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The way I see it, rhythm is rather abstract thing if not rooted in some kind of physical reality, I mean when not grounded in the body perception is subjective -- time stretches during busy parts and contracts when the music is sparse - it may easily go unnoticed. Clocks have real parts oscillating -- pendulum, atoms, the planet itself turning, so having a moving body definitely helps.
Playing alone or with a metronome or soloing relying on solid rhythm section is one thing - if technique permits it is not that difficult. Providing pulse when everyone is all over the place is more challenging.
Not that I completely deny possibility that one can not have good time if he is standing still, but most people whose time I admire visibly dance when they play:
I believe for those who do not move there still is some physical sensation they rely on - may be subtle and unnoticed, but real nevertheless.
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06-03-2021 05:32 PM
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of course ... in the end: it is alive, we are a part of it.
with this thread in mind, I monitored myself on the Piano this morning, there is lots of movement indeed.
It doesn't have to be, but there is tapping with the left leg, slightly rocking from the upper body, head noddings.
lots of stuff, to keep oneself engaged besides the things that are played.
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In the current context I recommend a read by Hal Galper:
JazzImprov Magazine Interview | Hal Galper
Edit: In case you don't know the mentioned Chick Corea article, you'll find it here:
Chick Corea article - The Myth of Improvisation | The Gear PageLast edited by DonEsteban; 06-04-2021 at 06:31 AM.
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Originally Posted by Filmosound 621
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see "tresillo" in wiki..
all the "clave" and rhythm theory talk is pontificating
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Originally Posted by rintincop
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Dammit Jim! I'm a guitarist, not a musicologist!
My only experience with clave was playing the instrument occasionally in a latin music outfit from about '72 to '78. We didn't have Wiki back then. The percussionist taught us. He called the rhythms clave and reverse clave. I liked playing a-go-go on batucada better.
Side-note: I talked to Ray Barreto's bass player about how to get our guy to play with the right feel. He described what he was doing as creating the feeling of swimming upstream against the flow. I liked that.
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Learning rhythms is fun, and will help you get more mileage out of what you already do.
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My theory is when you hear players grunting as they play in the records, they are actually vocalizing triplet subdivisions. If you vocalize triplet subdivisions up tempo, you sound like you're grunting but you can still feel the triplets as vocalized in your head. It helps you stay locked in with time.
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Originally Posted by frankhond
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Originally Posted by frankhond
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When I try to read something tricky, I resort to counting.
But, when I'm performing it, I try to have it translated into a drum lick I can sing. So, for example, suppose there's a hit on and-of-4. I can find it by counting 1 and 2 and 3 and 4 AND. But, on the bandstand, I'll sing to myself, Dah dah Dah dah dah da da DAH, or a simplified version of that.
There's a thread on here in which the clave idea was explained in more detail that I can.
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Originally Posted by rpjazzguitar
When you can feel it, feel it. But you can't feel everything right away.
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Most musicians count with their body, or just their foot. I realised I got free training in finding the clave when I surprised my guitar teacher by playing watermelon man - on piano. So many left hand lines do your clave for you!
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And I suppose finding the clave is best learned with some 10 tonne claves, like that second line, Broadway, (Tom Waits’s) Till the money runs out, Take Five. Right?
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It doesn’t hurt! Finding the clave of Parker tunes is quite instructive too. They all have em.
Hello from Chicago from big Mike
Today, 04:12 PM in Guitar, Amps & Gizmos