Overview
The Big Book of Movements is a musical method to develop rhythmic sense through the physical coordination of both hands or feet.
It is divided into three volumes. Although it is ideal for drummers and percussionists of any style or instrument, it is aimed at musicians in general, whether they are singers, pianists, bassists, guitarists, Hang Drum players or similar, or, for those who wish to maximize their musical potential by strengthening their senses. rhythmic and soulful ..
Throughout the three volumes all possible combinations of movement patterns for hands or feet are discussed.
They are grouped in diagrams of different amounts of figures (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 and 16) this organization allows us to exercise an infinity of rhythmic patterns playing with a large number of metrics, ternary and irregular binaries.
In this volume (1) diagrams of 2 to 13 movement patterns per measure are included in Volume (2) of 14 and 15, finally in Volume 3 diagrams of 16 patterns.
Instrumentalists, improvisers and composers, both rhythmic, melodic or harmonic, have in this method a large number of resources that facilitate the incorporation and articulation of thousands of rhythmic patterns that, when exercised, generate their own language of movement and directly revitalize the flow creative. Rhythm is one of the vital and structural forces in existence, it is the driving spirit of the movements that give order to the events of 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 limits of those outlines and shapes are created primarily by rhythmic movement. Take the example of a chord or a melody, without rhythm, they are amorphous, they have no duration or pauses, they lack powerful energy, they lack definite shapes. As musicians we can know about scales, arpeggios, harmony, reading, etc. But for these elements to acquire a vital and dynamic meaning, expressing it metaphorically, we must apply the breath of a god in a doll (made of clay) so that it transforms 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 enhance our creativity and the more concrete and rich our music will be.
Product Details
| BN ID: | 2940164806132 |
|---|---|
| Publisher: | Ciro Plateroti |
| Publication date: | 01/31/2021 |
| Series: | ???? ??????? ?????? |
| Sold by: | Smashwords |
| Format: | eBook |
| File size: | 4 MB |
| Language: | Arabic |
About the Author
Ciro Plateroti
I am an Argentine musician, percussionist, drummer, composer, arranger, musical director, singer-songwriter, teacher in drums and percussion, artistic producer, eternal musical apprentice, author of 5 books, for instrumentalists in general The book of movements (volume 1, 2, 3 and 4) and The Book of Movements for Martial Arts
I studied in Cuba, Brazil and Argentina with different teachers and percussion schools.
In Argentina I learned in different La Katurga percussion schools, with Santiago Comín La Chillinga, Daniel Buira and Laura Pizzarelli. Also CERPS with Santiago Vázquez, Lucas Helguero, and Andy Inchausty Directors of La Bomba de Tiempo.
I studied drums with Jorge Lützow-Holm, Ernesto Zeppa, Marcelo Frezia and in a self-taught way
In Cuba I took percussion classes with Yaroldi Abreu, (congas technique) Alejandro Carbajal (batá drums) Younier Pons (Rumba Elements) In Argentina I studied percussion with Julio Morales, Juan J. Martinez, Gaston Carabajal, and Fabricio Ortolan
Take many harmony classes with Jorge Blengini and Federico Marquestó, Piano Jazz classes with Leopoldo Limeres and Lucas Pierro. I sing with Martin Ibarburen and Mariela Pacchioli.
Some musical projects that I am part of are El Club del Ritmo where I worked as a composer and singer.
I also conducted, composed and arranged for small wind orchestras with drums, La Tríbu Tukutá, cumbia bands, Tell me to the ear and others.
I participated singing in Coral 3 directed by Mario Konikoff, I played drums in Tangata Manú, Pilar Ternera, Los Caraquses, Orquesta Jabalí where Pablo Valotta played bass and sang Toto Rotblat (fabulous cadillacs)
I played percussion in salsa bands, La Tremeda with German Weil, Julian Cusmano, and Tomas Sivadón, I was part of the Baccarat orchestra, I also sang and played a time with Quitiplá, with Nani, Fiorenza and Gastón Carabajal, Tambores y Cantos, from Venezuela , Peru, Cuba, Colombia, Guatemala, Brazil and other countries.
Currently, I compose and record music with Tibetan bowls, piano, and unconventional instruments at Det Ent Ument and Alma Calma.
I teach Afro-Latin percussion ensembles in general, in groups and individually, Rhythms and techniques in congas, cajon, bongo, Leguero Bombo and Batá Drums, Surdos chimes etc in Buenos Aires, Argentina,
Those who wish to contact me for face-to-face classes or online or for questions related to books can write to me at the following addresses:
mail: talleresdepercusion@hotmail.com
thebookofmovements@gmail.com
@thebookofmovements
cel: whats app (5411) 9 113 186 4351