M
ASTER THE CAJON with this introductory DVD your drum kit in a box 6 easy to follow modules by (Claudia Chambers
).



1.- INTRODUCCIÓN Y ANÁLISIS DEL MÉTODO DE ENSEÑANZA por Carlos Crisol.

Claudia Chambers es una profesora de percusión y cajón que lleva muchos años dedicada a la enseñanza del cajón flamenco, pop, rock… a los jóvenes de Australia, cuya metodología es muy eficiente para el alumnado, ya que se adapta a su capacidad de interpretación y de comprensión de los diversos ritmos básicos. Año 2011.

 A continuación estructuramos el contenido del método en las siguientes partes.

1.- Cajon technique: Nos muestra la postura correcta de colocación ante el instrumento, colocación de los pies en zona intermedia, la columna vertebral totalmente recta, la postura del cuerpo en relax, sin rigidez.

Ejercicios previos antes de comenzar a interpretar: Movimientos circulares de hombros, estiramientos de dedos con las dos manos, movimiento de muñecas en forma circular, abrir y cerrar los dedos de manos y estilarlas.

Técnica de tocar: bajo. The slap (centro o lateral) más seco o más abierto, con la base de la mano en el cajón y apoyándote y dándo con yema dedos.

Agudo the tone, golpea en el agudo y levanta rápidamente los dedos y yemas. Practicar derecha solo dos golpes grave y uno agudo y al revés con la otra mano o alternando grave dos golpes con iz y uno derecha agudo.

 The tip: es tocar con los dedos uno por uno o con los 4 dedos de una mano a la vez

The tip slipe: es tocar en el grave o agudo y deslizar con los dedos hacia arriba.

The sides: toques laterales en la madera del cajón

Knocking: tocar con los nudillos en el grave.

Clicking: golpear con un dedo antes de un rasgueo.

 

Cajon Technique Module 1

Exercises 1 – 8: Exercise 1, 2, 3 y 4: Bass and tone technique –right and left (dos golpes bajo o grave y uno agudo, de forma seca y lenta) son 4 tiempo quedando el último en silencio. Al final se alternan las dos manos es decir, dos graves con derecha y agudo con izquierda (alternamente).

Exercise 5: Bass and tip technique. Tocar en grave con los dedos en cuatro tiempo dejando el último silencio, tres golpes y silencio, todo misma mano, primero fuerte y demás débiles

Exercise 6: Tone and tip technique, lo mismo pero en el agudo, tres golpes agudo con dedos o tip y cuarto tiempo silencio

Exercise 7. Knocking and Clicking technique. Uno fuerte con nudillos y dos golpes con el dedo golpeado, en zona intermedia (cuatro tiempos y último silencio)

Exercise 8. Knocking and Clicking technique with ghost notes. Igual que antes pero con la mano izquierda marcando el contratiempo de corcheas.

 

2.- Spanish rumba. Rumba module 1. Introduction to Spanish Flamenco Rumba.

Understanding Rumba: Cho-co-lat cho-co-lat sun-day (3-3-2), ejemplos con palmas

3= 1 2 3 cho co lat

3= 1 2 3 cho co lat

2= 1 2    sun day

Flamenco Rumba – Pattern A: Tocar en el cajon cantando los ritmos 1 2 3 1 2 3 1 2, o con chocolat… repetidamente con mano derecha en la zona grave, se hara 3 veces la serie terminando en 1 es decir (1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1) iremos con el grupo de 3 chocolat cho grave derecja y co-lat con iz… ejercicios varios para asimilar el ritmo 3 3 2.

Flamenco Rumba – Pattern B: Tocamos 3 3 2, pero la parte de ritmo 2 en agudo

Flamenco Ruma – Pattern A + B: Hacer el 3 3 2 tres veces pero terminando en el aguo el último 2.

