​とくじろう   Tokuyiro

By the way, I thought that I wrote about songs, lyrics and songs, but never about conga. .. ..

I would like to take this opportunity to introduce the warm-up and training that I do on a daily basis. Then with tuning.

There are a lot of videos of overseas players, but it seems that few Japanese players are introducing them, so for beginners, I thought I should write down the purpose and method of each training.

I've been playing conga instruments for many years, and I've arrived at it by having my seniors teach me, being influenced by my favorite players, and sometimes taking on challenges.

I think there are as many ways and purposes as there are players, but the more options you have, the better. For beginners.

As you practice, you will find your own way.

The warm-up of the conga may come with a pinch, but if you don't warm up, the tone will be completely different. I didn't get the statistics, so in my case, I got burned.

Also, it is difficult to control the dynamics when it is not done. Rather, it is difficult to produce the desired tone with a small sound.

Some people can hit it without warming up at all, but I can't do it at all.

So, roughly speaking, the muscles on the back side of the wrist and forearm.

You will notice when you start doing the training (practice) introduced this time.

After a while, the movement of "Part 1" becomes painful around here. It's coming, but it doesn't end there, so I can't wait to rest for a while.

For those who had never played percussion, they wouldn't have done this kind of movement for minutes or minutes on a daily basis. That's it.

Even though we usually touch musical instruments, it will hurt at the beginning of the day.

Especially in the cold season, the muscles are hard to loosen, so it takes more time than in the warm season.

Basically, the content to be done is the same for both regular practice and before the actual performance, and during normal practice, 1, 2 and 3 introduced below are done in about 3 steps while raising the tempo to BPM = 90-110, 120. Burns, but in the warm-up before the performance, 90 alone takes about 10 minutes.

In terms of hand training, these three can be done by laying towels on a table or chair without an instrument, so please work on them.

I haven't tried the tone, but I think it's completely different when I actually touch the instrument.

Well, as with any instrument, I think the main premise for conga is how to play it with a beautiful tone.

Well, it's beautiful because it's a subjective problem, and each person is practicing aiming for a sound that makes them think "this!".

Also, there is a groove in a different story from the tone, but in some respects the groove is the same as the tone, and the key is how the body can move and how it can be moved. think.

Especially for ordinary people like me.

There is a senior saying that it is still stuck in my heart and is the driving force for me.

"I'm going to do it myself, but I can't do it at all. I don't have enough technology."

When I was searching for something that wasn't like that, I finally found a shape that I thought "this is it!"

Later, when I heard the playback, I knew that what the senior said was correct, but at the same time I was shocked and awakened by the words that pierced the core.

At that time, I tried various things with my small hands, but in the end, the cause was more fundamental.

All of the things presented here are practice methods to acquire the skills necessary to play conga to solve the fundamental problem, and as mentioned above, as a warm-up. This is what I usually do because I think it is the best.

It takes skill to express what you want to do, and I think the most important thing is to go around and practice the basics. Hurry up. Practice detailed techniques after basic practice.

Groove is another honey palm, this time pear.

As with all percussion instruments, first of all, you should be able to play your right and left hands accurately.

I wonder if the nuance is after that.

The samba percussion corps with that unique accent played at the Brazilian Carnival.

It seems that the locals just start by practicing squarely in a square for hours in time with the metronome, but in the end, I wonder if there is a good example that no instrument has a solid foundation.

The practice / training may be boring, though.

So to the main subject.

Whether you're starting conga or learning, the first thing you should be aware of is the form.

As you can see from YouTube, the form varies from player to player.

If there are 100 people, there are 100 people, and the body is made differently, including the shape of the hands, and there is a form in which that person can move the body most smoothly.

There is a famous "4 stance theory" in the world of sports.

The movement of the human body is divided into 4 types, but the best way to move the body for Mr. A is not the best for Mr. B, and how much training is done with the way to move the body that is not suitable for that person. However, it does not lead to good results. something like.

So, no matter how cool Mr. A's play is, even if he imitates Mr. A's form, he can't get close to Mr. A forever if it doesn't fit his body.

It is "sound" that imitates, not form.

So, when you return Hanashi, I want you to practice and train on a daily basis while searching for the form that you can move smoothly without waste.

Because once a strange habit is attached, it is very difficult to correct the habit later.

I had a hard time with this, so I would like to speak loudly to those who are in the stage before they have a strange habit.

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Also, if you can practice outdoors, please practice outdoors as much as possible.

Because the sound changes even if you make a room indoors, it sounds too much in a room that resonates well, and it does not sound in a room with soundproofing, especially for those who are new to musical instruments. It's hard to tell if it's ringing.

When it's outdoors, the sound doesn't reverberate unnecessarily, and the sound you hit is heard, so you don't have to make a mistake.

However, if you don't have legs, it will be awkward to carry the instrument, and if possible, it is better to go outside.

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