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Buzz RolI___ Open RolI_ 5 Stroke RolI__ Flam__ Flam Accent ___
Double Drag
Lesson 25
Single Ratamacue__ Triple Ratamacue__
Keyboards
Bb
Eb
Ab
Db
Gb- B-
10
12
34
Hand Drums
Tar - Maqsuum__ Baladi __ Conga - Tumbao
Timpani - Beck "Concepts for Timpani"
p. 26_p. 3
Samba
Use the middle section to work parts from excerpts, rudiments etc.
BfYTriangle
I would recommend using the etudes that you do tor the basics sequence!
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1-+-2-+-3-+-4-+-1
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D-D-tkT-D-tkT-tkl filled
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sayyidii 4/4
1-+-2-+-3-+-4-+-1
D-T-_D-D-__T- __ I
D-T-tkD-D-tkT-tk!
T-T-tkD-D-tkT-tk! after 1st measure
D-tk-kD-D-tkT-tkl syncopated at the beginning
DkS-kkDDD-tkS-tkl syncopated with 3 DUMs
sombati 4/4
1-+-2-+-3-+-4-+
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falaahii 2/4
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(72)
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137
Percussion: A Course of Study for the Future Band and Orchestra Director
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Percussion: A Course of Study for the Future Band and Orchestra Director
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with metronome
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Crash Cymbals
W. Lee Vinson
2/06
c. 112
(d
pp
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c.56)
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1) I I I I IV IV I I V IV I I
2) I IV I I IV IV I I V IV I V
Modes
Ionian -- Major Scale
Dorian - b3 and b 7
Phrygian b2, b3, b6, b7
Lydian- bS
Mixolydian - b7
Aeolian - b3, b6, b7
Locrian - b2, b3, bS, b6, b7
SCALES
Chromatic
C Db D Eb E F Gb G Ab A Bb B C
R b2
b3
Spanish 8 Tone
R b2
Flamenco
R b2
b
3
b
3
Symmetrical
R b"'...)
b3
Dimhushed
Whole Tone
Augmented
3 semitone
4 semitone
SCALES
'"
4
3
b
S
b
3
b
3
4 bS
4 bS
b6
b
6
b
6
Os
bS
b7
7
7
b7
8
8
6
b6
6
b
6
b
S
b7
C Db D Eb E F Gb G Ab A Bb B C
Ultra Locrian
bS
Super Locrian
b3
.,
Indian
R b2
b
3
Locrian
R b2
b6
b
6
4 bS
6
b7
b6
b7
b6
b3
b3
Phrygian
R b2
Neapolitan Minor
R b2
Javanese
R b2
Neapolitan Major
R b2
b)
b3
Todi (Indian)
R b2
b3
Persian
R b2
4
4
6 b7
hS
"
,)
Phrygian Major
3 4
Double Harmonic
R b2
3 4
Marva (Indian)
Enigmatic
SCALES
2
b
R 2
R
7 8
6
bS
7
b7
7 8
7 8
b7
b6
S b6
S b6
b3
Natural Minor
Harmonic Minor
Dorian
Melodic Minor (Ase)
bS
bS
b3
Hungarian Minor
2 b3
Romanian
b)
S
S
7 8
b7
b7
7 8
b7
b6
S b6
7 8
b7
7 8
6 b7
C Db D Eb E F Gb G Ab A Db D C
Locrian Major
3 4
Hindu
3 4
Ethiopian
,)
'"
Mixolydian
Major
,)
b6
S b6
S b6
" 4
3 4
Harmonic Major
3 4
Lydian Minor
bS
Lydian Dominant
bS
Lydian
')
"'-
bS
bS
b7
b7
b6
6 b7
6
b7
6 b7
6
b6
8
8
7 8
6 b7
b6
b6
Mixolydian Augmented
Lydian Augmented
7 8
S b6
S b6
bS
7 8
b6
2 b3
2 b)
b",
2 ,)
2 b)
SCALES
7 8
b6
C Db D Eb E F Gb G Ab A Bb B C
Hungarian Gypsy
b
3 4 S
Oriental
b7
b6
S b6
5
6 b7
7 8
8
7 8
8
8
7 8
8
Hungarian Major
2
b3
b3
SCALES
bS
b3
b3
Iwato (Japanese)
R b2
Japanese
R b2
Hirajoshi (Japanese)
Pentatonic Major
Egyptian
7 8
