febrero 28, 2011

Maestral!




Last december, I patented a new model of cajón; I had been studying for quite a long time the possibility to make an instrument that allowed the playing board to be removed and replaced, just like it can be done with drum heads.

As a drummer, if you wear out a head, you don't throw away the drum, you just put a new head on, also, you may need a certain thickness of surface to get a specific sound, or even write out the name of your band on the bass drum; so why couldn't we apply the same concepts to the cajón?

El pasado mes de diciembre he patentado un nuevo modelo de cajón; había estado estudiando desde hace bastante tiempo la posibilidad de hacer un instrumento que permitiera la sustitución del panél frontal, de manera similar a los parches de tambores.

Un baterista, si gasta un parche, no va a tirar el tambor, sino que cambiará el parche, cosa que puede hacer por otras razones, como la de cambiar el sonido con un grosor o un materiál distinto, o incluso escribir el nombre del conjunto en el bombo; porqué no se podían aplicar los mismos conceptos al cajón?



There are some cajones that feature the front plate completely screwed onto the body of the instrument, but those are wood screws, not meant to be placed and removed for many times.
It had to be a system involving metallic threads, and a reliable tension mechanism which wouldn't be affected by the intense amount of vibrations that the cajón receives from the player.

After various attempts, I got on the right track, and did a few  prototypes which seemed to deliver a good sound.
So I proceeded with the patent requirements.
This took a considerable time and effort: all the drawings and descriptions were the applications of one fundamental concept which involved metallic threads and springs, yet the possible implementations were two: a difficult, elaborate version, and a simple one.

Existen unos cajones que presentan la tapa completamente atornillada al cuerpo del instrumento, pero se utilizan tornillos para madera, no aptos para ser quitados y puestos por indefinidas veces.
Este tenía que ser un sistema con roscas metalicas y un mecanismo de tension fiable, que no fuera afectado por las intensas vibraciones que el cajón recibe por el cajonero.

Después de varios tentativos, me puse en el buen camino, y fabriqué algunos prototipos que parecian dar un buen sonido.
Así que procedí con los tramites de patente.
Esto me llevó mucho tiempo y esfuerzo: los dibujos y las descripciones eran aplicaciones de un concepto fundamentál que preveía el utilizo de roscas metalicas y muelles, pero las posibles soluciones eran dos: una version difícil y elaborada, y otra bastante más simple.




The simpler version, existed inside my head, and in my drawings, but I didn't seem to be able to bring it to life, unless I gave up on certain maintenance requirements that were very important to me.
I wanted to make an instrument that could be dismounted and kept in perfect functionality by anyone, with basic tools and little effort, but the simple version didn't allow it yet.

La versión más simplificada existía en mi cabeza y en los dibujos, pero no conseguía realizarla, sin tener que renunciar a unas necesidades de mantenimiento que eran muy importantes para mi.
Quería hacer un instrumento que se pudiera desmontar y mantener en perfecta función por parte de cualquiera, con instrumentos básicos y poco esfuerzo.




The employees at the factory were quite interested and puzzled about this new instrument: they would pass by my working space and throw an eye, or ask a question, but judging by their skeptical and amused expressions, the ideal solution didn't seem achieved yet.
Then one day it all clicked; one of the employees, suggested that I used one of the pieces of the mechanism in a way that had not ocurred to me yet, as a result, I was able to eliminate  a lot of components that complicated the manufacturing process quite a lot.
The half smiles turned into pats on the shoulders, as the guys were finally convinced, and not so worried about having to produce a cajón that involved lots of  different bits and pieces.

Los empleados en la fábrica estaban bastante interesados e intrigados por este nuevo instrumento: pasban cerca de mi postación y miraban de reojo, o hacían preguntas, pero a juzgar por sus miradas escépticas, la solución no parecía haberse logrado.
Pero un día todo se solucionó:  uno de mis empleados, sugerió el utilizo de una de las piezas en una manera que no se me había ocurrido todavía, y el resultado fue la posibilidad de eliminar muchos componentes que complicaban bastante el procedimiento de manifactura.
Las medias sonrisas se transformaron en palmadas sobre la espalda, ahora que los chicos se habían convencido, y no tenían la procupación de tener que fabricar un cajón hecho de un montón de piezas distintas.