Exercises Rumba module 1:

Exercise 1 rumba pattern A slow fácil con dedos en iz suave. Exercise 2 medium (mayor tempo). Exercise 3, rumba pattern b fácil. Exersice 4, rumba pattern b medium (más rápido). Exersice 5, rumba pattern A + B slow,  Exercise 6, rumba pattern A + B medium. Exercise 7 rumba sequence slow, hacer variaciones a pattern a y b.  Exercise 7 rumba sequence medium. Exercise 9 rumba sequence fast,

 

3.- Rhythms in three module 1, introduction to Sevillanas, Waltzes and Jigs.

El ritmo de tres tiempos acentuando el primero, igual que cho co late, ta ke te, mú si ca, mé di co…

 hythms in Three pattern A, serían tresillos continuos, pero acentuando el primero. Con los dedos suavemente menos el fuerte en agudo, ejercicios varios

 Rhythms in Three pattern B, en el grave tresillos 1 2 3 1 2 3… más fácil es 123 con una mano y deslizando dedos hacia arriba…

 Rhythms in Three pattern C, sería la derecha siempre en el grave e izq en agudo y según venga el fuerte de 1 2 3 pues le damos con la mano que sea pero siempre en la misma posición de manos, unas veces el fuerte en grave y otras en agudo, alternativo. Fácil deslizando dedos…

Rhythms in Three pattern D, 1 2 3 1 2 3 en el grave y lo mismo en el agudo así sucesivamente.

Rhythms in Three Technique.

Rhythms in Three Sequence.

Exercises. Rhythms in Three module 1, Exercises 1 – 11

Exercise 1-11, Rhythms in three pattern A, B, C y D slow y medium, el 11 es el abcd rápido.

3.- Pop and rock module 1 Exercises 1 - 12:

Exercise 1 pop and rock beat A slow y medium,

Exercise 3 pop and rock beat B

Exercise 5 pop and rock beat C

Exercise 7 pop and rock sequence slow y medium

Exercise 9 beat C and Fill 1, slow y medium, mezcla del C y otro ritmo

Exercise 11 beat C and Fill 2 slow y medium

 

4.- Swing blues and jazz module 1: introduction to shuffle beats.

Introducción de un ritmo básico para blues, jazz, swing y rock, con alguna variante.

Understanding Shuffle with Words: ejemplos con Wo te ful acentuando 1 y 3 Mú si ca, ritmo ternario cuya acentuación es primera y tercera sucesivamente.

Understanding Shuffle with numbrers:1 + a 2 + a  3 + a  4 + a  (un más y dos más y tres más y

                                                                    >    >  >   > >    >  >    >

 cuatro más y 1…) solamente se tocan los fuertes no las +.

Shuffle Beat A: el ritmo anterior con tempo normal con agudo solo, luego con iz agudo y derecha grave a la vez, tocando los fuertes nada más. Luego se acentua más el 2 y 4 con la manos derecha o iz sola y luego con las dos manos (iz agudoy dre grave). También se puede hacer con los pies, tacones, laterales con el tacón de zapato

Shuffle Beat B: sería hacer la serie anterior 1 + a 2 + a  3 + a  4 + a  golpeando la parte fuerte, es decir dejando de golpear el +, pero en el tiempo 2 y 4 también golpeamos con la izquierda en slap agudo. Hacer el ritmo acompañando con el tacon zapato en el lateral en tiempo 1 y 3 o también en todos los tiempos.

Shuffle Beat C: sería hacer el ritmo 1 + a 2 + a  3 + a  4 + a  

                                        >   >  >   > >    >  >  >  >

Es decir, se hará el ritmo básico pero se acentuarán las cuatro últimos tiempos del fragmento con la mano derecha en el grave. Luego podemos acentuar el tiempo 2 y 4, así como acompañando con el tacón.

Shuffle Breaks and Fills: sería el mismo que el anterior pero acompañando con el tacón y con la mano izq en agudo el 2 y 4 y en un segundo fragmento se hacen 4 tiempos en el agudo con las dos manos con acentuación y suave con otra mano y viceversa en el grave.

 

5.- Swing blues and jazz module 1. Exercises 1 – 9

Exercise 1 y 2 Shuffle Beat A slow y medium: con las dos manos hacer el patron rítmico anterior, mano izq agudo y derecha en grave, acentuando el 2 y 4, ejercicio de 12 fragmentos.

