Fil
168 posts
Jul 25, 2016
7:51 AM
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This is so elementary as to be embarrassing. I was doing my usual noodling this morning and it just didnt seem to be going right. Then something reminded me of Adam's advice. Get your foot tapping and set the beat and play to that. There was no one else around to judge, but to me things just went better. "Thinking" the beat just isn't the same.
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Phil Pennington
Last Edited by Fil on Jul 25, 2016 7:52 AM
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SuperBee
3950 posts
Jul 26, 2016
7:14 AM
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I agree. I play a bit when I'm walking and I think it helps. The downside is that I'm inclined to play at walking pace
That's actually true, but also seriously I was talking with my daughter who has been choreographing a routine and teaching some of her friends to perform it. She was telling me how some dancers are inclined to work to musical cues, but she has been teaching the girls to count the beats so they will be more likely to stay in synch between the cues. I think it's the same concept just around the other way
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MindTheGap
1728 posts
Jul 27, 2016
2:54 AM
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Very true I think. But I'd like to make the beat with the harp (which I can't do) rather than play along to a beat (which I can).
When I hear people do it, I really admire that ability.
I keep meaning to track down a copy of that Rick Estrin teaching DVD, but I don't think you can get it in the UK. One of the reasons I'm tempted is watching the trailer - there's a snippet where he says something like... most people intend to play with a band so they don't develop a strong inner rhythm.
I've no interest in playing solo, aside from practising. So I guess that's what's happened. I should force myself to play solo, without a tapping foot, for this reason.
Last Edited by MindTheGap on Jul 27, 2016 2:58 AM
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SuperBee
3952 posts
Jul 27, 2016
4:56 AM
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Dave Barrett has a lesson series on solo playing which you may find of interest
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MindTheGap
1729 posts
Jul 27, 2016
7:10 AM
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Thanks, I might look that out.
A short while ago I took the trouble to work out twenty coherent things to play solo, with this in mind. The idea was to practice them so they became 'stock' and could be wheeled out on demand.
When I comes to the moment though (as happened this weekend) I often end up noodling and making stuff up on the spot.
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Fil
169 posts
Jul 27, 2016
1:59 PM
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I can't really hear the tapping foot. But there's something physical about it that syncs up with the mind or muscle memory or whatever and keeps the harp on track. Some players are so physical as to be distracting, however.
Re the stock of 20 some coherent things, same thing happens to me. When I do manage to integrate one into the noodling, it like a revelation.
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Phil Pennington
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MindTheGap
1730 posts
Jul 28, 2016
5:13 AM
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I see what you mean.
It was when I started routinely recording practice that I realised my pulse was missing. Playing along to BTs, no major problem. But playing solo I'd think it was ok, then leave it a day and play back: oh dear.
Not saying that's you though.
I do like things like Adam's playing along to his foot drum, as it gives something for his syncopations to work against. But his solo playing has a big strong pulse to it too.
Last Edited by MindTheGap on Jul 28, 2016 5:14 AM
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Fil
170 posts
Jul 29, 2016
9:05 AM
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MTG, check out the link below. Gussow's How to Play Slow Blues. He discusses keeping time at about 3:40. It goes back to 2007, I think, so maybe you've seen it.
https://youtu.be/zFXXrV-OfmM
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Phil Pennington
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MindTheGap
1732 posts
Jul 29, 2016
9:31 AM
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Fil thanks. I have seen that one, of course it's one of his classics. I think it was on the front page for a while. I agree with what he says that what sorts the sheep from the goats is the apply to make and keep time.
I can't pretend I'm rubbish at it, and certainly I can play with a band, but it's always worth practising I think.
One thing Adam does here to reinforce the pulse at a slow tempo is to add vibrato, which is like having a metronome going all the time. His vibrato is nicely locked to the beat, whether his foot is going or not.
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Sundancer
11 posts
Aug 02, 2016
1:26 PM
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Metronome is a cruel & effective teacher
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