Edson Quesada

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PERSONAL IDENTIFICATION
NAME: EDSON LUIZ CORREIA QUESADA
QUALIFICATION and PROFESSIONAL EXPERIENCE
Musician and professor of percussion, after traveling during 15 years for different Latin American countries, acquired knowledge of the various styles of musical culture (Andean music).
In Peru, he searched and played various rhythms that country, mainly african-Peruvian part, known as Creole music, which is played with the cajón, typical instrument of the region.
In Colombia, searched and played several folk rhythms of the Atlantic and Pacific. In the capital, Bogota, studied and played with many Caribbean, Cuban, Puerto Ricans, Dominicans, Haitians, Venezuelans and others musicians.
After these studies and years of musical harmony, he composed a method for musicians readers and non-readers, using percussion instruments from different countries. Has the following work published and available in the market:
• Video Lesson: Basic Tambourine and its variations;
• Video Lesson: 60 rhythms for tumbadoras – Volumes 1, 2 and 3, containing 10 rhythms each;
• Video Lesson: Timpani and its variations, with follow-up tumbadoras;
• Video Lesson: Dominican Tambora – variations to the Merengue, with follow-up tumbadoras;
• Video Lecture: Brazilian Percussion – Bahian rhythms;
• Video Lesson: Samba School and its instruments;
• Video Lesson: 15 Variations for Samba in Tumbadoras;
• Video Lesson: Samba table (Pagode);
• Video Lesson: Samba School Battery for beginners.

PROFESSIONAL REFERENCE
• CEP / Escola de Música de Brasília: Teacher of popular Latin American percussion in specific courses (2005-2010), forming more than 1,200 students in different percussion instruments;
• CEP / Escola de Música de Brasília: Teacher of popular Latin American percussion in 28 °, 29 °, 30, 31, 32 ° and 33 ° of Summer Courses on the 1st Winter Course / 2007, aimed to National and international music professionals;
• CEP / Brasilia Music School: Participation as lecturer, workshop “Percussão e Ritmos Brasileiros” for teachers of this institution during the “X Ciclo de Conferência Sobre Educação Profissional Aplicada”;
• Faculdade de Música do Espírito Santo – FAMES: Participation as lecturer, “Oficina Didática da Percussão Master Class no Primeiro Fórum Internacional de Didática Musical;”
• Feira de Música Capixaba: Participation, as speaker of the “Oficina de Percussão Brasileira;”
• PRO-PEOPLE Project (NGO): percussionists preparation in underserved areas;
• Project Segundo Tempo da Secretária de Esportes, consisting of percussion classes for 100 students from public schools from different communities of Salvador, the Grupamento de Fuzileiros Navais de Salvador.
• Creator of the 1st Encontro de Bateristas e Percussionistas Populares e eruditos;
• Universidade Federal do Mato Grosso – UFMT: Participation as speaker in the Oficina de Percussão Popular;
• Universidade Federal da Bahia – UFBA: Participation as speaker in the Oficinas dos Cursos de Extensão – Ritmos Latinos (Caribbean);
• Percussion workshop in Escola do Olodum;
• Classes of percussion group training and direction to seniors in the Centro de Convivência do Idoso do Hospital Naval de Salvador;
• Percussion workshop for the disabled in different areas, Clube Naval de Salvador.

GENERAL OBJECTIVE
This is a technical and rhythmic training course for different areas of international popular music where students will be prepared for the world music market.

SPECIFIC OBJECTIVES
Disseminate and teach techniques and rhythms of countries like Brazil, Cuba, Colombia, Dominican Republic, Puerto Rico, Haiti, Peru, Andean rhythms, making a translation of folk rhythms of each region and each country to bands, groups and orchestras within each rhythm, and his folk and popular sources, thus giving greater capacity to percussionist musician to expand their professional level.

TARGET AUDIENCE
This course is for anyone who likes music, regardless of age, gender, whether lay or music connoisseur.

INSTRUCTIONAL MATERIALS REQUIRED
1) Percussion Brazil: Brazilian Rhythms – about 50 variations.
a) Instruments used for Samba and its derivation:
 Caixa or Tarol;
 Pandeiro;
 Tamborim;
 Frigideira;
 Agogô;
 Ganza;
 Chocalho / Roncar
 Cuíca;
 Repinique (Repique, Bacurinha);
 Surdo Marcação;
 Surdo Resposta;
 Surdo Cortador (center);
 Congas; and
 Atabaque
b) Instruments used for the Pagode and its derivations:
 Repinique de mão ou Anel;
 Tamtam de corte (Rebolo);
 Tamtam de Marcação;
 Pandeiro;
 Cabaça ou Afuchê; e
 Surdo e suas variações.
.
c) Instruments used in Forro (the party’s name) and its derivation:
 Zabumba;
 Pandeiro;
 Triângulo;
 Agogô; e
 Chocalho
 or Ganzá.
d) Instruments used in Maracatu:
 Alfaia Repique;
 Alfaia Meião;
 Alfaia Marcante;
 Tarol;
 Gongê;
 Agogô;
 Abê Agudo;
 Abê Médio; e
 Abê Grave.
e) Instruments used in Bahian rhythms and their derivations
 Surdos;
 Bacurinho or Repinique;
 Caixa or Tarol;
 Timbal;
 Djembe; e
 Tumbadoras and its variations
f) instruments used in Afro-Brazilian Rhythms (Rhythms of Angola) and its derivativation:
 Rum: Tambor grave;
 Rumpi: Tambor médio; ORUBATÁ
 Le: Tambor menor;
 Xequerê;
 Agogô; e
 Gam.
2 °) Rhythms Andinos (Music Surenha)
– Instruments:
 Bumbo Leguero; e
 Unhas de Cabra.
3 °) Peruvian music:
– Instruments:
 Cajon;

