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Salsa: Ear Training


Introduction
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This tutorial series ends, most suitably, with a demonstration of the very valuable skills that you've learned. All too often we end up taking them for granted, but it's important to be reminded of what you've got, and how valuable it is.

Ear training doesn't just stop at recognising sound and how they're combined. The semantics of the term tend to preclude further thoughtful exploration, tinkling happily in our ears but teetering before the threshold to our mind. Perhaps I should have called it Ear-Mind training instead?

Music is meant to evoke an emotional response; and so should not the dancer, whose role is to interpret music into movement, do the same? And if we ascribe to concept of the performance imperative associated with sonic power and fullness that define Cuban 'black music'1, then shouldn't this also be evident in our dancing?

I should warn you that answers do not follow within, but that the means to these answers do.
 


Footnote
1See Son Montuno and Afro-Cuban Aesthetics and Performance Practice in 'Arsenio Rodríguez and the Transnational Flows of Latin popular Music' by David F.García (2006) pp.56-60, Temple University Press. ISBN-13: 978-1592133864.
 
 

 
1999 Salsa & Merengue Society
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