Lemoine ALLERME-LONDOS S./NEIDHARDT N. - A VOUS DE TROUVER LE RYTHME + CD
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Lemoine ALLERME-LONDOS S./NEIDHARDT N. - A VOUS DE TROUVER LE RYTHME + CD
27.10 €
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NN: Sophie, how did you approach rhythm in the context of your piano learning?
SA: Through the so-called classical structure, via musical training. It is obvious that without the accompaniment of an instrument, rhythm can seem abstract, and it is through instrumental practice that one refines their sense of rhythm.
NN: Did you mostly work alone with your metronome?
SA: The metronome is an important tool, even if you don't live with it! Over time, you have to internalize this pulse necessary for any musical setup, especially when playing alone. Is rhythmic perception in Jazz and Pop very different?
NN: Yes, because you look more for "imperfection" rather than metronomic precision. Jazz musicians are often self-taught and have developed a "groove" or a "feeling" without learning music theory but only through group playing interaction.
SA: You talk to me about "feeling," I could translate it as "interpretation." Is it the same for you?
NN: Yes, these are two ways of expressing the same thing: the shift relative to the metronome which results in rhythmic imperfection... it is the "human factor" that makes music pleasant to listen to, not the perfection of a machine playing notes. For example: does "playing behind the beat" exist in classical music?
SA: Not really, because it is a mode of expression that doesn't necessarily have its place in classical music; you can't imagine playing Bach with fluctuations... However, playing Chopin with a freer approach... why not! When you improvise, do you use certain recurring binary or ternary rhythmic patterns?
NN: The vast majority of pieces we improvise on in jazz are based on ternary or binary-ternary phrasing. The experienced jazz musician "juggles" with both.
There are many models or "patterns" like bossa, pop, or rock that we will discover throughout this method... This method is not a rhythmic solfège manual. We will enable you to learn rhythm through your ability to reproduce heard examples and will offer written elements as support. It's up to you to find the rhythm... propose rhythmic solutions to advanced readers of "It's up to you to improvise..." and facilitate their improvisation learning. This method is also aimed at musicians who play in groups and who wish to perfect their rhythmic knowledge. An audio CD offers exercises for pianists allowing them to play with a "virtual band" (bass, drums, percussion...) which will make the exercises more fun. We hope that this journey through different styles will help you discover or better understand how some current rhythmic systems are broken down. If you play in a group or intend to do so, this method will help you understand the interaction between several musicians. But above all, do it at your own pace...
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