I had various names in mind for this instrument, but what made me decide was that on the day of the "light bulb", an incredibly strong wind from north west swept the region of Catalonia, where we are based, and by coincidence, the name that I liked the most was Maestral.
Since I love sailing and windsurfing, and the Maestral in the mediterranean usually shows up as a friendly breeze, this name brought a lot of fond memories.
This time it came like a storm,  so I took it as a strong sign.

Tenía a varios nombres en la cabeza para este instrumento, pero lo que me hizo decidir fue que en el "día de la bombilla", un viento increiblemente fuerte de noroeste barrió la región de Catalunya, donde estamos afincados, y por coincidencia, el nombre que más me gustaba era Maestral.
Soy aficionado de la vela y el windsurf desde siempre, y el Maestral en el mediterraneo suele presentarse como una brisa amistosa, por lo cual este nombre me traía buenos recuerdos.
Aunque esta vez llegó en forma de  tempesta, lo tomé como una clara signal.
















Within two days I had the final version, "the number 0", in my hands, and I realized that it would have been great if I could have it tested by a top player in a good setting.
All of a sudden I remembered that Paquito was coming near Barcelona to play with Vicente Amigo, one of the greatest Flamenco guitarists in activity.
To make this coincidence even stronger, this concert was part of a festival named "De Cajón!" (an expression that in Spanish means "of course").

We varnished the cajon on saturday at noon, and by 5 pm I was on my way to the theatre Sagarra in Santa Coloma de Gramenet; I called Paquito and asked him if he was willing to try it out, and even play it at the show.
"I'll give it a try, but I must warn you that I am currently very happy with the last Yaqui that you gave me, so it better be damn good to convince me to swap them over!".


Al cabo de dos días ya tenía la versión definitiva, el "numero 0", en mis manos, y me dí cuenta que hubiera sido genial tener un banco de prueba a mano de un  cajonero muy bueno , en un contexto real.
De repente me acordé que Paquito iba a tocar cerca de Barcelona con Vicente Amigo, uno de los más grandes guitarristas Flamencos en actividad.
Para más coincidencia, el concierto formaba parte de un festivál llamado "De Cajón!".
Barnizamos el cajón el sabado por la mañana, y a eso de las 5 de la tarde estaba en la carretera, rumbo al teatro Sagarra de Santa Coloma de Gramenet; llamé a Paquito, y le pregunté si estaba disponible a probarlo e incluso tocarlo en el concierto.

"Lo probaré, pero te advierto que de momento me encuentro muy contento con el ultimo Yaquí que me diste, así que tendrá que ser muy bueno para tener que convencerme a cambiarlo!"



Well, it was  pretty good in the end, because it passed the sound check test and made it to the gig, so Paquito was the godfather of the new Maestral, and its first gig was Vicente Amigo.
Not bad for the first day out of the factory!
These are a few pictures of the day, with Gabriele and José,  DG employees, Paquito, and members of the Vicente Amigo group, bass player Antonio Ramos "Maca", dancer Dani Navarro, and the Man himself.
Next stop for the Maestral will be at Frankfurt Musik Messe, one of the largest music fairs, if this was the christening, then that will be the debutant ball.
Woooooosshhh!

Bueno, al final estuvo al altura de la situación, porqué consiguió pasar el examen de la prueba de sonido y hacer el concierto, así que Paquito  fue el padrino del nuevo Maestral, y su primer concierto fué con Vicente Amigo.
Nada mal para ser el primer día fuera de la fábrica!
He aquí una selección de fotos del día, con Gabriele y José, empleados de la plantilla DG, Paquito, y otros miembros de la banda de Vicente Amigo, el bajista Antonio Ramos "Maca", el bailaor Dani Navarro, y el Hombre en persona.
Próxima parada para el Maestral será en el Frankfurt Musik Messe, una de las más grandes ferias de instrumentos musicales; si este fué el bautizo, aquello serà el baile de debutantes.
Wooooooosshhhh!


































febrero 19, 2011

Cajón Power hits the Royal Northern College of Music


video


Another successful masterclass by Marco Fadda; this time it was at the Royal Northern College of Music in Manchester, during the Day of Percussion Festival.
This prestigious music conservatoire had asked me to hold a cajón workshop in 2010, and since it went down well, the organizers extended their invitation to this year, requiring Marco to be part of the main programme.
Marco speaks some English, still he felt that I would be necessary as  translator, because having worked together at the making of the dvd,  I'd know how to convey Marco's words and concepts as faithfully as possible.
However, I must say that in the end Marco did pretty well by himself, so my contribution  stayed on a pretty accessory level.