4 °) Colombia:

– Instruments:
 Tambora;
 Tambor Alegre;
 Tambor Chamador;
 Guacho;
 Maração;
 Tumbadoras;
 Timbales; e
 Drums
5 °) Caribbean, including Cuba, Dominican Republic, Puerto Rico, Haiti, etc.
– Instruments:
 Tumbadoras;
 Bongos;
 Claves;
 Timbales;
 Guiro;
 Maracás;
 Tambora Dominicana;
 Guira Dominicana;
 Xequerê;
 Batas;
 Djembe
PROGRAM CONTENT
1) Percussion Brazil: Brazilian Rhythms – about 50 variations.
a) Samba and its derivativation:
 Escola de Samba;
 Samba Rural;
 Partido Alto e outras variações;
 Samba de Roda;
 Samba de Partido Alto;
 Samba Duro;
 Samba de Angola;
 Samba Afro; e
 Samba Funk
b) Tambourine without limits with their respective technical:
 Samba;
 Choro;
 Samba-Choro;
 Samba de Partido Alto;
 Samba-Canção;
 Bossa Nova;
 Samba-Afro;
 Baião;
 Frevo;
 Xote;
 Galope;
 Maracatu;
 Funk and its variations;
 Samba de Angola;
 Variations of 6×8;
 Coco e suas variações;
 Xaxado;
 Vaneira;
 Vaneirão;
 Embolada;
 Maxixe;
 Samba Funk;
 Variations of 3×4 e 6×8;
 Translation of african-Brazilian rhythms to pandeiro; and
 variations and rhythmic techniques for improvisations
c) Pagode
(Samba de Mesa)
d) Forro (the party’s name):
 Baião;
 Xaxado and its variations;
 Frevinho;
 Frevo;
 Coco;
 Ciranda;
 Xote;
 Embolada;
 Galope;
 Rasta-pé and others
e) Maracatu and its baques:
 Baque de Impulso;
 Baque de Arrasto;
 Baque de Marcação;
 Baque Trovão;
 Baque de Parada;
 Baque Martelo;
 Baque Virado;
 Maracatu Estlizado e Orquestra
f) Baiano Rhythms:
 Reggae;
 Samba Reggae and its variations;
 Samba Duro;
 Derivados da chave de Rumba 3×2;
 Suingueira / Pagodão;
 Samba Angola;
 Introduction of african-Caribbean percussion within these rhythms. Example Dominican tambora, tumbadoras, djembes. And doing work polirritimia with the following instruments played at the same time: rês surdos na mão direita, caixa ou repique na mão esquerda, pé direito bumbo, pé esquerdo hit-hat ou cowbell;                                        Variations in Clave de Rumba.
2 °) Rhythms Andinos (Surenha Music)
 Carnavalito;
 Zamba;
 Chacarera;
 Chamame;
 Vaneira; and
 Vaneirão.
3 °) Peruvian music:
 Festejo;
 Lando;
 Valsa; e
 Marineira.
4 °) Colombia:
 Cumbia;
 Porro;
 Chande;
 Bullerngue;
 Cumbion;
 Mapalé;
 Gaita;
 Cumbia Madalena;
 Pajarito;
 Som Corrido (San jacinto Bolivar);
 Farota ( San Jacinto Bolivar);
 Som Palenque ( San Basílio de Palenque, Bolivar);
 Puya (Atlântico); e
 Curulao
5) Rhythms of Angola (Angola Rings):
 Igexá;
 Arrebate;
 Barra-vento;
 Alojá;
 Congo de ouro;
 Congo de Caboclo;
 Cabula;
 Samba-Cabula;
 Aquerê;
 Congo Nagô;
 Quebra-Prato;
 Bravum;
 Ilú;
 Iká;
 Sato;
 Opanijé;
 Adarrum;
 Vaninha;
 Capoeira;
 Quendá;
 Maculelê 1 e 2; e
 Samba de roda.
6) Caribbean, including Cuba, Dominican Republic, Puerto Rico, Haiti, etc.
 Salsa;
 Guajira;
 Songos and its variations;
 Acavalo com 1 e 2 tumbadoras;
 Azucares 1-2-3;
 Guaguanco rumba/matanza;
 Plena;
 Bomba;
 Charanga;
 Oriza;
 Calipso;
 Caribenho;
 Rala-Rala;
 Mozambique;
 Pilão;
 Jibaro;
 Pachanga;
 Variations of 6×8;
 Merengue Alomaco;
 Merengue Bomba;
 Merengue Direto;
 Pamblique;
 Raleo;
 Reggae and its variations

These Latin rhythms are also worked into the concept of polirritimia and independence, for example, bass drum and timpani; tumbadoras, cowbell, bass drum and clave; Dominican tambora, bumbo, hit-hat and caixa, exposing the versatility of the professional in the execution of various instruments played simultaneously.
Some of these rhythms are played with one, two, three or more tumbadoras. Are folk rhythms of different South American countries played with one, two, three or more percussionists translated into groups, bands and orchestras.
Included in this project the application of rhythmic technique of teaching tumbadoras drums in Latin rhythms, Latin rock, pop, funk and its variations, ballads, free jazz, dance and others.
Brasilia / DF, in August 2014.
EDSON QUESADA
61-8281-2085
Edson.quesada@hotmail.com

Liverpool 2016.

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