesure du flamenco) des 'palos' (styles flamenco), un résumé de l'histoire du cajon et la description de sa fabrication, en bonus un chapitre consacré aux autres percussions flamencas comme la Darboukka ou la Batterie. 120 min, en français, espagnol, anglais, allemand et japonnais. / Percussions Diverses / 120 pages / niveau : Intermédiaire / Dvd - Format: 7,5 X 5,25

Access to two different set ups: one with all musicians, the other focused on the cajón, showing it being played from different angles. Also here the volume can be reduced, so the student can play on his own over the music. Five languages included Spanish, English, French, German and Japanese. The DVD is fully compatible with all countries and is formatted for NTSC on one side of the DVD and PAL on the other. UK product number 8353287589. / Percussions Diverses / 60 pages / niveau : Intermédiaire / Dvd - Format: 7,5 X 5,25

This beginner's guide for anyone learning to play the Cajon takes you through the basics of the instrument and its techniques with dozens of exercises and over 30 grooves from many genres including rock Latin blues jazz flamenco funk and more. There are also more advanced techniques in the final chapter that include how to change the pitch with your foot playing with brushes and playing rolls with your fingers. With the book come 45 accompanying online videos that demonstrate many of the rhythms and techniques in the book. Topics covered include: playing position how to read the notation bass and slap tone exercises grooves changing pith foot slideexercises finger doubles and triples playing with brushes and much more.

Comme tous les instruments de percussion, le cajón est utilisé dans différents styles de musique. Il peut être un excellent compromis pour remplacer la batterie ! Avec cette méthode, vous apprendrez les bases essentielles du cajón la découverte de l'instrument le solfège rythmique les techniques ( moulins, frisés, flas....) le travail des doigts l' initiation au rythmes Vous jouerez des morceaux dans de nombreux styles: pop, bossa, funk, R

Après l'interprétation du thème 'por Bulerias', on développe une étude détaillée des sept 'falsetas' (variations) et du 'remate' (coda), en montrant un ample évantail de possibilité de 'rasgueados'. Chaque variation est interprétée: sur un tempo lent accompagné par un métronome et sur un tempo de Buleria accompagné par les palmas, cajon et basse. En option plusieurs pistes de vidéo pour que les guitaristes et les bassistes puissent s'exercer. Livret de partitions inclus, en fançais, espagnol, allemand, anglais et japonnais. / Guitare (Fingerpick)

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the