Exercise 3 shuffle beat A with foot, las manos y tacón de pie marcan los tiempos igualmente.

Exercise 4 y 5 Shuffle Beat B, slow y medium: mano derecha hace el patrón en el grave y con la izquierda en agudo se golpea los tiempos 2 y 4 (12 fragmentos de cuatro tiempos)

Exercise 6 y 7 Shuffle Beat C slow y medium: igual que el anterior pero acentuando los cuatro últimos acentuaciones en el grave (12 fragmentos)

Exercise 8 Shuffle beat sequence with Break:  sería hacer el beat C pero con el tacon de pie en lateral y dejando un fragmento en silencio entre patrones ritmicos (2 fragmentos, silencio de y 2 fragmentos, silencio…)

Exercise 9 Shuffle beat sequence with Fills: sería hacer el fragmento anterior 3 veces y el cuarto todos los golpes en el agudo o grave, alternando.

 

6.- Flamenco bulerias module 1. introduction to bulerías:

Understanding Bulerias with Number Groupings: 3 (1-2-3) 3 (1-2-3) 2 (1-2) 2 (1-2) 2 (1-2), se acentúa siempre los número 1. para aprender se pueden establecer ejercicios con las palmas.

Understanding Bulerias with Words: won der full  won der full   ri denn  riden, con palmadas.

Understanding Bulerias as a 12 Beat Cycle:

                               12   1   2   3   4   5   6   7   8   9   10   11   (12)

                                 1   2   3   1   2   3   1   2   1   2    1     2  

                                      Won-der-ful won-der-ful rhy-thm rhy-thm rhy-thm

                                           Right/left/left/right/left/left/right/left/ rihht/left/right/left

Hacer el ejercicio de 12 tiempos con las palmas, otro ejercicio en cajón con grave derecha realizar los tiempos acentuados con 12 tiempos, con 3 3 2 2 2 o con palabras, luego más rápido con derecha marcando e izquierda suave con dedos. Otro ejercicio sería marcar con la izquierda las partes fuertes y derecha las suaves.

Bulerias Pattern A with off-beats: ejercicios de tocar en corcheas mano derecha los 12 tiempos en grave y mano izquierda contratiempo en corcheas (24 corcheas), luego haremos lo mismo pero acentuando el 12,3,6,8,10. A continuación podremos acentuar de los 12 tiempos (fragmentándolo en 2 partes, 123456,123456, siendo el tiempo primero el fuerte). También podemos fragmentar el patrón de 12 tiempo en 3 (1234,1234,1234) donde la parte fuerte será el 1. Se podrá alternar en 6 partes y 4 sucesivamente pero siguiendo el patrón 6,6,4,4,4 desarrollándolo un poco más rápido y realizando el patrón rítmico de la bujería.

Bulerias Triplet Patterns:sería realizar la bulería de 12 tiempos ritmo ternario o tresillos 3-3-3-3 (123123123123) siempre la parte fuerte en el 1 y alternándose las manos con las partes fuertes y zona grave y aguda, en el cual los 6 primeros tiempos ternarios la parte fuerte será en el grave, para luego los 6 últimos tiempos golpearlos en el agudo (1-2-3-4-5-6-7-8-9-10-11-12). También se pueden hacer los 6 primeros tiempos en tresillos en zona grave y los 6 restantes zona aguda.

Bulerias sequence Pattern A y triplet patterns. Sería alternar los dos patrones rítmicos 12 más 12 de pattern A más 12 más 12 triplet patterns.

Bulería sequence: primeramente dos fragmentos de12 tiempos con palmas, dos fragmentos de 12 tiempos con bujería Patterns A y dos fragmentos de 12 tiempos con triplet patterns.

 

Bulerias module 1: exercises 1 – 12.

Exercise 1 y 2: Bulerias Palmas with number groupings y with words: seguir el patron siguiente con las palmas, acentuando los 1, sería 3 (1-2-3)  3 (1-2-3)   2 (1-2)   2 (1-2)   2 (1-2), con palabras sería de la siguiente manera Won-der-ful won-der-ful rhy-thm rhy-thm rhy-thm

Exercise 3, 4 y 9 bulerias palmas with 12 beat cycle slow, medium y fast: sería tocar con palmas el patrón contando con números y acentuando.

