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  • Ejercicios de Calentamiento para Ser Utilizados Al Empezar Todas Las Clases de Instrumento y Ensamble

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    Oscar Leonardo Vanegas Ramírez
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    1. This document contains five percussion exercises composed by Rubén Darío to be used for warming up instrument and ensemble classes. 2. The exercises are presented as musical notation written above text indicating the percussion instrument to play. 3. Each exercise consists of a repeating rhythmic pattern played on percussion instruments such as bongos or congas.

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    Original Title

    Percusión

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    1. This document contains five percussion exercises composed by Rubén Darío to be used for warming up instrument and ensemble classes. 2. The exercises are presented as musical notation written above text indicating the percussion instrument to play. 3. Each exercise consists of a repeating rhythmic pattern played on percussion instruments such as bongos or congas.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    24 views2 pages

    Ejercicios de Calentamiento para Ser Utilizados Al Empezar Todas Las Clases de Instrumento y Ensamble

    Uploaded by

    Oscar Leonardo Vanegas Ramírez
    1. This document contains five percussion exercises composed by Rubén Darío to be used for warming up instrument and ensemble classes. 2. The exercises are presented as musical notation written above text indicating the percussion instrument to play. 3. Each exercise consists of a repeating rhythmic pattern played on percussion instruments such as bongos or congas.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
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    of 2

    CINCO PRIMERAS NOTAS

    Ejercicios de calentamiento
    para ser utilizados al empezar todas las clases de instrumento y ensamble

    Rubén Darío, su compositor.


    #1

    Percusion    

      
      




      
      



                    
    Perc.                

    #2

                      
    Perc.                   

              


    Perc.           

                 


    Perc.             

                  
    #3

             
    Perc.                   

                            
    Perc.                 

    MOCHILA CANTORA 2003


                       
    #4
       
    Perc.                       

                               
    50

    Perc.                        

                           
                          
    57

    Perc.

    #5

                           
    Perc.

                          

                            
    Perc.                      

                       
    #6

     
    Perc.                     

       
    #7
               
    Perc.              

                        
    Perc.               

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