Cuban Sound

The distinctive sound of the Cuban tres underpins many Cuban styles of music. Here is a unique method that explains all aspects related to learning this traditional Cuban instrument. You'll also find an extensive introduction toson and the other Cuban styles including nengon changui danzon gauguanco and mambo! Discover the traditional technique and true essence of this Cuban Folk instrument. In English and Spanish. Also includes a speciallyrecorded CD with demonstration tracks.

Includes scales for soloing, piano voicings, guitar voicings, sample bass parts for each tune. When needed, there are separate rhythm section charts and /or horn harmony charts to help your band play authentic-sounding versions of the tunes. The rhythm section appendix gives the student a complete overview of all the major Afro-Cuban and Brazilian rhythmic styles, and sample parts for each player. / Instruments En Do

From the sound of this hot percussion feature by Will Rapp Pete must have been a drummer! A nice groove and effective use of tempo changes will make this one fun!

101 Montunos by Rebeca Mauleon-Santana, is one of the most comprehensive and authoritative books on Afro-Cuban Piano playing ever published. Rebeca has played and/or recorded with Tito Puente, Carlos Santana, Mickey Hart, and many of the most important and famous Latin stars! Going further than just theory and exercises, it also traces the whole history of Latin piano playing from its Cuban roots to its many current offshoots and derivatives as well as examining the influences of Salsa, Samba, Cuban Jazz and other Caribbean styles. The text is in English and Spanish and the accompanying CDs show you how each exercise should sound, making everything clear and understandable. An indispensable, practical reference book for any pianist wanting to learn this passionate and energetic music!

A Light Hour 2008-Set of parts for Per NørgÃ¥rd's En Lys Time / A Light Hour (2008-09) for a variable Percussion Ensemble (min. 10 players). In A Light Hour everything - rhythms and motifs – is based on NørgÃ¥rd´s special infinity series. Score: WH30964 Programme note A Light Hour is for ‘any number of percussion musicians’ (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open as long as percussion is used within the three types specified in the score: skin metal and wood. Each musicianuses two sound sources with two different sounds one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments – vibraphone xylophone marimba gamelan glockenspiel steel drums crotales and the like. The work integrates and combines a number of rhythms that NørgÃ¥rd has used in percussion works since the 1970s for example in Early Spring Dance (for choir and percussion) and percussion works like I Ching Easy Beats Whirls Zigzag Nemo Dynamo and Echo Zone I-II-III. Special “tone-feasts” (the composer’s term) – followed by a rest – are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest) the first four minutes end with a tone-feast lasting a minute (and a rest) the first quarter of an hour ends with a tone-feast of four minutes (and a rest) – and the work ends with a tone-feast lasting quarter of an hour (and a rest when the work is over ...). The first 15 minutes have a bright light character throughout and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based Afro-Cuban whereas the third quarter of A Light Hour moves in the

Par FERNANDEZ MICHELE. One of the most exciting and engaging Latin styles is the Cha-Cha-Chá! Composed using a moderate tempo and featuring expertly crafted melodic lines, audiences are sure to sway to the sound of this authentic Cuban style. All parts are carefully notated to ensure the correct interpretation of this important style. / Date parution : 2023-01-24/ Répertoire / Jazz Ensemble

Globetrotters for wind-Clarinet Globetrotters brings together twelve toe-tapping original tunes in styles from around the world - from Arabic to Chinese and from klezmer to the Cuban cha-cha-cha - for the budding clarinettist. This unique book presents a kaleidoscope of musical traditions with supporting background information and backing tracks that capture each sound-world. To help with technique and interpretation every piece includes tailored warm-ups and stylistic tips from the author. With options for clarinet/saxophone or piano accompaniment and an inspirational CD Clarinet Globetrotters is the ultimate resource for aspiringmusicians looking to go travellin' ...12 fun pieces in styles from around the worldSuitable for young clarinettists everywhere (2+ years' playing experience/around Grade 2-4 standard)Range of styles including bossa nova klezmer township jazz Brazilian Bulgarian and GreekFascinating background information and tailored warm-upsIncludes clarinet accompaniments for a teacher or more experienced pupil and piano accompaniments with guitar chordsCD with performances and backings for every piece recorded by renowned world-music performers

Globetrotters for wind-Trumpet Globetrotters brings together a mixture of foot stomping original tunes in styles from around the world from South African to Cuban and from mariachi to bhangra-for the budding trumpeter.This unique book presents a kaleidoscope of musical traditions with supporting background information and backing tracks that capture each sound-world. To help with technique and interpretation every piece includes tailored warm-ups and stylistic tips from the author Shanti Paul Jayasinha. With options for Trumpet or Piano accompaniment and an inspirational CD.