Exercise 5 buleria pattern A slow y medium, tocar fuerte en el grave derecha y dévil izquierda agudo suave con dedos.

Exercise 6 y 8 bulerias patterns a with off-beats 12 beat cycle slow and medium, contando en números del 1 al 12 siguiendo el patrón 6,6,4,4,4  (123456,123456 1234,1234,1234), acentuando siempre el 1.

Exercise 7 bulerias pattern A with off-beats (66444) slow, contando números 1 al 6 y 1 al 4.

Exercise 10, bulerias compás and triplets: mezclar dos fragmentos de bujería normal con dos fragmentos de 12 tiempos con patterns triplet.

Exercise 11, bulerías sequence slow and medium, con palmadas (2 fragmentos de 12 tiempos), luego bulería A y al final triplet, terminando en ritmo normal.

 

VALORACIÓN DEL MÉTODO PEDAGÓGICO DE ENSEÑANZA.

El sistema pedagógico que utiliza Claudia Chambers en el método es ideal para el aprendizaje de jóvenes o niños que desean iniciarse en la percusión flamenca, todo bajo unos procedimientos amenos y resultantes en principiantes de corta edad. Como por ejemplo para asimilar el patrón básico de la rumba, lo establece mediante palabras que poseen la misma acentuación que el ritmo por rumba, realizando gran cantidad de ejercicios de refuerzo y ampliación y unas explicaciones muy coherentes sobre los diversos palos flamencos. Siendo un inconveniente el que únicamente haya tratado en el método la rumba y la bulería. Otro de los inconvenientes que observo en el método es que está realizado solamente en inglés, por lo que cierra mucho las puertas a un cliente que no domine bien el idioma.

La parte de técnica que menciona en su audiovisual es aceptable para un principiante de percusión, aclarando cada una de las técnicas con gran maestría, llegando al espectador de forma amena y fácil de entender.

En cuanto a la calidad de imagen, sonido, luz… y demás detalles de grabación y producción, hay que mencionar que está elaborado con una buena calidad en todo su formato, bajo un fondo blanco, se suceden todas las explicaciones e interpretaciones de Claudia sobre el cajón.

_____________________________________________________________________________________________

                                                                                                   

1. - INTRODUCTION.

Two DVD's with high-level teaching materials. The most popular clubs, clear explanations and synthesized, manual with over 120 scores. Theory, technique, accompaniment, alone. General view and detail of hands on screen, multiple cameras.

Solea, Solea por Bulerías, Bulerías, Cheers, Seguiriya, Martinet, Fandangos, Sevillanas, Tangos, Rumba, Tanguillo. With the participation of renowned artists: Giovanni Hidalgo, Vicente Amigo (plays a song from his latest book "Paseo de Gracia", Miguel Poveda, Marina Heredia, Luis Mariano Jesus Mendez.

The DVD includes book with scores of all exercises.

In the promotional video of  Paquito González method and presentation under the direction of Paolo de Gregorio, you can see the contents of it very briefly.



2. - ANALYSIS OF TEACHING METHOD.

The first DVD is divided into several sections: Technical, beat 12 times, explaining the variation flamenco and cajon.

As for the art, consists of the most fundamental touches in the drawer (introduction to the basic strokes, strokes bass, treble, beating weak or ghosts (of great importance in the interpretation), shades (which give color to the various rhythms ), 1 and 1 single strokes (with various touches fundamental exercises alternating hands), 2 and 2 double strokes (with exercises for deepening technique that used to accompany), combinations of punches 2 and 1 (alternation of two strokes and one on the next hand, all with varied exercises applying the technique) and special moves (applying the technique of the Hindu table, strumming and followed coup or different touch on the sides or top cajon, ranging through all exercises techniques explained).

The way to explain all the techniques by Paquito González is very basic and easy to understand, and the superposition of two cameras on the central plane makes the vision of scrimmage, together with light and sound are of high quality and understanding for learning. Each technique has its exercises are provided in the booklet, mark time, stress and acute or severe shock.