Otra exitosa masterclass de Marco Fadda: esta vez fue en el Royal Northern College of Music de Manchester, dentro del festival Day of Percussion. 
Este prestigioso conservatorio musical ya me había invitado en el 2010 para hacer unas clases colectivas de cajón, y como tuvieron una muy buena acogida por parte del público, los organizadores extendieron la invitación a Marco, para incluirle en la programación principál.

Marco habla un poco el Inglés, pero sintió la necesidad de mi presencia como traductor, porqué al haber trabajado juntos en el dvd, sabría enteder correctamente sus palabras, y procurar que en inglés fueran fieles a los conceptos originales.
De todas formas, se vió que Marco supo explicarse bastante bien por sí mismo, así que mi contribución se quedó en un plano accesorio.



This masterclass was conceived as a  condensed synthesis of Cajón Power. but it opened with a very intense solo, and then moved to the explanation of some traditional playing styles.
In front of an audience of 200 people, Afro Peruvian, Afro Cuban and Flamenco rhythms were represented respectively by a Landò and Festejo, Guarapachangueo, Bulería and Rumba.
Marco showed these beats and played them with the aid of pre-recorded rhythm tracks, featuring Cajita, Quijada, Cencerro, Clave, Palitos and Palmas.
He then talked about the diverse hand techniques for each traditional style, and  explained how the Flamenco style cajón, with snares inside, is particularly suited for applications in other musical fields, performing a couple of Brazilian rhythms,  Samba and Baião.
After that, he moved to a larger percussion set, demonstrating how the cajón can blend perfectly with hi-hat, snare drum and congas, by mixing all these ingredients down in an infectious groove.






Delante de 200 personas, la clase magistrál fue una sintesis muy condensada del dvd Cajón Power, pero abriendo con un solo muy intenso, para luego enseñar una selección de estilos tradicionales. 

Lo Afro Peruano, Afro Cubano y Flamenco fueron representados respectivamente por un Landó y Festejo, Guarapachangueo, Bulería y Rumba.

Marco explicó estos patrones y los tocó con el auxilio de bases grabadas con Cajita, Quijada, Cencerro, Clave, Palitos y Palmas. 

Luego demonstró las distintas posturas de las manos, según cada tradición, y habló de como el cajón al estilo Flamenco, con bordoneras en su interior, está particularmente apto para ser tocado en contextos musicales no tradicionales, tocando unos ritmos Brasileños de Samba y Baião.
Después pasó a tocar con un set de percusiones más amplio, demonstrando como el cajón se puede integrar perfectamente con hi-hat, caja y tumbadoras, mezclandolo todo en un groove contagioso.


The final part was a vibrant live duet with a very talented musician whose speciality is  the art of human beat box.
Jason Singh, a young Londoner now based in Manchester, tuned in smoothly with Marco, surprising the audience with an incredible display of diverse rhythmic influences, ranging from Brazilian, Indian, African and Hip Hop.
An amazing quantity of stuff, if we think that this masterclass lasted just an hour! 

La parte finál fue un vibrante dueto en directo con un músico excepcionál, especializado en el arte del beat-box vocál. 
Jason Singh, joven Londinés  afincado en Manchester, se sintonizó con Marco, sorprendiendo el público con una increible muestra de distintas influencias rítmicas, desde Brasil, India, Africa, hasta el Hip Hop,

Bastante asombroso, si se piensa que esta clase duró una hora!







Marco was also invited by Victor Mendoza, to perform with the RNCM Big Band at the closing concert.
Victor is a great vibraphonist who also teaches at the Berklee School in Boston, a really friendly and energizing  presence, so we had a good time hanging together after the event as well. 
Very "chevere" indeed!

Marco recibió también la invitación de Victor Mendoza a tocar con la Big Band del RNCM en el concierto finál.


Victor es un gran vibrafonista que también enseña en la Berklee de Boston, una presencia muy amistosa y energizante, así que pasamos un buen rato juntos también después del evento.

Muy chevere de veras.







It was also a very happy time that I had with my british friends: I finally got to meet Tom Chapman and Lea Mullen in person (two fantastic percussionists of the DG roster), and caught up with David Ledsam, who is doing an excellent job distributing DG in the UK, plus Ian Croft, who was filming the event for his  brand new internet drum magazine.
Thanks again to the organizers of the event, Bruce Parry, Simone Rebello and Ian Wright, percussion teachers at the Royal Northern College of Music, and all the students, a really nice and friendly family.
See you soon chaps!