6 b7
6 b7
S
S
Ab A Db D C
8
b7
b7
bS
8
8
b7
b7
6
b6
b6
bS
b3
b7
b3
Chinese
Db D Eb E F Gb G
Pelog (Balinese)
Pentatonic Minor
3 4
R b2
R b2
Balinese
b6
8
8
7 8
Abr
C Db D Eb E
Gb G Ab
6th
6add 9
6(_5) add 9
7th
7(-5)
7(-9)
7(-S-9)
R b9
R b9
9th
11 th
11
13th
13
Maj 7th
M7
Maj 9th
M9
bS
"
Db D
6
S
b7
b7
b7
b7
3 11
b7
b7
11
13 ~
bS
b5
Maj 11th
MIl
11
Maj 13th
M13
11
13
C Db D Eb E
Gb G Ab
Db B
Abr
Minor
b3
m7(-5)
b".J
min 9th
m9
b3
min 11th
mll
b3
min 13th
m13
minMaj 7th
m(+7)
m9(+7)
min 6th
m6
m6 add 9
min 7th
m7
Augmented
Abr
b
7
7
5
b7
11
b7
tl
13
b"j
b
3
C Db D Eb E
Gb G G#
#5
Db D
aug
7th aug
7+
#
5
7+(-9)
R b9
#5
7
b
7
9th aug
9+
#5
b7
Diminished
Abr
C Db D Eb E
b3
half dim
dim
C Db D Eb E
Abr
6 sus 4
6sus4add9
7sus 4
sus
9 4
Suspended
sus
M7 4
M9sus 4
Gb G Ab
Bb D
b7
Gb G Ab
Db B
Improvisation
The Blues in F (concert pitch)
Vandermeer
---SP"-f'69l6--
Overview:
The blues is one of the most common forms in jazz, along with the 32-bar song fonn. It is a simple
and malleable form upon the framework of which infinite formal and harmonic vatiations can be
conceived. For educators, It provides an extremely approachable platform to learn improvisation,
even for very young students that are just learnmg to play their instrument. It is also an excellent
tool for teaching composition. The key of 'F' is the most common in the idiom of jazz.
minor modes that we are accustomed to. The most simple blues progression since its codification
in the standart 12-measure form is made up of only three chords: I, IV, and V. The chords in the
ninth and tenth measures of the blues occur regularly in several different configurations, either:
V - V, V - IV, or IV - V, so pick \vhichever you like, For our purposes, we will use V for both.
Below are the basic chord changes (harmonic progression) to the blues in F. In the corresponding
measures, I have place both the chord tones and the scale from which it is derived (mixolydian).
F7
B~7
9: 110
ItU
F7
1b
B~7
9: fU
F7
Itu
C7
,: n
~
1110
F7
IO
1110
of which remain unchanged even when the harmonies change. These scales are a great way to get
students to improvise for the first time and have them sound good. Belo\\' are three scales that are
11
Minor Pentatonic
Blues
Dorian
~: J .j d J Or E IJ ~j d ~J J I'm E IJ J oj ~J J F br E I
Blues in F
VERTI CAL SCALES are scales that correspond to a particular harmony, and therefore must
be changed when the chord changes. The mixolydian scale (5th mode of major) IS the basic
seale-from which the dominant Goord IS den ved. Remember that in the basic bLues, all . . . u,.J1.u,,~____~~_
are of dominant quality. Below is the mixolydian scale that corresponds to the three chords
of the blues.
F Mixolydian (played on 8)
2: J J J d J F~r
Bb Mi\.olydian (Bb7)
C Mi\.olydian (C7)
Lesson 3: Tunes
"Sonnymoon for Two", by the prolific tenor saxophonist Sonny Rollins, is made up of a single
repeated riff. The melody is a descending minor pentatonic scale (hOlizontal). Typically this
melody (or "head" in jazz terms) is played twice, then followed by the solo section, and completed
with the melody, again, twice through.