 The rhythm of 12 beats is one of most commonly used in flamenco, as Paquito is a methodical pace and you learn to study, rather we must be in touch with music, parties and other gatherings to internally absorb the pace of 12 times. It also makes a kind of introduction to the regional origin of flamenco in Andalusia, beginning to explain the Soleá like a stick of 12 times.

The soleá usually not usually accompanied with cajon. Paquito an introduction to the bottom, indicating the accentuation, variations are available, rates of palms in its accompaniment, all with an explanation system using a graph indicating the accentuation soleá compass.

Following the bulerías or bulería soleá soleá (as some call it), makes the whole structure as in the soleá, explaining the basic rhythmic pattern, with some variation, as well as the accompaniment rhythm of the palms. All with a very repetitive exercises to cajon. To complete the compass of 12 times, is the result of soleá bulerías in a faster tempo, as is the bulería, who like the aforementioned clubs (solea solea and bulerías) provides an exemplification of graphics and sounds and weaknesses of great visual clarity.

Once you have finished explaining the posts of 12 times, a study as an example of the basic differences between these poles, through which marks a clock pulse of time and stress.

The third part of the DVD deals with explanations of flamenco styles (Solea bulerías, bulerías, joys, seguiriyas, Seville, fandango, rumba, tango and tanguillos). In each group has a cajon introduction flamenco guitar and two palm, and then continue the explanation of basic rhythmic patterns of flamenco styles. First you start with an exemplification graphics and music by the accentuation of the various rhythms and then once mastered the basic pattern, practice continues to box from a slower tempo to increase real stick in question.

Finally, we have the drawer section variations, which are established in different variations of the basic patterns of flamenco styles previously explained in the third method. All variations have the score in the script, which in some cases can reach the fifteen variations on a flamenco therefore is suitable for any fan who wants to delve further into the diversity of flamenco rhythms and patterns.

In the second DVD presents all flamenco but this time the drawer appears accompanying a flamenco composed cajon, singer, guitarist and clappers. It is possible that in the initial menu to see the flamenco audiovisual audiovisual or touch only the cajon and its accompaniment.

As a second part of the DVD attached to the first, presented several appendices, one of which is "little spin", an interview with Paquito González is recorded while driving his car and discussing issues of flamenco, is about 20 minutes along with the interview various audiovisual overlap where Paquito accompanying cajon: duet with Vicente Amigo, quartet with Miguel Poveda, Carlos Grillo and Lua, trio and Luis Mariano Marina Heredia, trio with Jesus Mendez and Furball, or the musical quartet UHF.

The next section is played by Giovanni Hidalgo (one of the world's leading percussionists) and Paquito González, in which developed a duet that begins with a solo Giovanni about 1 minute, followed by Paquito with his single of the same duration, then to establish various improvisations under a flowing rhythmic pattern for 4 minutes, where the virtuosity, complexity and complicity between the two is present (total 6 minutes).


Then happens a section on how to amplify a drawer on stage, being a sound engineer as Lauren Serrano who introduces us to the technique and tips for a good sound of the instrument on stage.

And finally, the director introduces other method of learning DVD as Marco Fadda cajon or a documentary Los Caminos del Cajon is promotional only.


3. - ASSESSMENT OF TEACHING METHOD.

The staff assessment method Paquito González is very positive, especially when you balance with the other methods on the market. Its total duration of about 3 hours, so that unlike other methods.

A good project management, where technicians of light, sound, and image recording are of professional quality and composition in terms of explanations derived from each of the flamenco styles, all wrapped in a method consistent of learning of basic forms of flamenco.

A very positive aspect is the superposition of both upper lateral two cameras that show us different perspectives of striking hands, being able to see clearly the touches fundamentes from different points of view of the viewer.

Adding all the possibility to get through easily recognizable score, all exercises are developed along the explanations of rhythmic patterns, from a slower tempos until actual speedup we stick happens.