También lo pasé bomba con mis amigos británicos: por fin llegué a conocer de persona a Tom Chapman y Lea Mullen (dos fantásticos percusionistas del equipo DG), y  saludé a David Ledsam, que está haciendo un trabajo excelente con la distribución de DG en Gran Bretaña, además de Ian Croft, que estuvo filmando el evento para su nuevísima revista de percusión on line.


Otra vez gracias a los organizadores del evento, Pruce Parry, Simone Rebello e Ian Wright, profesores de percusión de la Royal Northern College of Music, y a todos los estudiantes, una familia muy amistosa y felíz.

See you soon chaps!




febrero 18, 2011

Silvia Pérez Cruz


                                                                         

Silvia Pérez Cruz, is a new endorser of Percusiones DG.
An excellent and versatile singer, Silvia is becoming quickly a very popular artist in Spain.
Not only she sings in various succesful combos, but she also happens to be a good cajón player, so she often switches to percussion, or even does the two things together.
I got to see a concert of one of her bands, Las Migas http://lasmigas.com/, at Palau de la Musica in Barcelona last December.
It was there that I gave her a cajón, and she played it straight away.
Now, a few gigs later, she is finally convinced that DG is going to be her first choice whenever she will need a cajón, and we are very happy about that.
Thanks a lot, Silvia!



Silvia Pérez Cruz es una nueva esponsorizada de Percusiones DG.
Cantante excelente y versátil, Silvia se está convirtiendo rápidamente en una artista muy popular en España.
No solamente canta en muchos conjuntos de éxito, sino que también es buena cajonera, asì que a menudo se pasa a la percusión, o incluso hace las dos cosas al mismo tiempo.
Asistí a un concierto de uno de sus grupos, Las Migas http://lasmigas.com/, en el Palau de la Musica  de Barcelona el pasado Diciembre.
Allí le dí un cajón, y lo estrenó la misma noche.
Ahora, después de algunos conciertos más, se convenció finalmente de que DG será su primera opción cuando tendrá que tocar el cajón, y estamos muy contentos por esto.
¡Moltes gràcies, Silvia!


febrero 08, 2011

Marco at the 2010 Cajón Festival in Perú



At last we are able to show you a report of the successful participation of Marco Fadda at the 3rd International Cajón Festival in Lima, Perú.
It was an enormous honour for Marco to go and present the dvd Cajón Power in the homeland of our beloved instrument.
He held a masterclass, and did the closing concert of the event with local musicians; just look at these pictures, and you will see how well it went down with the crowd.
Not an easy task, but Marco's talent and positive energy conquered everybody's heart.
www.cajonfestival.com






Por fin podemos enseñaros un reportaje de la exitosa participación de Marco Fadda en el 3er Festival del Cajón en Lima, Perú.
Fue un enorme honor para Marco el poder presentar el dvd Cajón Power en la patria de nuestro querido instrumento.
Hizo una clase magistrál, y cerró el evento con un concierto junto a musicos locales; solo con mirar las imagenes se pueden dar cuenta del éxito que tuvo con el público.

Una empresa nada facil, pero el talento y la energía positiva de Marco conquistaron el corazón de todos.





febrero 03, 2011

Dave Weckl plays DG!


An illustrious new endorser joined us: the world famous drummer Dave Weckl expressed a great interest about the cajón when I met him at the 2010 Drum Fest in Seville, so we sent him some of our gear.
He tried it and started playing and recording it straight away.
It was great to have such a positive response from him, and we also thank his daughter Claire, who took this great picture.

Un ilustre nuevo esponsorizado se une a nuestro equipo: el baterista de fama mundial Dave Weckl expresó mucho interés para el cajón  cuando le encontré en el Drum Fest del 2010, así que le enviamos algunos de nuestros productos.
Los ha probado y en seguida empezado a tocar y a grabar con ellos.
Ha sido una satisfacción tener una respuesta tan positiva, y también agradecemos su hija Claire, que hizo esta gran foto.


RHYTHM magazine


DVDs review on RHYTHM magazine (UK)

Very positive comments about our dvds appeared on the december issue of Rhythm , and Cajón Power chosen as Best New Release.


