Ricardo -> RE: Pratising with metronome (Dec. 2 2005 16:41:52)
|
quote:
I know Ricardo says don't use Flamenco metronomes etc... But that's OK to say at his level when things became pretty obvious to him years ago, so it get's hard to remember when things were difficult to understand... Playing Flamenco to a single "tic-toc" metronome requires prior knowledge of the structure of compás IMO. Grrr![:@] Ok, here are my thoughts on it. The programmable pattern metronomes/Compas CD/Loops are definantly a GREAT tool to use for checking that your transcription or composition has the right number of beats. I use them myself to check that my stuff "works" , plus it is fun. The compas CD or drum machine/loops gives more the actual feel you have to play against. Also you can program a "special" metronome to do an odd time like 7/8, 15/16, or siguiriyas, and listen over and over to ingrain the phrase. No doubt that helps and gives you something a regular click does not give. But to use that ingrained phrasing, assumes that you understand how to subdivide and maintain tempo. Here is what happens. I hear a lot of folks practice with the accented metronome or compas CD, trying to "fit" what they already know how to play into the compas. They "aim" for the accents and try not to go "out" by adding/subtracting beats. After awhile they develop the ability to listen to the accents, hit them sort of, and never play "out" of compas. But they don't take care about all the space between the accents, the subdivisions, the groove. Once they are hearing the phrase, and never going "out of bounds", they think they have mastered the compas. If their goal in life is to not be a feelingless "machine", then this loose playing is quite satisfactory. If you practice with just an unaccented click, one beat to the next, taking care about the spacing between beats, feeling each note going to the next, you learn how to groove. And if the music you are learning, beat by beat, is as you understand it to be in compas, and you take care to not add or subtract notes, then you ARE learning the phrasing. No prior understanding of structure required. You simply learn phrasing by the music itself. As you get more control and speed, you can change what the click "means" (one click every 2 or 3 beats, or feel it as the "up" beat, etc). And you do the subdividing yourself without help, only reference of tempo. Once you can play an entire phrase or falseta, or entire piece in rhythm, feeling each note in the right place, than it is fine and FUN to double check it with the flamenco metronome or compas CD. You can also work with dynamics and such once you are feeling the time correctly. You can play off the accents, etc, but these are advanced concepts. The other trap with using the compas CD/flamenco met. is the half compas bulerias. Perhaps it is ideal to have a regular click met., a programmable flamenco met or drum machine, AND the compas CD/loops to cover all the bases. And if Flamenco Master can generate the normal unaccented click (of course it can) than that is all you need. (where is my cut Ron?[:D]) But I really think it is important to feel each beat and be able to control subdivision BEFORE trying to force your music to fit into the "compas clock" Ricardo
|
|
|
|