Feel de samba à deux temps
Lesson time: (2min 32sec)
Course preview
This lesson is part of the course Joue de la trompette latine authentique
Watch a preview of the full course below.
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 a étudié au Trinity College of Music, où il a reçu la Jon Kelly Jazz Scholarship. Il s'est produit et a enregistré dans une immense variété de styles avec des artistes tels que Quincy Jones, Robbie Williams, Eric Clapton, l'Orchestra of the Royal Opera House Covent Garden, le Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey et Danny Elfman, parmi bien d'autres. En tant que trompette solo dans le West End de Londres, Mike s'est produit dans Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady et Spamalot, entre autres. Il a joué sur des bandes originales de films dont les James Bond, Harry Potter avec le London Symphony Orchestra, le film primé Chicago, Beyond the Sea de Kevin Spacey, Charlie and the Chocolate Factory, Madagascar et The Corpse Bride. On l'entend à la trompette et au cornet dans Mrs Henderson Presents de George Fenton, et à la trompette dans Looking for Eric. Mike est trompette solo du John Wilson Orchestra, nommé aux Grammy, et a été mis en avant dans leurs célèbres concerts et enregistrements des BBC Promenade. Mike est très demandé comme professeur et clinicien, et il est professeur de trompette à la Royal Academy of Music et au Royal College of Music. En avril 2013, il a eu la fierté de se voir décerner la prestigieuse Derek Watkins' Chair of Trumpet à la Royal Academy of Music de Londres. Dans ses cours MusicGurus, Mike partage les secrets de sa polyvalence, te montrant comment maîtriser les styles authentiques de trompette swing, rock et latino afin que tu puisses jouer chacun d'eux avec assurance et le bon feeling. read more