Luckily, I'm not your average bear.
The complete approach to the fundamentals would include pitting cáscara and timbale bell rhythms against rumba and son clave, in both 3-2 and 2-3 orientations, sinistrally and dextrally. It immerses both hemispheres of the brain in every rhythm, fine-tunes the motor control (especially of the non-dominant side), and allows a comparison of phrasing.
Additionally, since research increasingly holds the cerebellum as the seat of timing, see for example:
- Ivry, R.B. and Keele, S.W. (1989). Timing functions of the cerebellum. Journal of Cognitive Neuroscience. Vol.1:2, pp.136-152; and
- Pollock, B., Gross, J., Kamp, D., and Schnitzler, A. (2008). Evidence for Anticipatory Motor Control within a Cerebello-Diencephalic-Parietal Network. Journal of Cognitive Neuroscience. Vol.20:5, pp.828-840;
And that's where I'm at, at the end of the beginning - killing three birds with one stone. Interpreting the timbale bell rhythm (subdominant) against rumba clave (dominant) in the 3-2 orientation; changing sides one in every four times, varying the phrasing and increasing gradually the tempo.
I'm in it for the long-term relationship, and I have my inspiring secondary school biology teacher to thank for this robust approach; although I suspect that Mr. Menon would never have anticipated this particular application.
Loo
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