Globetrotters for wind-Saxophone Globetrotters - B Flat Edition brings together twelve toe-tapping original tunes in styles from around the world-from Arabic to Chinese and from klezmer to the Cuban cha-cha-cha- for the budding saxophonist.This unique book presents a kaleidoscope of musical traditions with supporting background information and backing tracks that capture each sound-world. To help with technique and interpretation every piece includes tailored warm-ups and stylistic tips from the authors. With options for saxophone or piano accompaniment and an inspirational CD Globetrotters is the ultimate resource for aspiring musicians looking to gotravellin'.12 fun pieces in styles from around the worldSuitable for young saxophonists everywhere (2 years' playing experience/around Grade 2-4 standard)Range of styles including bossa nova klezmer township jazz Brazilian Bulgarian and GreekFascinating background information and tailored warm-upsIncludes saxophone accompaniments for a teacher or more experienced pupil and piano accompaniments with guitar chordsCD with performances and backings for every piece recorded by renowned world-music performers

A range of fabulous educational and concert guitar music by the UK's top guitar composers educators and performers.Rush originally started out as a study for the right hand thumb. The piece opens in five with a darting weaving bass melody and harmonic language similar to the Cuban feel of Leo Brouwer's first study. As the piece progresses I played around with some poly-rhythms and syncopations in 3/4 time with a Venezuelan flavour similar to the music of Antonio Lauro.The title Metropolis was created like many of my pieces retrospectively. It was suggested to me by Mark Eden and resonated with much of what I felt the piece conveyed essentially the non-stop hustle and bustle of a musical 'city' where influences combine from many different ages and musical cultures. The initial ideas for the piece came from trying to formulate a study for the left hand where the 4th finger jumps from the first string to the lower bass strings. As is often the case on finishing the piece I now hear many things which although not used consciously have emerged in the music to remind me of music I have listened to or studied in the past.At various points a musical quote taken from the end of the first movement of La Catedral by the Paraguayan guitarist and composer Agustin Barrios Mangore appears which I have syncopated and used as a musical junction with the music taking a different direction each time it appears.Towards the end of the piece the performer combines left hand hammered chords with right hand finger clicks and tamboura creating a visual juggling effect when performed. Something resembling the sound of a siren can then be discerned before the piece moves into the closing E major section. I did most of the work for the final version of this piece in the autumn of 2005 just after the birth of my second daughter!I think the music reflects something of the pace of my life around then!Birds Flew Over The Spire is a short lyrical piece which was also

New Version 1994-Symphony No. 6 was created in the late 1960s and was first performed in Havana on 26. November 1969 by the Cuban National Orchestra under my direction. This symphony reflects not only the excited atmosphere of awakening during those years but also my efforts to include in the composition the large number of new human and artistic stimuli that I experienced at that time. So the banjo starts to play a Vietnamese song of freedom (Stars in the Night) later the first bars of Mikis Theodorakis hymn of freedom is heard.The second movement is based on the poem Fe de erratas (errata sheet) by Miguel Barnet. In the original version the three parts of the symphony merge withoutinterruption. In the revised version I separated them to make it easier for the audience to register the caesuras which are also internal caesuras as regards content. Apart from strengthening the string sound the most significant alternation in comparison to the first version is that I fully composed all of the aleatoric passages and pitches which originally were to be freely improvised as was the fashion at that time. Thus I wanted to free them the realm of chance and indeterminacy and to bring them back into my artistic control.- Hans Werner Henze

Improvisation is at the heart of jazz, but knowing how to play stylistically correctly in a large jazz ensemble is also a necessity. How to Play Lead Trombone in a Big Band offers tips, suggestions, examples and a play along CD to help you put it all together.How to Play Lead Trombone in a Big Band by Mark Kellogg is an annotated guide written to help trombonists explore the joys and challenges of playing in a large jazz ensemble. Topics covered include the distinct roles of lead and section players in a big band - playing with a cohesive section sound - and performing with an even sense of balance, intonation and rhythmic feel. These insightful comments are conveyed by taking a detailed look at seven compositions and addressing the specific challenges of each work. The CD which accompanies this text provides a helpful aural guide, enabling the trombonist to listen to each example or to play along with the recording. The variety of jazz styles covered in this volume include medium swing, funk, bossa, fast swing, and Afro-Cuban feels. Composers and arrangers of these pieces include some of the most innovative and respected voices of the genre, such as Clare Fischer, Bill Dobbins, Jim Snidero, Heiner Wiberny and Joey Sellers. This publication is designed for use by trombonists of all ages and experience levels. / Trombone

Michael Mossman uses a moderately fast Afro-Cuban style to craft this setting of Duke Ellingtons lesser-known work. This striking and fresh-sounding chart features tight harmonies and a driving rhythmic groove along with solospace for trombone trumpet and your choice of sax. The unexpected shift in feel for the shout chorus will knock your socks off!