Bh
F7
C7
F7
c. Plsarra
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3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
2
I
4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3
2 2 2
I I I
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WHYa/l this?
In recent years, the demands on keyboard percussion instrument player in the wind band has
increased enormously. Not only in a solo literature, but also in a band. Often, players are required to
perform parts with 4 mallets, usually it is a mixture of chords and melodic passages. As a result, we
have a situation nowadays where even a younger mallet player in band's percussion section is
expected to master 4-mallet-grip and be accurate in chords changes and melodic lines. To achieve
this, it is important to have a powerful and controlled stroke which enable us to come "trough" the band
well and at the same time to hit the right notes. Several aspects are to be observed in order to reach
that goal. Since this flyer offer relatively limited space I will try to go straight to the pOint. I have tried to
select exercises so that they give you a sense of the whole power-control-accuracy IDEA, but please
keep in mind those are only just a few from over 50 exercises which deals with different performing
problems like those mentioned.
unused mallet should not move much, but "hang loose" (note: hang loose does not mean fly
uncontrolled all over the keyboard). Some fundamental exercises for that problem are listed below.
Ability to hit strongly without going too high with your arm is another very useful technique. You should
practice this what I call "power-kicks" using only your WRIST, in many different ways they may appear.
(single lines only, changes between chords and melodic lines, double vertical strokes in one and both
hands, and all that also in connection with changing intervals) In generally POWER-KICK could be
described as sudden strong TWISTING of the wrist while mallet shaft is hold tight so that even the
smallest motion of the hand is distributed straight to the mallet HEAD without being "softened" at the
connection point mallet shaft & fingers. Hands are low over the keyboard and anns are almost not
moving. It is like knocking at the door VERY strongly by holding a hand max. 2 inches away and NOT
moving foreann. You get it?? Keep knocking until someone open the door !!
I have selected several exercises from my mallets technique book, which I hope you will find useful for
improving the tasks mentioned above. Of course, along with these, you should also pick up some
pieces for Marimba, Vibes or Xylophone which concretely deals with one or more of the problems we
are speaking about. My students had a big USEFULL fun, with all of the solo pieces from the "FUNNY
MALLETS SERIES". Make sure to check those books and pick up the best pieces that fit your needs
along with technical stuff you do, otherwise you may not experience the direct application of the things
you practice. I recommend strongly my European bestseller book "Funny Marimba 1" or "Funny
Vibraphone1" each containing 10 solo pieces for 4 mallets beginner to intennediate level.
EXERCISES
The following exercises will help you to get a fine preCision movement under control. They all practice
only ONE mallet at the time, you should however, hold 4 mallets when playing them. Transpose all
exercises in all 12 keys. The mallets are numbered 1-2 3-4 from left to right. Exercises #1 to #3 are
developing control of the mallets 2 (inside left hand) and 4 (outside right hand). Make sure to start slow,
than speed up with controlled motion. Think of "Kicks" and let unused mallet hang freely while the
perfonning mallet is tight, strong and accurate. Note that you are practicing 3 different motions of the
mallet: #1 is jumping zigzag, #2 is smoothly curved line and #3 is triple stroke in up and down motion.
You will also notice how tricky it is to switch unused mallets on and of f only for ONE single stroke on
the beginning of each exercise. REMEMBER: L.H. PLAY ALWAYS ava LOWER!!
".;"
-- - I
~
j
c1
ill
r.h.3
I,h. 1
I"'"
....
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- -
Ex. 2
'J
r.h.3
l.h.1
J J
J E F f r [ [ [ r F E f r f r II
4
2
4 4 4
2 2 2
4 etc.
2 etc.
.I
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r.h.3
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4
2
I.h. 1
r.
2 2 2
J = 120
_
.
r-
.......
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. - - ::r:
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,.,
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et~.
