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The book of movements is a musical method for rhythmic development that, although it is ideal for drummers and
percussionists of any style or instrument, is aimed at musicians in general, whether singers, pianists, bassists, guitarists, etc. who wish to maximize their musical potential by strengthening their rhythmic and animic senses.
In this volume (4) it is about movements in irregular metric of 7/8 (seven eighths)
Instrumentalists, improvisers and composers, both rhythmic, melodic or harmonic, have in this method a vast amount of resources that facilitate the incorporation and articulation of thousands of RHYTHMIC PATTERNS that, when exercised, shape their own MOVEMENT LANGUAGE and directly enhance the creative flow. .
Rhythm is one of the vital and structural forces in existence, we can see it as a powerful spirit of the movements that order events in nature.
Taken this concept to the musical plane, the rhythm itself through repetition, gives direction, fluidity and above all, FORM and STRUCTURE
Each musical phrase is a physical (or ethereal) object with defined contours and shapes, and precisely the exact definition of those contours and shapes is created mainly by rhythmic movement.
Take the example of a chord or a melody, without rhythm, they are amorphous, they do not have duration or pauses, they lack powerful energy, they lack defined forms.
As musicians we can know about scales, arpeggios, harmony, reading etc. But for these elements to take on a vital and dynamic meaning, expressing it metaphorically – we must apply the breath of a god on a (clay) doll that is transformed into a being of flesh and blood with a soul, we must give shape and life to our music. through rhythmic movement.
By incorporating these concepts, based on expanding the soul and rhythmic awareness, we will have
acquired a great tool to explore our creativity and then the more concrete and rich our music will be.
percussionists of any style or instrument, is aimed at musicians in general, whether singers, pianists, bassists, guitarists, etc. who wish to maximize their musical potential by strengthening their rhythmic and animic senses.
In this volume (4) it is about movements in irregular metric of 7/8 (seven eighths)
Instrumentalists, improvisers and composers, both rhythmic, melodic or harmonic, have in this method a vast amount of resources that facilitate the incorporation and articulation of thousands of RHYTHMIC PATTERNS that, when exercised, shape their own MOVEMENT LANGUAGE and directly enhance the creative flow. .
Rhythm is one of the vital and structural forces in existence, we can see it as a powerful spirit of the movements that order events in nature.
Taken this concept to the musical plane, the rhythm itself through repetition, gives direction, fluidity and above all, FORM and STRUCTURE
Each musical phrase is a physical (or ethereal) object with defined contours and shapes, and precisely the exact definition of those contours and shapes is created mainly by rhythmic movement.
Take the example of a chord or a melody, without rhythm, they are amorphous, they do not have duration or pauses, they lack powerful energy, they lack defined forms.
As musicians we can know about scales, arpeggios, harmony, reading etc. But for these elements to take on a vital and dynamic meaning, expressing it metaphorically – we must apply the breath of a god on a (clay) doll that is transformed into a being of flesh and blood with a soul, we must give shape and life to our music. through rhythmic movement.
By incorporating these concepts, based on expanding the soul and rhythmic awareness, we will have
acquired a great tool to explore our creativity and then the more concrete and rich our music will be.
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