By Lincoln Goines, Robby Ameen
Designed for drummers and bass avid gamers, this book/CD lays out a step by step method of combining Afro-Cuban rhythms with rock, funk and jazz.
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Additional resources for Afro-Cuban Grooves for Bass and Drums
C. G. C. G. C, / 2. (I). (I)- Thumb. The itself is idea how is Thumb. COThumb. same as in the scale. The problem which presents smooth over the jump between G and C. On the the to accompanying diagram FIG. 3. 3- Showing I attempt to show, by the small lines under- the 3rd finger placed with raised wrist for passage of thumb. ieath the notes, how the finger which falls just before the thumb (in this case it is the 3rd, on G) is raised from the wrist and inclined towards the direction to which the hand has to proceed.
Student, learn to evenly, clearly, play scales carefully, tunefully, and eventually quickly, and arpeggi and elegantly before embarking upon the performance exactly, rhythmically, smoothly, HOW TO PLAY THE 34 PIANO of the great works of pianoforte literature. Many cast up their eyes to Heaven in an inspired way while playing, hoping, I suppose, But Heaven thereby to make up for lack of practice on this earth cannot help them if they have not learned to play scales and arpeggi ! properly. B. compendium of scales, arpeggi, thirds and octaves given at the end of this book.
On no account should the pupil be allowed to lean back, but always be seated on the forward portion of his seat. The seat should be sufficiently raised so that the pupil's elbows at their FIG. 2. Showing cup-like position of the hand. natural angle will be almost on a level with the keyboard, if anything just a little below it as shown in Fig. I. The elbows should be held closely to the body, and the wrist dropped we come slightly below the keys. Being thus seated, the next matter to is settling the position of the hand itself.
Afro-Cuban Grooves for Bass and Drums by Lincoln Goines, Robby Ameen