While you wait for our in-depth section on Issac, you can read a brief discography by clicking on "Discography" above. At age twelve, after leaving his studies of the violoncello behind, he enrolled in the Escuela de Iniciacion Deportiva where he dedicated himself completely to his love of soccer. Once his university years were completed , Issac entered the Instituto Superior de Cultura Fisica Manuel Fajardo to become licensed in sports. When he turned 18 , Issac joined the group "Proyecto" at the request of the virtuoso pianist, Gonzalo Rubalcaba.
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The tresillo pattern is the rhythmic basis of the ostinato bass tumbao in Cuban son -based musics, such as son montuno , mambo , salsa , and Latin jazz. In this way, only the two offbeats of tresillo are sounded. The first offbeat is known as bombo, and the second offbeat last note is sometimes referred to as ponche. Bombo-ponche tumbao.
The following excerpt demonstrates several characteristics of timba bass. The conga was first used in bands during the late s, and became a staple of mambo bands of the s.
For example, a very common variant sounds a single open tone with the third stroke of clave ponche , and two tones preceding the three-side of clave.
The specific alignment between clave and this tumbao is critical. Top: clave. Bottom: basic conga tumbao on one drum. S: slap, O: open tone, h: palm heel, t: finger tips. Another common variant uses two drums and sounds bombo 1a on the tumba 3-side of the clave. This relationship between the drums is derived from the style known as rumba. The feeling of the high drum part is like the quinto in rumba, constantly punctuating, coloring, and accenting, but not soloing until the appropriate moment Santos Triangle notehead: high-pitched drum slap; regular noteheads: high and low drum open tones.
The quinto-like phrases can continually change, but they are based upon a specific counter- clave motif. Many of his tumbaos span two or even four claves in duration, something very rarely done previously. Timba keyboard guajeos[ edit ] The Cuban jazz pianist Gonzalo Rubalcaba developed a technique of pattern and harmonic displacement in the s, which was adopted into timba tumbaos timba piano guajeos in the s. Beyond Salsa Piano v.
Redway, CA: Bembe Inc. CD: Retrieved 7 April This rhythmically syncopated part of the clave is called the three-side or the strong part of the clave. The second cell has two strokes and is called the two-side or the weak part of the clave. The different accent types in the melodic line typically encounter with the clave strokes, which have some special name.
Because of the popularity of these strokes, some special terms have been used to identify them. The second stroke of the strong part of the clave is called bombo.
It is the most often accented clave stroke in my research material. The second common clave stroke accented among these improvisations is the third stroke of the strong part of the clave. This stroke is called ponche. The third typical way to accent the clave strokes is to play a rhythm cell, which includes both bombo and ponche accents.
Contemporary Cake Designs: Book One
The Arango family sing together during the percussion clinic. It was a striking moment that exemplified how the Arangos combine traditional and modern elements in their music. The group bills itself as the only Cuban band to use completely unaltered Afro-Cuban ritual vocals and hand drumming as the basis for a modern repertoire. Brothers Feliciano bass , Eugenio voice, percussion , Ignacio guitar , and sister Cristina voice head the group, with percussionists Lazaro Aguiar, Jesus Lara Oviedo, and Francisco Castellanos backing them. These were either without vocals oru seco or accompanied by call-and-response chanting and sometimes dancing. For students who were curious about the techniques behind the music, the Arangos held clinics over the next two days. With frequent pauses for translation, he walked students through some of the basic concepts explained in the book.
Who is Who in Timba
In Stock Overview Jackie Thompson has just about done it all! Jackie emigrated to Australia in where she established her own highly successful Contemporary Cakes and Classes cake decorating business in Brisbane. Jackie is a highly qualified chef and pastry chef who has worked in some of the grandest five-star hotels in UK and Europe; she has created cakes and food for Bridget Jones The Edge of Reason, Finding Neverland, Wimbledon and Iris in the UK and she is qualified at the highest level of British City and Guilds in Sugar craft in all aspects of cake decorating and flower making. And now Jackie has harnessed her significant experience and passion for baking and cake decorating into a very practical DIY book for decorators of all levels. Her first book Contemporary Cake Designs - Book One brings together a wealth of knowledge about recipes, baking and twelve distinctly different decorated cake projects that allow the reader to learn how to decorate at their own pace in their own home, with the aid of some amazing photos. Contemporary Cake Designs - Book One is not just another book about cake decorating.
The module begins with four ascending eighth-notes starting on the second [quarter-note of the measure]. This configuration emphasizes the In both of the modules, these four notes move from G3 to Eb4. Although the first, third, and fourth notes G3, C4, and Eb4 are identical in both modules, the second note reflects the change in harmony. In the first module, this note is the Bb3 third of the tonic harmony; in the module repetition, the A3 is the fifth of the dominant.