Now we have a similar exercises but this time working on mallets 1 (I. h. outside)
and 3 (r. h. inside). Transpose them in all 12 keys, and keep the strong and controlled "kick".
,! ~
3
1
r.h.4
I.h.2
=148
3 J J
3
1
J J J f 3
II
3 etc.
1 etc.
Ex. 5
r.h.4
I.h.2
3 3 3 3 3
11111
3
1
Ex. 6 Start at J
'f
r.h. 4
I.h. 2
]
3
1
=80
Good tempo is
3 etc.
1 etc.
J =120
J~O
J Jj
J eJ J
3 3
1 1
3
1
3 etc.
3 3
1 1
ill
II
1 etc.
Make sure to hit all notes correctly, and to really start feeling that every single mallet is under control.
Do not underestimate those exercises, they do have very useful application in a real performance
situation.
Exercise that follows is "NJZ-ALL-IN" exercise which is one of my favorites. It COMBINES single
independent, alternating, and double vertical strokes! Practice each hand separately and transpose it in
all 12 keys. Keep it in FORTE so you practice endurance and power at the same time. Start slow and
speed up, to MAXIMUM ~ 108-112. Good luck with this one.
Ex. #7 "NJZ-ALL-IN"
r.n.
r.h. 4 3 4 3 4 3 4 3
4 3 3 3 4 3 3 3
I.h. 21 1 "
Ih 2 1 2 1 2 1 2 1
1 11
. .
~1jJtnilcwJrr;Crbfbf4J]'fJw&rr
rn
~dffe_alrfdflw ffllWWmfflg I
3,
r- 3 ::l
L j:-J L j-.l
Let us stay for a moment with each hand separately, but use double vertical strokes and changing
intervals. In ex. below it is 5 to 3 change. You should also practice it by replacing the fifth with the
OCTAVE and than, also by replacing a third with an octave. The rhythm is chosen to always allow you
one 16th break before changing the interval. Play L.H. an octave lower. Start slow and be clean in
notes and Rhythm. Speed up to J 120 m.m
Ex.S
When you became familiar with this pattern, you may want to go a step further and combine it in both
hands. Sudden cross-switch of rhythm after 2nd measure is good brain exercises too. In this one, you
also may try to replace the fifth with the octave.
Ex.9
I hope, after a couple of weeks of daily practice, you will feel how helpful those short but tricky
exercises are for your chops and your ability to control each of your 4 mallets. They will provide you
with necessary sensitivity but also with controlled power when needed. They are mostly targeting two
or more technical problems at once. Some are also very suitable for the concert artist when only a
limited time is available to warm up. And at the end, - do not forget: pieces, exercises, what ever, - you
should have pleasure when dOing it.
Expansion Exercises
Hands separiltely, then together.
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exercises in an
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at roll speed.
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f:
Snare Drum
W. Lee Vinson
These exercises are somewhat improvisatory with the exception of the lastlinc. The first pattern on each line is used more as a point of
departure for the specified amount of time. Practice with a stopwatch and a metronome. This routine will take 20 minutes to complete.
J= 120
(2 minutes)
Ilill:B
B 1m l n B
RLRLRLRRLL
pp
RLLR
(2 minutes)
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(4 minutes)
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(2 minutes)
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(J = J.)
II
(2 minutes)
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(2 minutes)
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(2 minutes)
II
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>3
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(2 minutes)
(J=J.)
II
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>
>
>
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d =J)
1IIIIi mJ
p
(I minute)
(30 seconds)
(30 seconds)
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:11111: mJ
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WebRhythms Exercise # 1
) III J
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Norman Weinberg
* *
J IJ I J J
J J
IJ I I
Copyright 2002 by Vic Firth Inc. Download a FREE copy at http://,,,,,'v;.VicFirth.com All rights reserved
II
WebRhythms Exercise #2
Norman Weinberg
"Ind d d IJ 3J J IJ J nJ IJ J J HI
13
21
29
37
Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://\\-ww.VicFirth.com All rights reserved
WebRhythms Exercise #3 A
:.fJ, Jl, J
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13
III
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Norman Weinberg
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R,
WebRhythms Exercise #3 B
Norman Weinberg
21
25
29
Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved
WebRhythms Exercise #3 C
Norman Weinberg
:.mmnnlmnmnlwnnmlnmm!3.