Reseña de los DVDs en la revista RHYTHM (Reino Unido)

Comentarios muy positivos sobre nuestros dvds aparecieron en la edición de diciembre de Rhythm, y Cajón Power escogido como  mejor nueva publicación.



febrero 02, 2011

Cajón Power in Japan



Marco's picture made the cover on the december issue of JPC, a popular Japanese publication.
He held a masterclass at Komaki-Gakki, one of the most important drum shops in the nation, which went down really well.
Rumors are that his services will be required soon by a Japanese  music festival!

Congratulations Marco San... 




La foto de Marco hizo de portada en la ediciòn de septiembre de JPC, una popular publicaciòn musical Japonesa.
Ofreciò una masterclass en Komaki-Gakki, entre los màs grandes tiendas de percusiòn nacionales, que tuvo mucho exito.
Al parecer sus servicios van a ser requiridos pronto por un festival japonés!

Enhorabuena Marco San...









The Interview
 Translation courtesy of Yuri Ozaki.

Thanks to the oustanding performance within the DVD "CAJON POWER",
Mr. Marco Fadda is attracting  rising attention.
On his second visit to Japan, Oct. 2010, he has organized a work-shop at JPC.
and instructed the basics of how to play the cajon and also his original style of playing.
After the work-shop, we have interviewed his unique background and his foresight.
MARCO FADDA

- Let us first ask you about the encounter with percussion instruments.
I first started to play the percussion instrument at the age of 11.
I have 7 brothers and my eldest brother is 10years older than me.
He loves music very much and he had (played) guitars and many pernussion instruments.
Although he was already self-dependent, every time he comes home, he used to talk to me about all sorts of music he knew.
One time I visited his house and found authentic instruments such as LP Conga and Bongo.
I asked him whether I can play these instruments and he let me touch all varieties of instruments.
From then, I got pulled in to percussion instruments.
Every weekend, I went to my brother's house and got together and jammed Santana's pieces with my brother's friends.
While I was a student, a Latin Percussion teacher (specialist) taught me the basics.
After graduating high school, I went to conscript service for 2years since there was a duty of national service in Italy during that time.
I started working at Genova Port conveying containers using a large crane after the 2years of conscript service.
Before working at the port, I was in a band and was in part of jams and concerts but I quit all these musical acts once
I started working at the port. This was to make time for practicing single-mindedly in order to improve my skills.
Not only practicing after work but I went to Spain, Cuba, Turkey, India and Peru during my weekends and holidays.
I really love all percussion instruments and am interested in all genres so I'd go to Cuba for conga and India for tabla.
I'd learn the method of playing at actual countries and practice when I return home to Italy. During this period, I spent my time
practicing, practicing and practicing. It was an input-period.
At the age of 30, I decided to quit my work at the port and started to work as a musician.
There were no places nor chances to perform and I had not one student to teach so I had to start from scratch.
I thought to myself, "from now on, I will act up to my own style" and started to output all my music which I've cultivated so far.


- Can you tell us the way of your practice more specifically?
When I find good musicians while listening to their CDs, I'd look them up on the internet, email them and go to their concerts.
The musicians which drew my attention, I'd approach and speak to. No matter whether they are famous or not.
I'd learn the techniques from them when I felt the need.
At first I had no acquaintances in any countries but since I am a jovial person, I get to be friends with anyone in a short period of time.
So I'd go and see them during my visit and I'd ask them to introduce their friends to me.
For example, my wife plays a Cuban style percussion and through her introduction, I got the chance to stay at a famous Rumba family while my visit at Cuba.
When I was working at the port, I had no musical acts but there was never a day not thinking about music. This remains the same now.
Everytime I hear music, I think to myself "how is this music being played?" and when I'm not doing anything, my hands move without thinking.
It seems like some kind of addicition. (LOL)
Learing a language is a difficult task for me but when it comes to music, I can pick it up instantly and my mind gets filled up by it.
I often think in my head the possibilities of combining different music.
- At today's work-shop, you have shown various techniques of performing the cajon. When did your current play-style establish?
P.7 It's only been around 10years since my current play-style has been established.
I believe that when I was about 30, I started to set-up my indivisuality in timbre, style and instruments.
The experiences and studies at various places during my time before becoming 30 has established my style.
My first encounter with the cajon was in my early 20s. A Bolivian friend who I was jamming together with has taught me.
I've listened to Flamenco CDs and knew the tone colour of the cajon but didn't know what it's exactly like nor the way to play them.
So I went to Peru, Spain and Cuba to study about the cajon.
My play-style of the cajon is an application of various play-styles of different instruments which I've seen in all sorts of countries.
For example, the play-style which I've introduced at the work-shop today, (the one which Darbuka and Bongo were the hints)
I did not learn this method of playing from a teacher but I've established it myself.
For example, the Darbuka play-style. I've met a musician playing Darbuka in Canada and I modified its play-style
originally to enable the performance on cajon.
Cajon is different with drum sets and also differs with other hand percussions which has its own way of playing such as conga.
I've took advantage of the point that there's no particular rule for playing the cajon and managed to establish many play-styles.
Cajon was a brand new instrument to us and I think this fact has allowed us to lead this result.
One of the magnetism of the cajon is that its sound does not fit into any of the genres.
Other instruments such as conga and tabla, conga is Latin and tabla is Indian. Most sounds are fit into "this genre of music"
but for this not true for the cajon. When you want "some kind of sound", the cajon is the perfect instrument.
Cajon can fit into any small composition of guitars or pianos. Playing the cajon has enlarged my work range.Now, cajon has become my main instrument. My work now is to introduce this instrument to many people who still doesn't know about cajon.


