Description
In this exercise Horacio shows you how to combine the binary and ternary figures and how to sing on them. In the first exercise sing on sixteenth notes, in the second on eighth triplet notes. This kind of lessons are essential to understand all the following exercises, so our advice is that if you want to understand Horacio’s system, don’t skip it.
Commentary:
The subdivision, we are going to use a clip with a pulse of 4 beats and then we are going to subdivide each of these beats, first in 4 and then in 3. So, here we go… So we call this binary subdivision and or subdivision in 4/4 subdivision, then we have the triplets subdivision in which we will divide each of these poses into threes, into groups of three eighth notes. Here we go… 1, 2, 3, 4
Mambo (B) with Clave on the left foot cowbell – 5104 – E
Here you have Horacio’s 2nd variation with the Mambo pattern (very used in Latin Jazz): right Hand plays Cáscara in cymbals, Left Hand orchestrates in Toms and Snare in addition to Hihat and Bass Drum. Commentary: This also can be used on the Mam
Songo (B) with Clave on the left foot cowbell – 5106 – E
Here you have another version of the “Songo” pattern, with a variation where Horacio shows us how to apply the Cowbell with the Right hand and the Clave with the Left foot in the Foot Cowbell while the Left hand plays Snare and Toms. Comment
Guaguancó – 5107 – E
Horacio shows you how to apply the “Guaguancó” pattern. Here you have a demonstration of how he applies all his independence technique, with “Cáscara” in Right hand in Wood Block, Clave in left foot (Foot Cowbell), “Tumbao”
