Some folks prefer the 1e&a 2e&a approach to counting, giving semis to each crotchet. A pupil of mine was helped by giving each note a name - amble = minim, walk = crotchet, run = quaver. Practise a lot just on one note, forget the melody side, and even before you pick up the flute, tap the rhythm of a new piece as you count - out loud! You may want to sing the timing - one pitch will do. You'll still need to count, and on flute it'll have to be in your head (mouth is busy!), but on your own, it will keep the tempo going. HOWEVER, if, at the stage you're at, you can't feel the pulse, or mark it with some part of your body - tapping foot, twitching shoulder, head nodding, counting in your head - then the humble metronome can come to the rescue. At the more difficult end, find the underlying pulse in classical music that doesn't have percussion. At the easy end, try following individual percussion sounds in dance music. It's very satisfying when you get it right.Īnother way to develop your internal metronome is by attentively listening to music, concentrating on the rhythm. One click per bar, heard on the 3rd beat, for example. You can try that exercise with parts you already know, with sections you're learning, or with sight reading.Īlso fun is to try playing with the clicks on different beats. Staying in time with clicks 4 bars apart is tough lots of good musicians would fail at that. You can try halving the metronome tempo a bit more. Now you're relying on your inner metronome more the click is an "anchor" reassuring you that you're getting it right. Now halve the metronome tempo again, so the click happens only on the first beat of every bar. Play along to it at the original tempo, listening for clicks on the 1 and 3 (assuming the piece is in 4/4). Now halve the tempo of the metronome, so that it clicks every other beat. Play your part along to it until you are comfortable. Start by setting the metronome to click on every beat that's the conventional way of using a metronome. One really useful exercise is this (it works best with an electronic metronome, as by the end the gaps between clicks are longer than a mechanical metronome can manage): Some people tap their feet to keep that going.īut it sounds as if your teacher doesn't appreciate the role that a real metronome can take in developing your internal metronome. You need an "internal metronome" - to feel the pulse of the measure in your head as you play.
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