rhythm

An ictus is the emphasis of a beat. Having an emphasis on beat one is extremely helpful while working with a metronome. This ictus helps you to immediately know when you accidentally add or drop a beat while playing (with no ictus, the monotone clicking of the metronome gives you no indication of where you are in a bar/measure). On the app I use (called Tempo), it allows you to set the ictus. Luckily it defaults to beat one (shown as < inside the first circle in the provided pictures). If yours is not set this way, simply click on that circle to enable the ictus. continue reading...

Let's use an example of a common error when performing a memorized piece of music to a backing track or live band. Let's say that you accidentally rest for 5 beats after a phrase instead of the required 6. You've worked on your song so much to memorize it that you have the spacing worked out between each lick so well that if you're not saving some of your mental power for listening to the band as you play to make sure that you are where you're supposed to be in the form, then you'll most likely stay out of time for a loooong time.

Here's a tool you can use... continue reading...

It’s challenging to perform a piece of music. There are techniques (precise bending, tongue blocking, articulation, etc.), movement (conjunct and disjunct), dynamics (volume and tonal), rhythm (individual licks and their chaining together into phrases) and everything else involved in playing a particular piece of music well. continue reading...

To understand the two dropped beats at 1:44 you'll need to listen to one of the other verses for his vocal phrasing. Listen at 2:02 and you'll hear that he starts his vocals on the "and" of 3 leading into the next verse. Listen back to 1:44 and you'll notice that he starts his vocals on the "and" of 1 leading into the vocal verse after the bridge. The pickup to the vocal verse is two beats early. continue reading...

Playing in time is challenging, and when you think your timing is good, then try playing with a metronome. The skill you're developing is a listening skill. You listen to the metronome (which is a stand-in for another musician) and adjust your playing to stay in time with it. Just like when riding a bike with a friend and trying to hold a conversation, you're consistently adjusting your speed so that you're within comfortable speaking/hearing range. As soon as you lose concentration, you're soon too far behind/ahead to continue the conversation. continue reading...

Fast licks can be challenging to learn due to the number of notes packed into a small amount of time. Difficulty is heightened with awkward breathing patterns or the addition of challenging techniques such as bending or note treatments (dip, cut, gliss, slap, flutter or octave for example). Students will struggle to fit all of the notes of a passage in time, and in their struggle they'll often unknowingly play a lick too fast in order to get to what's next in the music. continue reading...

Be aware that when a passage contains a repetitive lick, e.i., a string of notes that are rhythmically the same (such as a triplet passage for more than two beats), most players will have the tendency to rush. Knowing that this is common, when you approach such a passage make sure to feel the pulse of the music and hold yourself back from rushing.

Chico Hamilton in "The Checkout" podcast interview stresses the importance of movement, specifically to "dance when you play." He states, "No one knows which one came first, rhythm or movement."

The Checkout Interview Podcast
Drummer Chico Hamilton
http://www.wbgo.org/checkoutjazz/chico-hamilton-euphoric-rhythm

My music instructor in college would often say for us to move our bodies while playing music, it helps with the rhythm. I sure have found this to be true through my years of playing and teaching. Though tapping your foot is a valuable tool, it's a fast muscle structure and can easily rush or drag without much indication to you while playing. When moving your body, the pendulum effect of the bodies large mass makes rushing or dragging less likely. Instead of your foot being influenced by your playing (faster/slower tapping), your body is influencing your playing (more consistent rhythm). continue reading...

In our last handwritten TAB example I add standard rhythm notation. Most of the time this isn’t needed while learning by ear, but if you’re having difficulty with the rhythm of a particular passage it’s beneficial to take the time to figure it out (better to spend the time to own a rhythm than cower from it when it comes up in the music). Note that I’ve also changed the 1 and 2 draw chords found on upbeats to a “P,” which indicates the technique Walter is using to sound those chords, the tongue block Pull.

Visit https://www.facebook.com/bluesharmonica for this handwritten transcription.