Re: [Harp-L] Re: using a metronome



I love the great tenor player Dexter Gordon's use of timing, the way he hangs back on a ballad like Tenderly or Cry Me a River for example with his big fat sumptuous tone which is just so cool and then on a tune like Our Love is Here to Stay which he does at a medium fast tempo when he's bang on top of the beat, so everything sounds almost crisp. I've noticed quite a few harmonica players quoting Dexter as an influence, maybe it's something to do with his tone and the definition of his notes that makes him such a good model for us.

I need to be much better at practicing with a metronome, yet more harmonica resolutions!

Bill

----- Original Message ----- From: "Ken Deifik" <kenneth.d@xxxxxxxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Monday, January 04, 2010 1:30 AM
Subject: Re: [Harp-L] Re: using a metronome



Elizabeth wrote:
By the way, I mentioned Al Jackson, the Stax drummer, in the previous post. Stax music was typically behind-the-beat music, but if everyone played behind the beat all the time, the music would've slowed down noticeably in the 2:30 of a record. Jackson solved this problem by playing the ONE of every eighth bar dead on on top of the beat. This kept the beat kosher all the way through. Clever, no?

Okay, here is my point of confusion: If everyone played behind the beat all the time, wouldn't the "behind-beats" (if you will) *become* the beat, such that the piece would have ended one behind-the-beat's-worth of time later, but not an accumulated piece's worth of behind-the-beats later?

How is playing ahead of the beat or behind the beat to be distinguished from sloppy rhythm playing? I mean, it's obvious from the discussion that it's something way better and cooler than sloppy playing (I/he/she/they MEANT to do that!), but how does that work?

The different sections on these recordings, horns, rhythm are doing all kinds of different 'behinds' and in fact there are always some very spicy hits coming before the beat, just when you don't expect them. (Those are often referred to as 'anticipations.') Listen to Soul Man by Sam And Dave. The rhythm section is ever so slightly behind the beat, while the horns are playing these staccato hits in front. You can hear it in the second verse, starting after the phrase "the hard way". Those subtle hits coming ahead of the beat while the rhythm section is playing behind really keep things moving. (Frankly, the horn section was often a second rhythm section. Amazing.)


And because these players all had sensationally good time, they are all ** implying ** the metronome beat, they're playing in reference to it.

The 'behind-the-beat' feel of Stax records, and many, many funky records beyond Stax, feels behind the beat because **you** feel the metronome, and you feel it because these sections are referencing it. Like much of music, you feel it even when you don't know you do.

When musicians are merely playing sloppily you don't feel what they're playing in reference to a beat, you hear the musician or group trying to keep up with each other or not even trying. Listen to any Stax record and you'll see that it doesn't sound sloppy in the least. (I must admit that the first really funky music I ever heard, Howlin' Wolf's recordings, sounded sloppy to me at first. Within a few weeks I had become acclimated to the sound and all it sounded like was pure pleasure. I'll never be 15 again.)

Now, this notion of playing in front of the beat or behind or on top of it is the whole reason you feel like dancing when you hear it. Your body is keeping a secret pulse, but the music is not going where you are expecting it to go. You are experiencing the pleasure of micro-syncopations.

Swinging is another form of micro-syncopation. I have always envisioned the idea of the metronome beat in swing music being these stationary poles that the musicians are swinging around. Swing and funk are very close cousins. In both 'feels' you are dragged along with the music, just about helplessly, as the musicians keep fooling your body and your ears very subtly. Your body keeps wanting to 'beat' here but the music hits just before or after where you expect, and just when you expect things to hit behind or ahead of the beat a good musician hits the beat dead on. Keeping it all very surprising to body and ears.

Listen for this phenomenon - it's everywhere in popular music. And as you grow your inner metronome by practicing with your outer one, and you focus more and more on how the great musicians are playing with your expectations of time, the better you'll get at doing it too.

Various musics have various before or after-the-beat characters. Bossa Nova drummers rush the beat, meaning they play ahead of it much of the time, giving it an incredibly bracing feeling, while the guitar is often dead-on.

Ringo Starr played ahead of the beat on many of the most exciting Beatles records, often being the secret key to all that excitement. (Ringo is criminally underrated, though other people also drummed on those records.) Ringo helped the Beatles records 'breathe' by playing ahead or behind the beat where appropriate.

For that matter, listen to any era of the Stones. Charlie Watts plays with unbelieveably hip swing, sometimes behind the beat, sometimes ahead of it, sometimes within the same figure. He's driving the rest of the boys because he's messing with ALL of their expectations and yours, too, as the audience.

So this is a good project for anyone who is interested. While working on your metronome, daily, choose a couple of your favorite records and tap out the time while listening for who is playing behind or ahead and where. After a while you'll hear this stuff naturally, and begin to think in terms of doing it yourself.

Ken


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