Chris, You have summarized it quite well. As one who spent most of his musical career as a singer I might point out that the late great Frank Sinatra didn't have a very good voice (and I'll add that my interest in music has always been more to the traditional than the "pop"). But Sinatra led the band with his voice and phrasing. Bing Crosby wandered all over the time signature, as all crooners - but singers have that privilege.
Classical ensembles have to play "on the beat" to the extent that they are playing the same instrument - and particularly if it is "percussive". By now you know I play in a harp ensemble, and if the attacks are raggedy the music is awful. But songs have a a life of their own, so sometimes it is better to let the song carry (even if it is instrumental) and the background stay to the beat. I have now experience with Renaissance lute, but the notation and the other Renaisannce things I play indicate that there is a lot of "cross beat". The quarter, eighth, quarter, eighth, eighth, quarter that sometimes is called the Scot's Snap (from the Strathspey). Any soloist can do anything he wants, but it is better if he falls within the zone of the measures as to time. But when ensemble then the time must be strict, or intentionally staggered. And you are quite correct about the feel of "ahead of the beat". Hell, it takes a moment to get your foot on the brake when the light changes. If you play to the metronome you will always be lagging the beat. If you let the metronome enter your head and play to the internal rythym then you will be right on time. Have you ever seen an orchestral conductor using a metronome to keep his beat? A large ensemble, or orchestra, needs a conductor or a concertmaster to keep the time (as it changes subtly through the piece). A small one can do it with a bit of eye contact and a few toes tapping. Soloists are on their own, but should remember that the "ahead of the beat" still applies. Dynamics can make a swing to the music, and a dancing sound. A slight "jump" on a measure can accelerate the interest. Chris, pardon this diatribe - it is merely an agreement with your thesis. Just as pitch is relative, so is time. Dragging of a piece occurs when everyone is waiting for someone else to make the note so you will all be together. Hear the time, sing or play the note. It is yours. And if it is a fractional bit ahead the piece will be more lively. Best, Jon ----- Original Message ----- From: "Christopher Schaub" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Wednesday, November 05, 2003 5:07 PM Subject: Re: Passive metronome. > I've had quite a bit of experience playing in mixed groups with classical and > jazz players. I'm was always amazed at how badly the "classical" players keep > time. It's not just the difference in perceptions of time either, but the basic > ability to not drop the beat! Time can be divided into roughly three places > (this is really artificial but helpful for discussion): ahead of the beat, on > the beat and behind the beat. Jazz music is usually played with an "ahead of > the beat" feel, classical ensembles play mostly "on the beat" and funk and > blues players generally favor "behind the beat." All three time feels can be > played "in time" without dropping the beat. I find that most classical players > either try to play exactly "on the beat" or some flowing free style tempo for > solo pieces. I think classical players would do well to try and keep time more > consistently in a given piece or section of music. I also find that Renaissance > lute music seems to swing (almost like jazz in places), especially with thumb > under technique -- lends itself to eighths that are not exactly straight. So, > playing exactly in time is a bit more complicated than metronomic time. Try > playing "in time" with a metronome with an "ahead of the beat" feel so that you > are on the outer-most edge of the beat. This is something that jazz players > work on quite a bit and might make Renaissance dances feel a little more > lively. > > --- Herbert Ward <[EMAIL PROTECTED]> wrote: > > On Wed, 5 Nov 2003, James A Stimson wrote: > > > > > I recall, in a book about Pablo Casals, an encounter with a student who > > > wasn't playing in time, and Casals pointed it out. The student said, > > > "But I'm fantasying!" Casals said: "Fantasy as much as you like. In > > > time." > > > > I read something similar about Chopin. Despite being famous for his > > rubato, he often insisted that his students play in exact tempo. > > > > I think this was in the preface to an Alfred edition of his Preludes. > > > > > > > ===== > web: http://www.christopherschaub.com > email: [EMAIL PROTECTED] > > > >
