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Was bitteschön sind T-Beats? :confused:ich unterschreibe voll das Metronom auf den T-Beats (was ja eingentlich im Jazz kein OFF Beat ist - sondern eben Tension=Swing
Dear Hasenbein [Name von mir geändert, gez. Hasenbein], unfortunately there is no short answer for this but.. Playing in half-time does have the risk of playing a little laid-back or behind the beat. You kind of have to “push” your lines a little to avoid that. Also, there are two kinds of time players and you’ll have to find out which kind you are; there are those that play good time and those that play “with“ good time. The former tend to play at only one place on the beat (such a Red Garland or Stitt), the latter can play any place on the beat and are usually “subdividers” (like Rollins, Dizzy) who can play anything anywhere on the beat and subdivide the beat accurately to the smallest subdivision. Sometimes we call these kinds of players “flexi-time” players because of this ability.
When I was young I tried to always play at the same place on the beat but it felt very rigid. When I didn’t try to play that way it felt like my time was all over the place, thinking I had bad time until I realized I was a subdivider.
I don’t recommend using a metronome as it is an external time keeping device. Whether you set it on 1 & 3 or 2 & 4 it is still a mechanical approach and good time has to be internalized.
This is a complex subject that can’t be discussed simply but perhaps a few clues will suffice to set you on the right track: USE TONE TO KEEP TIME. Every struck or plucked instrument, piano, bass, drums, guitar, etc. (actually all instruments have this but it’s easier to use on these kinds of instruments) have their own built-in metronome that you can use to time your lines; the swell & decay of the notes and their overtones. Their rates of vibration are fixed. Try playing a scale slowly picking the same place in the swell or decay of each succeeding note to play the next note. The slower you play you’ll attack each note somewhere later on in the overtones of the note, faster notes are attacked during the initial swell and/or decay of the notes. The concept here is to change your perception of articulation from one of perceiving a series of notes as a series of attacks ( too short a musical event for the mind to control) to a series of durations ( a longer event that the mind can control), i.e. controlling the duration of your notes. Controlling what goes on in between the attacks is the key to playing good time. This is where the old adage “music is in the spaces between the notes“ comes from. You can pick any place in either swell or decay to attack each next note (see below) In thus instance you are using duration, not attack to control a passage of notes.
It takes a while to hear this at speed but over time you will. Don’t try to bring this process directly to the bandstand. This is a perceptual problem of not being deeply involved in the sound of your instrument. Do it enough and it will change the way you perceive tone. It is this changed perception you bring to the bandstand, not the process of practicing this. There’s much more to this than the above but this should give you a clue.
Gerade für Anfänger-Situationen finde ich das 2-4 Metronom gut um an das Swing-Feeling heranzukommen. Ich glaube das war auch was ich oben meinte: Ich stimme zu, dass ein Betonen der 2 und 4 im Jazz helfen kann (um z.B. einem Deutschen das 1-3 oder 1-2-1-2-1-.... Marschgefühl auszutreiben )
Und was ist, wenn das Stück mehr als vier Takte hat? 8)Metronom immer alle vier Takte auf die 4 !
(Du meinst Swing kommt vom ternären? dann wären wir uns einig)
Die andere Weisheit: "gerade spielen und ternär denken"