The first DVD is more based teaching method, where the art of the cajon may fall short in terms of basic exercises and other techniques exist, but in all the following sections, the clarity of both clubs as how to interpretation advancing in complexity, it is very appropriate; paragraph of variations being suitable for those who wish to go further in the composition range of rhythmic patterns.

The second DVD is more didactic application everything explained in the DVD first, is a staging of the accompanying table drawer in a group consisting of (vocals, percussion, palmas and guitar), which can be given the option of only able to see the accompanying box.

And especially in the extra content, as we see accompanying box Paquito various high quality artists, is a complement to the method, but adds nothing new to the viewer, only the tips of Lauren Serrano for adequate amplification to a cajon.

 

1. - INTRODUCTION AND ANALYSIS OF TEACHING METHOD.

Claudia Chambers is a professor of percussion and drawer for so many years dedicated to teaching flamenco box, pop, rock ... the youth of Australia, whose methodology is very efficient for students, as it adapts to its playability and understanding of the various basic rhythms. Year 2013.

Then structure the contents of this method in the following parts.

1. - Cajon Technique: It shows the correct position before the instrument placement, foot placement at an intermediate, spine completely straight, body posture in relaxation, without stiffness.
Previous exercises before beginning to interpret: Circular movements of shoulders, fingers stretching both hands, wrists moving in a circular, open and close the fingers and estilarlas.

Playing technique: low. The slap (center or side) drier or more open, with the base of the hand in the cajon and yolked supporting you and giving fingers.

The sharp tone, sharp and hits the fingers and quickly rose buds. Right to practice only two strokes and one severe acute and backwards with the other hand or grave two strokes alternating with sharp left and one right.

The tip: it is played with the fingers one by one or the four fingers of one hand at a time

The tip Slipe: is playing in the low or high and slide finger upwards.

The sides: side touches wood drawer

Knocking: playing with his knuckles on the grave.

Clicking: hit with a finger before a strum.



Cajon Technique Module 1

Exercises 1 to 8: Exercise 1, 2, 3 and 4: Bass and tone technique and left-right (two strokes and one low or severe acute and slow dry form) are 4 time being the last in silence. Eventually both hands alternating ie two serious acute left right and (alternately).

Exercise 5: Bass and tip technique. Playing seriously with four fingers the last time leaving silence, three strikes and silence all same hand, strong and others weak first

Exercise 6: Tone and tip technique, the same but in the sharp, three strokes with fingers or sharp tip and fourth time silence

Exercise 7. Clicking and Knocking technique. One strong with two strokes knuckles and finger beaten, at an intermediate (four times and finally silence)

Exercise 8. Clicking and Knocking technique with ghost notes. As above but with the left hand marking the eighth mishap.



2. - Spanish rumba. Rumba module 1. Introduction to Spanish Flamenco Rumba.



Understanding Rumba: Cho cho-co-co-lat-lat-day sun (3-3-2), examples with palms

3 = 1 2 3 cho co lat

3 = 1 2 3 cho co lat

2 = 1 2 sun day

 

Rumba Flamenco - Pattern A: Playing in the drawer singing rhythms 1 2 3 1 2 3 1 2, or chocolat ... repeatedly with his right hand in the grave, will be made 3 times the series is ending in 1 (1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1) go with the group of three serious derecja cho chocolat and co-iz ... lat with various exercises to assimilate the rhythm 3 3 2.

 Rumba Flamenco - Pattern B: We played 3 3 2, but the rhythm part 2 in acute



 Flamenco Ruma - Pattern A + B: Make the 3 3 2 three times but Aguo ending at the last two.



 Exercises Rumba module 1:

Exercise 1 A slow rumba easy pattern with soft fingers left. Exercise 2 medium (high tempo). Exercise 3, rumba pattern b easy. Exersice 4, rumba pattern b medium (faster). Exersice 5, rumba pattern A + B slow, Exercise 6, rumba pattern A + B medium. Exercise 7 slow rumba sequence, making pattern variations and b. Exercise 7 medium rumba sequence. Exercise 9 rumba fast sequence,

 

3. - Rhythms in three module 1 introduction to Sevillanas, Waltzes and Jigs.

