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274. Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference
124. This exercise is conceived for you to work on standard structures within music. A musician must first master the beat, then the measure and, thirdly, the structures. These are usually based on 4, 8, 12 and 16 measures. Use them to practice breaks, solos,&
269. In this case we shall maintain a displacement with hands and others with feet. The method: 1) choose the metronome speed, 2)choose figure of progressions, 3) choose displacement with feet, 4) choose displacement with hands, 5) combine both displacements,
272. Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference
273. Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference
215. Up to now, we have worked with two reference points: first, the metronome speed, and second, the figure chosen among the progressions, with all its combinations. In this section, we shall deal with a third reference or calculation point: the so-called dis
216. Up to now, we have worked with two reference points: first, the metronome speed, and second, the figure chosen among the progressions, with all its combinations. In this section, we shall deal with a third reference or calculation point: the so-called dis
231. As you all know well, this is one of the most commonly used rudiments. There are two ways of doing this exercise: using the Bounce-Roll, with a more closed sound, and without the Bounce-Roll, dominating each one of the beats. I’d suggest using the s
232. As you all know well, this is one of the most commonly used rudiments. There are two ways of doing this exercise: using the Bounce-Roll, with a more closed sound, and without the Bounce-Roll, dominating each one of the beats. I’d suggest using the s
233. As you all know well, this is one of the most commonly used rudiments. There are two ways of doing this exercise: using the Bounce-Roll, with a more closed sound, and without the Bounce-Roll, dominating each one of the beats. I’d suggest using the s
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