OJ
'1
Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://v.'\\iw.VicFirth.com All rights reserved
WebRhythms Exercise #3 D
Norman Weinberg
~wannlananlannalnawB:1
;mlsmllmmmlm~mmlsmnJ I
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;SwiJ\lI1515,JJ I15Dlf,nl15JJJJmJ I
Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved
WebRhythms Exercise #6
41
Iii J
r:J am r:J IJ
r:J
Norman Weinberg
Copyright 2002 by Vic Firth Inc.' Do\'<nload a FREE copy at http://www.VicFirth.comAll rights reserved
50
II
Norman Weinberg
Copyright 2002 by Vic Firth Inc, Download a FREE copy at http://www.Vicfirth.com All rights reserved
WebRhythms Exercise #5
25
II
J.
Norman Weinberg
29
II
J.
Copyright 2002 by Vic Firth Inc.' Download a FREE copy at http://www.VicFirth.com All rights reserved
WebRhythms Exercise #7
~I gJ J
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IJ
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Norman Weinberg
IJ J J IJ ) ,!OJ J ,J.
47
Copyright 2002 by Vic Firth Inc . Download a FREE ropy at http://www.VicFirth.com All rights reserved
WebRhythms Exercise #8
~J
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Down
Mi2
M2
Mi3
P4
Tri Tone
P5
Mi6
M6
Mi7
M7
P Oct.
Jaws
Do-Re
Greensleves
Here Comes "the bride"
Maria
Twinkle Twinkle/Star Wars
When Is "rael was (Israel)"
NBC
Somewhere
Bali Hai "south pacific"
Somewhere over the Rainbow
Oh-Oh "SSB"
Oh Come All
Feelings
Over There
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1. Eighth-note based
2. Triplet based
3. "Latin" / Brazilian / Ethnic
There are many, many ways to playa samba, waltz, shume, rock pattern, etc. Learn the rhythmic
and textural characteristics that differentiate one groove from another, then find recorded examples
and listen to how the drummer/percussionist interprets a groove that you have just mastered.
Play along. Experiment. Once you're comfortable with a groove, try playing 3 bars of "time"
(the groove) and a l-measure fill in the same style as the groove. Then trade twos and fours
with yourself (2 bars of groove, 2 bars of solo, then 4-bars and 4-bars).
Create your own style. Have fun!
Key:
Eil1hth-Note Grooves
..
1. Rock ~.100, 152
Right hand on ride cymbal
or hi-hat. Left hand - rim-shot.
~~~'"-'
2. Half-Time Rock
~"108. 138
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4. Ballad
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5. Half-Time Ballad
L 80 .104
18
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Start to substitute the bass drum patterns from pages 4951. Be sure the substitutions stay within the feel of the groove.
- 52
----,
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8 . .5Li
;.. 108.152
9. Polka
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;.120. 152
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IDe:
Use brushes.
13. Shuffle'"
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L 116.138
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J.182. 200
L160. 200
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Latin/Brazilian/Ethnic Grooves
20. Samba
J. 96 . 120
Snares on.
Open hi-hat where indicated.
Many variations.
21. Cha-Cha-Cha
J.I08. 126
Snares off.
Right hand plays cowbell.
Strong quarter feel.
.,
cowbell
o
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111
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23. Mambo
j. 104120
Snares off.
L.H. - cross stick rim shot.
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Latin/Brazilian/Ethnic Grooves
24. Beguine
J= 104120
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25. Merengue
J= 116144
Snares off; use soft mallets.
26. Rhumba
J= 104 126
Snares off; use sticks or mallets;
lightly.
27. Mozambique
L 108.132
la. Songo
J= 108 132
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31. Reggae'"
J.126. 152
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32. Tango
J.108. 132
Snares on; accent "and" of "4".
J. 108 144
J=75
Drum Set
Dr.
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