- You have visited Japan last August during the tour of Ms. Cecile Corbel. Can you tell us of your recent & future activities?
Yes. Last year I've landed to Japan for the first time to perform the theme song of a motion picture; "The Borrower Arrietty Trailer" by Studio Ghibli Movie.
Last April, I was in Peru to attend the "Festival Internacional del Cajon Peruano" which is an international festival of cajon.
I was invited by a famous musical family, Mr. Raphael Santa Cruz and I was the only European attending.
Many artists and musicians from the US and Latin America have attended this festival and carried out concerts and clinics.
I, myself had the chance to carry out a clinic as well. Many famous players have attended my clinic. I felt very nervous but I enjoyed it very much.
My recent activity is to bring forward the project of "Percussions and Voice".
I've composed and play the music of "Until being industrialized before the human race is born".
This music is only using percussion and voice. Instruments such as cajon is used and we also used stones and metals to express the music.
In my activity thus far, I played music which has groove so I'm thinking of playing something which is completely different.
I also would like to set up a "Cajon Orchestra" with around 20people, using all sorts of cajons such as Cuban cajon, Flamenco cajon, Peruvian cajon and so on.
It'd be interesting to make something such as a double-bass cajon. (LOL)
- Lastly, could you give an advise to the Japanese who are playing the percussions?
Firstly, when you play the instrument, don't think it as an exercise routine but to enjoy it as music.
Percussion instruments are not for playing independently. They are to play with people who plays other musical instruments.
It is important to have music always in mind and also important to learn about it continuously.
Secondly, it is very important to listen to other players' opinions, not just percussionists but players who play other musical instruments, too.

MARCO FADDA - Profile - 
Born in Genova, Italy: 1967.
Debut as a percussionist in "Avarta".
Won the victory with Daad Secchy at the "Percfest Memorial Naco" (The 1st International Percussion Festival) held in 1997.
Joined the tour + CD prodction of Billy Cobham, Stanley Jordan, Greg Brown, Sting and Ronnie Jones. Enterprises mainly in Europe energetically.
The DVD "CAJON POWER" which has been published in 2008, costarred with Billy Cobham and Giovanni Hidalgo.
Visited Japan in August 2010: assisted the Japan tour of a French singer "Cecile Corbel",
October 2010: assisted the Japan tour of an Algerian singer "Akim El Sikameya".





Marco Fadda's Work shop report.

On 3rd October, Marco Fadda's work shop has been held at JPC.Although the notification was less than two weeks, the work shop has achieved its quorum. This shows how Marco is attracting attention.
Firstly the demonstration of the performance. He has performed all sorts of play-style of the cajon.
The hall was drawn into Marco's music instantly by his performance!
After the demonstration, he started to lecture the basic method to play the cajon.
The main points of playing the cajon is the bass sound, ghostnote and the slapping.
All participators began to make the sounds after watching & listening to Marco's performance.
They start with the bass sound. Marco lectured two methods.
One is to use the upper part of the hand and to let go of the top head instantly after hitting.
The other is to use the whole palm and press the top head.
Marco creates various tones by changing the way of using his hands delicately.
Not just one "bass tone", these two methods clearly differentials the tone and it widens the range of expression!
Macro lectures on ghostnote and slapping after this.
"The point is to always have the rhythm of the ghostnote in your head when you move your hands!" as Marco strongly advised.
The practice of 4beats each for bass ==> ghostnote ==> slap has been acted out.