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Javier Fredez

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Afro-Cuban Percussion

Rumba holds pride of place both as Cuba's national dance music and for its distinction of having spawned, in tandem with the Cuban son, countless Latin-influence music styles throughout the world since the 1950s, including salsa.


Week 1

Brief history of Latin music and an introduction to the instrumentation.

Instruments that will be used:

Congas, Timbales, Clave, Maracas, Shekeres, Bongoes and Bells.

Learn the five note, two bar rhythm that is the backbone of all Afro-Cuban based music – the clave

Rhythm that will be played is the rumba

Learn that since the 1950s, only three traditional types of rumba have survived: yambú, guaguancó (the most popular form) and columbia.

Explanation of the techniques used to play instruments.

Lets Play!!!


Weeks 2 to 4

Brief run through of technique at the beginning of each session

Play rhythm/s especially concentrating on getting the sounds of each instrument and learn how they combine with each other to create the totally infectious grooves of Cuba

Q and A  at the end of each session.

And most importantly enjoy yourself as you are immersed in the rhythms of Cuba and instructed by one of Australia’s premier Afro-Cuban exponents.

 

Cost $150 per person

Bookings can be made by either calling the shop on 03 9521 4644 or via email

More about Javier

Originally from Chile, Javier started performing professionally at the age of 14. He has studied under prominent Cuban Master Percussionist Jose Quintata (Changuito) for over 4 years , visiting Cuba on each occasion. Javier is one of Melbourne’s most highly sought after Afro-Cuban percussion tutors and performers. He and his students have performed at most major events in Victoria including the 1997 AFL Grand Final, and  the  World Cup Qualifier (soccer)at the MCG and as a playing musician himself, he has performed with the likes of Kate Ceberano, Renee Geyer, Doug DeVries and Bad Boys Batucada. Javier brings with him an immense passion and first hand knowledge of Afro-Cuban rhythms.

 

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