´Ù¾çÇÑ ¶óƾ ±âŸÀÇ ¼¼°è·Î µ¶Ã¢ÀûÀÌ°íµµ Èï¹Ì·Î¿î ¹æ¹ýÀ¸·Î ¾È³»ÇÏ°í Àִ å/CD ±³º»ÀÔ´Ï´Ù.
¶óƾ ±âŸ À帣ÀÇ ¼Ö·Î ¿¬ÁÖ¿Í ±× ¹Û¿¡ ÇÊ¿äÇÑ Å×Å©´ÐµéÀ» Æ÷ÇÔÇؼ ¼ö¸¹Àº ¶óƾ ½ºÅ¸ÀÏ ¸®µëÀÇ »À´ë¸¦ ÀÌ·ç´Â Ŭ¶óº£(clave)µµ ´Ù·ç°í ÀÖ½À´Ï´Ù.
»ì»ç, ·ë¹Ù, °ú°üÄÚ, Â÷Â÷Â÷, ¸¾º¸, ¼Û°í µî°ú °°Àº ¾ÆÇÁ·Î-Äí¹Ý ½ºÅ¸ÀÏ°ú ÇÔ²² ÃÊ·Î, »ï¹Ù, ¹ÙÅõÄ«´Ù, ºü¸£Æ¼µµ ¾ËÅä, º¸»ç ³ë¹Ù, ¹ÙÀ̾ƿÀ, ÇÁ·¹º¸ µîÀÇ ºê¶óÁú¸®¾È ½ºÅ¸ÀÏ, ±×¸®°í ¸Ó¸µ, Ä®¸³¼Ò, ¼ÒÄ«, ¹ÙÂ÷Ÿ, ÅÊ°í, ¶õü¶ó, ¸¶¸®¾ÆÄ¡, ³ë¸£¶¼´¢/ÄÜÈÆÅä, Å×ÇÏ³ë µîÀÇ ´Ù¾çÇÑ ¶óƾ ½ºÅ¸ÀÏ µîÀÌ ¼Ò°³µÇ¾î ÀÖ½À´Ï´Ù.
ÀÌ·¯ÇÑ ´Ù¾çÇÑ ½ºÅ¸ÀÏÀÇ ¿¬ÁÖ ¹æ¹ý·Ð »Ó¸¸ ¾Æ´Ï¶ó °ü°èµÈ À½¾Ç À̷е鵵 Ãæ½ÇÇÏ°Ô ¼ö·ÏµÇ¾î ÀÖ½À´Ï´Ù.
ÀÌ ±³º»Àº ÀÌ·¯ÇÑ ¶óƾ ½ºÅ¸ÀÏÀÇ ±âº»À» ÀÌ¹Ì ¾Ë°í ÀÖÁö¸¸ ¿¬ÁÖ¿¡ ÀÖ¾î¼ ¸¯°ú ·¹ÆÄÅ丮¸¦ ´õ È®ÀåÇÏ°í ½Í¾îÇÏ´Â ±âŸ¸®½ºÆ®µéÀÌ »õ·Ó°íµµ Èï¹Ì·Î¿î ¹æ¹ýÀ¸·Î ¿¬½ÀÇسª°¥ ¼ö ÀÖ°Ô ±¸¼ºµÇ¾î ÀÖ½À´Ï´Ù.
¸ðµç ¿¹Á¦´Â Ÿºê¾Çº¸·Î ±âº¸µÇ¾î ÀÖÀ¸¸ç µ¥¸ð Æ®·¢ÀÌ ºÎ·Ï CD¿¡ ´ã°ÜÀÖ½À´Ï´Ù.
- Contents -
About the Author
Introduction
Chapter 1: Latin Accompaniment Techniques
Accompaniment Styles Without a Bass Instrument
Accompaniment Styles with a Bass Instrument
Chapter2: Latin Soloing Techniques
Soloing Based on a Scale or Mode
Soloing Based on an Arpeggio
Voice Leading
Chapter3: Clave
Son Clave
Rumba Clave
Bossa Clave
Chapter4: Montuno/Guajeo
Chapter5: Afro-Cuban
Son
Salsa
Rumba
Guaguanco
Cha-Cha
Mambo
Songo
Mozambique Solo
Chapter6: Brazil
Choro
Samba
Batucada
Partido Alto
Bossa Nova
Baiao
Frevo
Chapter 7: The Dominican Republic
Merengue
Bachata
Chapter 8: Trinidad
Calypso
Soca
Chapter 9: Argentina
Tango-Tango Solo
Chapter 10: Mexico
Ranchera
Mariachi
Norteno/Conjunto
Tejano
Conclusion
Appendix
Reading Tablature(TAB)
Scale Diagrams
Major Scale Theory
Intervals
Diatonic Harmony
Circle of 4ths/5ths
Extended Chords |