The Book of Movements / Volume 11 - Palindromic Counterpoints for Two Voices

"The Book of Movements (Vol.11) Palindromic Counterpoints for Two Voices (70 pages) This volume proves to be a true oxymoron of concepts. The rhythmic models contained here have two main characteristics: they are contrapuntal and, at the same time, palindromic. This means that they contain rhythmic instructions for playing two simultaneous voices and, at the same time, exhibit symmetrical features that mirror the two halves of a movement pattern, shaping a question and an answer within the same pattern. The palindromic counterpoints for two voices, also referred to as "Palindromic Two-Voice Motifs" in this book, are organized in four different metrics: 5/8, 6/8, 7/8, and 8/8. Within these metrics, all possible patterns and combinations are included. Finally, we find two very interesting chapters with complementary exercises: Rhythmic Plasticity and Contextualization of Movement Patterns. This method, in addition to taking our motor skills to unknown extremes, provides access to a world of rhythmic possibilities, renewing the contribution of new forms to the musical language, facilitating inspiration and creativity. Starting with a single fingering, we will experiment with two different rhythmic lines, one rhythmic line for each hand. Once these lines are independent of each other, we can make them interact, and by playing with them on the instrument, they will acquire a strong rhythmic and melodic character. The patterns themselves are very simple, but the method's didactic approach, for its implementation and subsequent embellishment and musical contextualization treatments, makes them musically special. "The Palindromic Two-Voice Motifs" are applicable to musical phrases on any type of instrument: drums, percussion sets, drums of all kinds, Hang, Handpan, congas, bongos, timbales, as well as on instruments such as piano, guitar, bass, or electronic music instruments. The method is aimed at: Musicians in general, drummers, percussionists, composers, music producers, improvisers, and performers who want to create and enrich their language of rhythmic movement, understanding the vital and structural importance of rhythm in music. Of course, it is also intended for music teachers and students of all levels and instruments." Rhythm is form; the more forms you learn, the greater your musical creative and productive capacity