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I've developed an app for Iphone for practicing polyrhythms. If you're interested you can check out our website and see if you find it useful. we also have some videos about methods of practicing.


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This is certainly not a marking confined to music for beginners. It is a perfectly legitimate marking; for instance, in Italian the marking is ritmico. Any passage of music can be played making a greater or lesser emphasis of the rhythm of the music. It is possibly easiest to think about the effect of not playing rhythmically (without rhythmic ...


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What is an example of music which is not meant to be played rhythmically? Cage's 4'33". More seriously, they're calling for the beats to be emphasised, much like most marches and dances. Other kinds of music may indeed have a beat as a rhythmic foundation, but may not particularly emphasise it, may at times even work against it. There are plenty of ...


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The closest term for what you are referring to is subdivisions as the beat is divided in into smaller parts. The term subdivision is always used when talking about note values less than the beat: For example on the Wikipedia article for Counting Music states: Triple meter, such as 3/4, is often counted 1 2 3, while compound meter, such as 6/8, is ...


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How is it possible for unlettered musicians to excel? First premise: Music is created and manifests itself in real time in sounds generated among people. Corollary: Notation is not music, but the record of music. Music theory is not music, but rather a systemized way to analyze it. Second premise: People tend to attribute to musical experiences both ...


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I play for dancers so here's my take: The musicians are counting each bar with four beats per bar (measure) but actually there are only two accented (louder) beats per bar, on the "1" and the "3". These accented beats provide the pulse of the music. The dancers are counting these accented beats in their "8" counts. When you dance and count to "8" on a 32 ...


3

Generally, in most music that progresses in phrase lengths that are multiples of 2 bars (which covers a lot of dance music), the odd-numbered bars generally have greater stress than the even-numbered bars. To be precise, the first beats of the odd-numbered bars have more weight than the first beats of the even-numbered bars, and the starting points of ...


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Well personally for me I've been playing guitar4 months Now with no previous experience with instruments and I'm actually giving lessons too others. I play constantly and can learn most songs in a good 2 hours and master them by 4. It's all about practice practice practice. I write my own music as well and I tend to make up the best stuff when I'm not even ...


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I notice two differences in the drum beat at this point. One is what Tim mentioned in his answer, the beat takes on a swing rhythm, specifically the 16th notes are swung. The other difference, which I think might be what you are referring to, is that the snare hits start to happen on the upbeats and twice as frequently. This would be called a Double Time ...


2

If it's between 1:00 and 1:25, it's gone into a swing feel, same tempo, but the bars are played with a triplet feel instead of straight 4s.Found more in a jazz situation, but, hey, why not put it in and keep it in?


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Carnatic tradition konnakol, maybe - Konnakol in Wikipedia. Here's an example from Steve Smith and Vital Information: Interwoven Rhythms - Synchronous. John McLaughlin uses the system as well.


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The Indian system is highly developed and the syllables used to vocalize specific drum rhythms and sounds are referred to as bols. They are often encountered in North Indian music as 'tabla bols,' though the tabla is usually played together with a lower drum called the baya. I studied this system only for a year many years ago. Now there are many text and ...


2

Egos lie, metronomes don't. Your sense of time is foundational to your skills. You may have the greatest chops in the world, but a poor sense of time will make you sound sloppy and amateurish. Every musician needs to develop a strong sense of time. Practice with a metronome often. Be very intentional about locking into the metronome, it's very possible to ...


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You don't definitely say you play with a drummer but if you do they should be setting the time. Perhaps your band doesn't follow the drummer, or perhaps your drummer isn't great - either is bad but it's too easy to assume it's the drummer's fault if other players 'fight' to lead the rhythm. You could try playing with a Click Track and see what happens.


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In my piano lessons, my teacher never made me use a metronome, but instead wanted that I develop my own tempo sense. Of course that went over years of teaching, it's not something that you learn in a day or two. But I guess you already understand this. Here are a couple of suggestions: ask your guitar teacher, because it is something that must be trained ...


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It may not be you! Having played in scores of bands over the years, it is apparent that there are many players out there who do not keep very good time. It sounds scathing - it's not meant as such - but it's true nevertheless. Drummers who swear blind they are solid, singers who come in in the wrong place. All good fun, and something to work on... A ...


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It's a good start that you are aware of the problem because many people never become aware of their timing issues. I suggest you use a simple DAW or a drum computer for producing drum grooves with variable tempo. Choose a comfortable tempo and keep playing a 4-bar vamp which is technically not challenging for you. The latter is important because as long as ...


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Dom's article on stretto applies in many cases, but not this one. At the start of BWV 578, Bach is using a real (not tonal) answer. That means that the answer is an exact transposition of the subject a fifth up. Consequently he is obliged to write a small bridge episode of 1-1/2 bars to prepare for the entry of the subject on the tonic in the tenor. It ...


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In the example that you posted (the "Little Fugue"), what you have is the rhythm getting a half-bar "out of phase" with itself. This is something you actually see quite frequently in classical music (or at least Baroque music) that's written in common meter (4/4). It's by no means unique to fugues. I'm not sure I've ever heard anyone directly discuss the ...


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Can you play the passage ABSOLUTELY correctly, every time, with seperate hands? If not, practice slower. You seem to be referring to the results within one practice session. Sleep on it. You'll be surprised!



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