Movement Control / Complete Guide to Rhythmic Movements for Musicians

Drummers, percussionists, melodic-harmonic instrumentalists, composers and improvisers

Rhythm is a vital force, it is present, in all disciplines that seek natural growth, is the factor that
provides support for the vital energy in music, and is also the element that shapes our sentences.
A melody without rhythm is practically amorphous, harmony without rhythm lacks order and meaning.

"Movement Control" is the author's eleventh book and is a musical rhythmic method that is
raised as a game of motor brain coordination and dissociation.
It is oriented to combine thousands of movement patterns between both hands with the aim of
playing fluidly without stopping, while we conscientiously direct the rhythmic discourse to compose
motifs, semi-phrases and musical phrases with syntactic meaning in our instrument.

Although the motor and musical results are avant-garde and complex, as this is a method for
exercise both hands, uses a very simple language, so simple that it is accessible and
enriching both for musicians who know how to read and write with traditional musical notation or
for those who play music with feeling and intuition without knowing how to read and write.
Two letters (R and L Right and left ) are enough for us to combine them thousands and thousands
of rhythms appear ready to be incorporated into our rhythmic language that  is, nothing more and
nothing less that defines the form our music takes.

The book is aimed at drummers and percussionists who play congas, bongos, timbales,
hang drum, derbake, cajon, peal, batá drums, electronic music, beat box, body percussion,
but also, to instrumentalists who use both hands, and play piano, guitar, bass flute, etc.

The content is super useful regardless of the style and, given the organization of the teaching material
allows us to apply it by combining several instruments in a single set very easily.
The movement patterns each contain two natural rhythms which we call
Internal rhythmic units (IRU)
The central objective is to play the IRU with control, fluency, concentration, balance and musicality,
which will infinitely enhance our cerebral agility applied to our instrument.
To complement the patterns and the game proposed with them, some practices are included.
independent that greatly enrich all this content.
Instrumentalists, composers and improvisers in general will find an inspiring treasure in the
rhythmic forms that are presented to combine and create music.