The Book of Movements / Vol 6 -Palindromes 2

By Ciro Plateroti

Palindromes II
Palindromes are movement patterns with certain special characteristics.Its internal components keep symmetrical distances. They read the same from front to back and from back to front-
These mirrored patterns are special in that when you practice them They allow us to play fluidly with both hands, the same pattern.Any pattern that is leading with the right hand is automatically played leading with the right hand.left, achieving a great kinesthetic balance.

The palindromes sound very exotic and musical at the same time, there are all the movement patterns
palindromics that exist in metric 3/8; 4/8; 5/8; 6/8; 7/8; 8/8; 9/8; 8/10; 11/8; 12/8; 8/13; 8/14; 8/15 and 8/16
Irregular metrics with these patterns sound amazing This second volume has the same palindromes (thousands) but with a different fingering treatment which gives a totally different in fluency and language of movement.
Beyond the musical particularities that the rhythmic palindromes carry in themselves,it is also worth noting the defined character of the different kinds of movements that in this second book are raised.

In Palindromes 2 the focus of movement is radically changed in relation to the first book.
Such an approach presented here is called ARTICULATIONS.
Perhaps we have never heard of these movements called Articulations and probably, they are named like this for the first time, but this type of movement can be observe in those who play drums of various musical manifestations influenced by Africa mainly, we can put as an example Djembe, Conga, Peruvian Cajon, Tambor Alegre, Clarín, Cumaco, etc.

The musical phrases that are formed from this kind of bodily motor skills that are so dynamic and intuitive, they are very clear, rhythmic and melodic, they are useful both for forming bases and for solos, since they contain a strong presence of silences. This marks a big difference with the movements played on the war drum (so widespread and influential, with its rudiments) where filler notes abound between the main beats that form the rhythmic motive.

This spatiality between stroke and stroke leads us to bring into play another bodily balance and induces to feel the music from a more kinesthetic than intellectual place.
To this end, the graphic representations of the palindromic motives shown here are arranged in sequences of two colors that make it clear where in space time occupies every blow and every silence.
This method has specifically selected palindromic movement patterns and classified, is a compilation of which there are no antecedents in musical history.
It is aimed at musicians who play drums, percussion of all kinds, as well as piano, bass,
guitar, Hang, etc.

It is also ideal for instrumentalists, composers or improvisers looking to create with shapes.
musical rhythms to address from your instrument, whether or not you know how to read traditional musical notation. The rhythmic motifs presented here are grouped into 14 different meters, regular and irregular lines that are useful for both rhythmic, melodic, or harmonic lines. IMPORTANT NOTICE:
After practicing this 6th volume of The Book of Movements,You will notice changes in your self-perception since both hemispheres of the brain are exercised.

• Language: English
• Publisher: Ciro Plateroti
• Release date: May 21, 2022
• ISBN: 9781005541323

Ciro Plateroti

About the AuthorCiro Plateroti, I am an Argentine musician, percussionist, drummer, composer, arranger, musical director, singer-songwriter, drum and percussion teacher, artistic producer, eternal musical apprentice, author of 11 books, for instrumentalists in general, The book of movements (volumes 1, 2, 3 and 4) The big Book of Movements (translated into 8 languages) Palindromes 1 and Palindromes 2, Rhythmic Counterpoints for two Voices and Plasticity of Rhythmic Form. Control of movements and the current book, Multimetric System.I am also the author of a book for martial arts in general The book of movements for martial arts.In Argentina I started studying drums in a particular way with Jorge Lützow-Holm, then at the EMPA with Marcelo Frezia, also in parallel with Ernesto Zeppa, and forever self-taught.He studied in Cuba, Brazil and Argentina with different teachers and percussion schools.In Argentina I learned in different percussion schools La Katurga, with Santiago ComínLa Chillinga, Daniel Buira and Laura Pizzarelli, the CERPS with Santiago Vázquez, Lucas Helguero, and Andy InchaustyIn Cuba I took percussion classes with Yaroldi Abreu, (congas technique) Alejandro Carbajal (batá drums ) Younier Pons (Elements of Rumba)In Argentina also I studied percussion with Julio Morales, Juan J. Martinez, Gaston Carabajal, and Fabricio Ortolan I also studied harmony Jorge Blengini and Federico Marquestó, Piano Jazz with Leopoldo Limeres and Lucas Pierro. I sing with Martin Ibarburen and Mariela Pacchioli.Some musical projects of which I am a part are EL CLUB DEL RITMO, with Juan Paliza, Pablo Navone, Pablo Antico, and others where I was a composer and singer I also directed, composed and arranged for small wind orchestras with drums,The Tukutá Tribe, cumbia bands, Tell me in the ear and othersI participated singing in Coral 3 directed by Mario Koniko, I played drums in Tangata Manú, Pilar Ternera, Los Caraquses, Orquesta Jabalí where Pablo Valotta played bass and sang Toto Rotblat (Fabulous cadillacs) I played percussion in salsa bands, La Tremeda with German Weil, Julian Cusmano, and Tomas Sivadon, was part of the Baccarat orchestra, also I sang and played for a time with Quitiplá, with Nani, Fiorenza and Gastón Carabajal, Drums and Cantos, from Venezuela, Peru, Cuba, Colombia, Guatemala, Brazil and other countries.Currently, I learn and play jazz piano, compose and record music with Tibetan bowls, piano,and unconventional instruments in Det Ent Ument together with Agostina Bramanti and I am also composing music from the Middle East with the dancer Diana Bogado.I teach Afro-Latin percussion ensemble classes in general, in groups and individually,Rhythms and techniques in congas, drums, cajon, bongo, Bombo Leguero and batá drums, surdos etc.in Buenos Aires Argentina, in person or online for the entire planet.Those who wish to contact me for questions about this book, my books in general, or workshops, clinics, classes etc. Write to me at the following addresses:mail: [e-mail]@hotmail.comcel: whats app (5411) 9 113 186 4351

Book preview

The Book of Movements Vol 6

Palindromes 2

Complete Guide to Rhythmic Movements for Musicians

by Ciro Plateroti

Copyright 2022 Ciro Plateroti

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Thank you for respecting the hard workof this author.

Thanks

To my teachers and students for their teachings. To my Father, my grandmother Magita and my grandmother Luisa. To my aunts Magguie and Cristi and Abuelita.

To Javo Saporiti To Agostina Bramanti. To Nacho and Poncho. To Mariana Cragnolino.

To the spirits that inspire me, guide me and help me on this path.

Dedicated to Lucia and Elena to my Family.

Attention

This method, in addition to bringing fresh musical ideas, is also full of internal challenges such as the exercise and strengthening of our will, patience, perseverance, concentration, sensitivity and discipline. It is necessary to approach the contents with relaxation, stillness, silence, slowness, in favor of achieving agility, control and direction in our