The pace of the first three times emphasizing, like cho co late, ta ke you, Mu Si ca, I co ...

Rhythms in Three pattern A, triplets would be continuous, but accentuating the first. With fingers gently less strong in acute multiple exercises


Rhythms in Three pattern B, in the grave triplets 1 2 3 1 2 3 ... easier is 123 with one hand and sliding fingers up ...


Rhythms in Three pattern C, would be always in the right and left in severe acute and come on strong as 1 2 3 as we give with the hand that is still at the same position of hands, sometimes serious and strong in other in acute alternative. Easy sliding fingers ...

Rhythms in Three pattern D, 1 2 3 1 2 3 in the grave and the same in the acute so on.

Technique in Three Rhythms.

Rhythms in Three Sequence.



Exercises. Rhythms in Three module 1, Exercises 1 to 11

Exercise 1-11, Rhythms in three pattern A, B, C and D slow and medium, 11 is the abcd fast.




3. - Pop and rock module 1 Exercises 1 to 12:

Exercise 1 pop and rock beat to slow and medium,

Exercise 3 pop and rock beat B

Exercise 5 pop and rock beat C

Exercise 7 pop and rock sequence slow and medium

Exercise 9 C and Fill one beat, slow and medium, a mixture of C and rhythm

Exercise 11 Fill beat C and 2 slow and medium



4. - Swing blues and jazz module 1: introduction to shuffle beats.

Introduction of a basic rhythm to blues, jazz, swing and rock, with some variation.


Understanding Shuffle with Words: Wo you ful examples 1 and 3 MU accentuating if ca, whose accent is ternary rhythm first and third on.


Understanding Shuffle with numbrers: 1 + 2 + 3 + 4 + a (one more and two and three and

                                                                    >>>>>>>>

 four and 1 more ...) only the strong do not touch the +.

Beat Shuffle A: previous pace with single acute normal tempo, and then right with severe acute left at once, touching anything else strong. Then accentuated plus 2 and 4 with the right hand or left alone and then with both hands (agudoy dre iz serious). Can also be done with the feet, heels, lateral heel shoe



Beat Shuffle B: would make the previous series 1 + 2 + 3 + 4 + to beating the strong, ie failing to hit the +, but at time 2 and 4 also hit with sharp slap left. Make the rhythm accompanying the lateral heel shoe on the 1 and 3-time or even at all times.

Beat Shuffle C: would make the rate 1 + 2 + 3 + 4 + a

                                        >>>>>>>>>

That is, will the basic rhythm but will widen the last four days of the fragment with the right hand on the grave. Then we can accentuate the time 2 and 4, as well as accompanying his heel.

Fills and Breaks Shuffle: would be the same as above but accompanying with the heel and the left hand on the sharp 2 and 4 and a second fragment are four times with both the acute accent, soft hands with the other hand and back in the grave.



5. - Swing blues and jazz module 1. Exercises 1-9


Exercise 1 & 2 Shuffle Beat A slow and medium: both hands do the rhythmic pattern, hand left and right in severe acute, emphasizing the 2 and 4, exercise 12 fragments.

Exercise 3 shuffle beat A with foot, hand and foot heel mark the times also.

Exercise 4 and 5 Shuffle Beat B, slow and medium: right hand does the pattern in severe and acute left beats 2 and 4 times (12 fragments of four times)

Exercise 6 and 7 Shuffle Beat C slow and medium: same as above but emphasizing the last four in the grave accents (12 pieces)

Exercise 8 sequence with Break Beat Shuffle: would make the beat C but with lateral foot heel

and leaving a fragment in silence between rhythmic patterns (2 fragments, and 2 fragments silence, silence ...)

Exercise 9 Shuffle beat Fills with sequence: it would make the above fragment three times and the fourth all strokes in the high or low, alternating.




6. - Flamenco bulerias module 1. introduction to bulerías:

Understanding Bulerias with Number Groupings: 3 (1-2-3) 3 (1-2-3) 2 (1-2) 2 (1-2) 2 (1-2), provided the number is accentuated 1. learning exercises can be set with palms.

