Relearning to count rhythms

Discussion in 'Trumpet Discussion' started by ♠♥CORNET♣♦, Oct 9, 2015.

  1. Churchman

    Churchman Mezzo Piano User

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    I would tend to imagine that those who don't count but 'sense' would not be playing classical symphonies where you have to come in after 73.9 bars of stuff.
     
  2. dangeorges

    dangeorges Pianissimo User

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    I believe that those who say they "sense" beats are referring to sight reading and reading rhythms - not counting rests. Obviously you are probably better off counting rests if you're waiting more than, say, 16 bars (just as an example).
     
  3. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Good luck getting a group of people to read words together in unison. True, each word has a "rhythm" of sorts, but for precision, even native speakers have to measure the timing.
     
  4. BigDub

    BigDub Fortissimo User

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    Some people are more"feel the rhythm" where others are methodical, almost mechanical.
    The feelers have to become more methodical, and the methodical need to work on more feeling......
    In my humble opinion.
    Confession, I'm working on being more mechanical when sight reading, so do the math.
     
  5. Ed Lee

    Ed Lee Utimate User

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    Once, when you truly develop the ability to read music and can proportionally balance it to tempo, the mechanical ability becomes methodical. True, much of the music we play is that we've heard others play thus emanation is a factor, and not always beneficial.
     
  6. edfitzvb

    edfitzvb Forte User

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    When I was a young man I always dreaded that first rehearsal with the symphony. As a young player I played 4th Horn (in whatever key the piece was written for) and I would often be out 30 or 40 bars before coming in on some note at the bottom of the horn. The issue was not only timing but pitch. Compound that with any transposition that is required, and sight reading is a chore. Understand that I was often the only local player in the section so there were no other horns to provide a framework for pitch.
     
  7. BigDub

    BigDub Fortissimo User

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    Sometimes the worst thing in progressing at sight reading is having a vertual sight-reading-machine sitting next to you. The real learning comes when you are thrown into the deep end and have to fend for yourself. A great sight reader sitting next to you can be an enabler who impedes your progress. It isn't easy to get out from under such a situation, so doing sight reading on your own is what you need to do in order to progress.
     
  8. Sethoflagos

    Sethoflagos Utimate User

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    I can't buy that you mentally subdivide beats in a performance situation. There just isn't the time to do it.

    It presupposes some read note - play note - read next note - play next note concept, which may work for a computer, but doesn't work for any human musician I've ever encountered.

    Sight-reading is a frequent reality of our line of business, and this requires us to recognise patterns of note clusters (syllables?) or complete bars (words?) or even phrases (sentences?) in coherent rhythmic patterns that are already a part of our vocabulary. These, or at least the standard Arban 'dictionary' of rhythmic patterns. need to be embedded deep in our subconscious otherwise we become the musical equivalent of the speaking clock.

    Apart from that, I agree fully with everything that's been said so far. ;-)
     
  9. BigDub

    BigDub Fortissimo User

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    Right. What Seth said.
     
  10. Ed Lee

    Ed Lee Utimate User

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    I really don't know which recess of my mind activates a cognitive response to what I see, but sometimes it is still functional. Yes, I scan ahead of what I'm at the moment reading/playing, or having played something so many times, it is lodged in my memory ... whichever.
     

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