TRADITIONAL AND JAZZ PERCUSSION:
Further developing techniques on conga, bongo, timbales and miscellaneous percussion.
TOPICS:
Awareness of sound and movement, 'flow', flexible motor coordination, and drive.
Congas (tumbadoras): songo, coordination in playing three or four congas, as well as in combinations of conga/bongo or pedal bell/clave, polyrhythms.
Bongo: further developing bongo playing skills: techniques for soloing and accompaniment (e.g., for lyrical vocal lines in bolero), cross rhythm phrasing.
Timbales: studying various timbales formations with several bells, wood block(s), cymbal, bass drum, etc. Introduction to danzón.
Studying newer styles: 12/8 rhythms (bembé, ñañigo, güíro), conga and comparsa, guaracha, rumba, son Afro-Cubano, charanga, mozambique, pilón, salsa, songo, timba, in combination with jazz percussion and Latin jazz styles.
Miscellaneous percussion: further development of playing techniques, coordination, rhythms and styles for the instruments listed above.
Traditional 'toques' on the three batá drums (okónkolo, itótele en iyá) and applying them to jazz and other styles.
Brazilian styles: samba (instrumentation, interpretation), as well as berimbau and cuica among others.
Cajón: study of original cajón styles (Cuba, Perú, flamenco), as well as popular uses in contemporary music.
Working with various forms of notation for personal study and arrangements, to transcribe solos and to improve a prima vista sight-reading.
Learning 'típico' breaks (or 'efectos') commonly applied to conga, bongo, timbales and güiro in the Cuban son and charanga, as well as in salsa and jazz.
In addition, modern timba breaks (with drum kit) will be studied.
Developing style-awareness with respect to form, timing, sound and instrumentation within the styles listed above.

Individual lessons and periodic group lessons (group size varies).

Study materials designed by instructors as well as materials from the literature list.

Playing in band settings, as well as arranging and transcribing.

Examination and assessment

Assessment by the main subject instructor at the end of each semester.

The student should have mastered the elements described under Aims. Specific criteria are: creativity, expression, improvisation, technique, sound, intonation, timing, reading skills, repertoire knowledge, progress, self-reflection, session participation, attitude and lesson preparation.

The student has completed this module if being awarded a minimum grade of 5.5 by the instructor at the end of the second semester.

At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson.

Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.

See the Education and Assessment Plan.

Module summary

This module is intended to widen students' knowledge and abilities, emphasizing the development of professional skills in the broadest sense of the word. In addition, the study and design of sounds and their relevant applications feature prominently as a topic of discussion. Furthermore, particular attention is paid to the development of the student's individual taste in music. In addition, students work on their understanding and use of increasingly complex musical structures.

Main Subject Latin Percussion Jazz & Pop 2

Form / content / level

Examination and assessment

Module summary