Understanding Bulerias with Words: Won won der full denn der ri full riden, clapping.

Understanding Bulerias as 12 Beat Cycle:



                               12 1 2 3 4 5 6 7 8 9 10 11 (12)

                                 1 2 3 1 2 3 1 2 1 2 1 2

                                      Won-der-ful won-der-ful rhy-rhy-thm thm thm rhy-

                                           Right / left / left / right / left / left / right / left / rihht / left / right / left

Do the exercise 12 times with the palms, another exercise in severe right drawer perform the stressed with 12 times, with 3 3 2 2 2 or in words, then faster with marking right and left soft fingers. Another exercise would be marked with the left and right parts the soft strong.

Bulerias Pattern A with off-beats: quavers play exercises 12 times right hand and left hand at serious setback in eighth (24 quavers), then do the same but accentuating the 12,3,6,8,10. Here we emphasize the 12 times (fragmenting into 2 parts, 123456.123456, being the first time deposit). We can also fragment the time pattern in 3 of 12 (1234,1234,1234) where the stronger the 1. It can switch into 6 parts and 4 on but following the pattern 6,6,4,4,4 developing it a little faster and making the rhythmic pattern of the bulería.


Bulerias Triplet Patterns: bulería would perform 12 times or triplets ternary rhythm 3-3-3-3 (123123123123) always the strong part in the 1 and alternating hands with strong parts and acute serious area in which the first 6 times stronger ternary part in the grave, and then hit the 6 late in the acute (1-2-3-4-5-6-7-8-9-10-11-12). You can also make the first 6 times in triplets in area and the remaining 6 severe acute zone.


Bulerias Pattern A and triplet sequence patterns. It would alternate the two rhythmic patterns pattern 12 plus 12 plus 12 plus 12 A triplet patterns.

Bulería sequence: first two fragments from 12 times with palms, two fragments of 12 times with bulería Patterns A and two fragments of 12 times with triplet patterns.


Bulerias module 1: Exercises 1-12.

Exercise 1 and 2: Bulerias Palmas with number groupings and with words: follow the following pattern with palms, accentuating one, would be 3 (1-2-3) 3 (1-2-3) 2 (1-2) 2 (1-2) 2 (1-2), with words would be as follows Won-der-ful won-der-ful rhy-rhy-thm thm thm rhy-

Exercise 3, 4 and 9 bulerias palms with 12 beat cycle slow, medium and fast: palms would play with the numbers and counting pattern accenting.

Exercise 5 buleria pattern A slow and medium, strong play in severe acute right and left dim soft fingers.

Exercise 6 and 8 bulerias patterns A with off-beat beats 12 slow and medium cycle, counting numbers from 1 to 12 following the pattern 6,6,4,4,4 (123456.123456 1234,1234,1234), always emphasizing 1.

Exercise 7 bulerias pattern A with off-beat (66,444) slow, counting numbers 1 to 6 and 1 to 4.
Exercise 10, bulerias compass and triplets: mix two fragments of normal bulería two fragments of 12 times with triplet patterns.

Exercise 11, sequence bulerías slow and medium, with slaps (two fragments of 12 times), then A and end bulería triplet, ending in normal rhythm.



 

EDUCATIONAL ASSESSMENT METHOD OF TEACHING.

The educational system that uses Claudia Chambers in the method is ideal for teaching young people or children who want to start flamenco percussion, all under procedures resulting in pleasant and young beginners. Such as to assimilate the basic pattern of the rumba, as established by words that have the same accent as the rumba rhythm, making lots of reinforcement and extension exercises and explanations very consistent on the various flamenco forms. Being only an inconvenience which has been treated in the method and bulería rumba. Another drawback I see is that the method is conducted only in English, so much closes the door to a customer who does not master the language.



The technical part of it mentions in its audiovisual is acceptable for a beginner percussion, explaining each of the techniques with great skill, reaching viewers in an entertaining and easy to understand.

As for picture quality, sound, light ... and other details of recording and production, mention is made with a good quality throughout its format, under a white background, is happening all the explanations and interpretations of Claudia on the cajon.