61–70 of 70 posts
https://twitter.com/thot_exper1ment/status/14824898101743656... https://twitter.com/thot_exper1ment/status/14824953605849948...
I will still mail out postcard versions of these if people are interested.
I taught my plotter to write these in Steve Lacy's hand (trying to keep stroke order too)! https://twitter.com/thot_exper1ment/status/14824898101743656... https://twitter.com/thot_exper1ment/status/14824953605849948... I will still mail out postcard versions of these if people are interested.
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Also I'd have them try setting the metronome to half speed so it counts the 2 and the 4. It forces you to internally feel the downbeat. Plus it's nice to switch things up during your practice session.
double speed?
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Metronome diet. I play professionally and still use the metronome every single day. I tell students if I can, they can too. Some may see it as a crutch that prevents one from developing an internal pulse. I disagree; but maybe it’s a fake it ‘til you make it circumstance. If you set the metronome to accent the downbeat, it is difficult to allow yourself the luxury of stopping and restarting on errors. The most freque…
> it’s the tempo of perfection I believed in this as well for many years, but I've taken some lessons with famous bluegrass guitarists and all three of them said that you can't really play fast (which in bluegrass is "blistering") unless your body has a feeling for what it's like to be moving quickly at speed without tensing up. All three recommended occasionally taking a swing a tempo that was too fast just to get t…
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it's considered very bad form, especially in orchestra's , _especially_ by the conductor because it means 1. you're not following them 2. it's very distracting for the audience/other members of the band 3. it's a 'beginner' tendency, shows lack of self-control.
I've played in a few orchestras in my life and never heard that opinion (other than the part I previously mentioned, when it becomes a distraction to the audience), but I suppose some conductors may feel differently.
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I've played in a few orchestras in my life and never heard that opinion (other than the part I previously mentioned, when it becomes a distraction to the audience), but I suppose some conductors may feel differently.
My experience is it was relentlessly drilled in all early students
Oh yeah, Monk is 100% right. Keeping time is far more important than both intonation and feel. (And intonation is more important than feel.) Young music students in the US are usually taught in a pre-conservatory style (analogous to how young students are taught in a pre-academic style). This leads to the mental prioritization of playing the correct notes, giving recitals once or twice per season, and following the m…
My son is learning the piano and I cannot seem to teach him rhythm. Aside from the habit of stopping at every error (which bugs me to no end), he can hear a song once or twice and pick out the correct notes, but rhythm is still a mystery to him. I learned rhythm so long ago (it was a core part of my elementary school music class before I ever started learning an instrument on my own) that I have no clue how to help h…
https://www.kropinski.com/english/timing-problems-getting-in...
Oh yeah, Monk is 100% right. Keeping time is far more important than both intonation and feel. (And intonation is more important than feel.) Young music students in the US are usually taught in a pre-conservatory style (analogous to how young students are taught in a pre-academic style). This leads to the mental prioritization of playing the correct notes, giving recitals once or twice per season, and following the m…