Samba-Feel im Zweier
Lesson time: (2min 32sec)
Course preview
This lesson is part of the course Spiel authentische Latin-Trompete
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Lesson transcript:
Fiesta Siesta: Understanding the Samba 2 Beat Feel
Let's get started with Fiesta Siesta.
Samba 2 Beat Feel
We're going to talk about the Samba 2 beat feel.
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Time Signature:
- If you take a look at the music, you'll see that it's written in cut common time.
- This looks like a C with a line down the middle of it.
- You can count this in four, but the actual feel of this music is two.
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Minims:
- If you look at the little box above that indication, you'll see that there are some minims written:
- Two minims per bar.
- So, we can actually use this as the key to our feel.
- If you look at the little box above that indication, you'll see that there are some minims written:
Listening Exercise
- Listen to the backing track of the introduction.
- You'll hear that two beat feel in the rhythm section:
- One, two... one, two.
Let's think of that pulse as we play the first little phrase.
Clapping the Pulse
- I'll play that for you now and you see if you can clap that pulse:
- Did you hear the two beat feel?
- 1, 2, 1, 2, 1, 2.
- Did you hear the two beat feel?
I'll play it one more time.
Accenting the Beats
- There I put some accents on the main beats of the bar.
- I'll play it one more time, and this time you can copy after.
When we're playing in this two beat feel, you can accent the main beats of the bar.
- In that last performance that I did, you probably heard me playing an accent on the first full bar, the minim at the beginning of that bar.
- And then the next note, which is a dotted crotchet, goes da da.
Practice playing that straight away.
Creating the Dancey Feel
We start to get in this nice dancey feel.
- We want to feel like it's a dance and that we're having fun.
About the instructor
Mike Lovatt studierte am Trinity College of Music, wo ihm die Jon Kelly Jazz Scholarship verliehen wurde. Er ist in einer enormen Bandbreite von Stilen mit Künstlern wie Quincy Jones, Robbie Williams, Eric Clapton, dem Orchestra of the Royal Opera House Covent Garden, dem Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey und Danny Elfman und vielen anderen aufgetreten und hat mit ihnen aufgenommen. Als Solotrompeter im Londoner West End hat Mike unter anderem in Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady und Spamalot mitgewirkt. Er hat auf Filmmusiken gespielt, darunter die James-Bond-Filme, Harry Potter mit dem London Symphony Orchestra, das preisgekrönte Chicago, Kevin Spaceys Beyond the Sea, Charlie and the Chocolate Factory, Madagascar und The Corpse Bride. In George Fentons Mrs Henderson Presents ist er an Trompete und Kornett und in Looking for Eric an der Trompete zu hören. Mike ist Solotrompeter des Grammy-nominierten John Wilson Orchestra und war in dessen gefeierten BBC-Promenade-Konzerten und -Aufnahmen zu erleben. Mike ist als Lehrer und Clinician sehr gefragt und Professor für Trompete an der Royal Academy of Music und am Royal College of Music. Im April 2013 wurde ihm mit Stolz der renommierte Derek Watkins' Chair of Trumpet an der Royal Academy of Music in London verliehen. In seinen MusicGurus-Kursen teilt Mike die Geheimnisse seiner Vielseitigkeit und zeigt dir, wie du authentische Trompetenstile in Swing, Rock und Latin triffst, sodass du jeden von ihnen mit Selbstvertrauen und dem richtigen Feel spielen kannst. read more