metronome is a device that generates audible clicks or other sounds at regular intervals that users can assign, typically in beats per minute (BPM). Musicians use the device to practice playing with regular pulses. A metronome usually includes a synchronized visual movement (for example, a swinging pendulum or flashing light).
Such a metronome is one of the discoveries of Andalusian polymath Abbas ibn Firnas (810-887). In 1815 Johann Maelzel patented him as a tool for musicians, entitled "Instruments/Machines for the Enhancement of All Musical Performances, called Metronome".
Musicians train with the metronome to increase their time, especially the ability to follow the tempo. The metronome exercise helps internalize the sense of time and tempo. Composers often use metronomes as a standard tempo reference - and can play or sing their work to a metronome to get a beat per minute if they want to show that in a composition.
When interpreting emotions and other qualities in music, players rarely play right on every tap. Typically, every beat of expressive music performance is not parallel to every click of a metronome. This causes some musicians to criticize the use of metronome, because metronome time is different from music time . Some go so far as to suggest that musicians should not use a metronome at all, and have leveled criticism on the metronome mark as well.
Video Metronome
Etimologi
The word metronome first appeared in English c. 1815 and comes from the Greek: metron "size" and nomos "set, the law".
Maps Metronome
History
According to Lynn Townsend White, Jr., the founder of Andalusia, Abbas Ibn Firnas (810-887), made the earliest attempt at creating a metronome.
Galileo Galilei first studied and discovered concepts involving pendulums in the late 16th and early 17th centuries. In 1696, Etienne LouliÃÆ'Â © first succeeded in using a pendulum that could be adapted to make the first mechanical metronome - however, the design did not produce sound, and had no escape to keep the pendulum moving. To get the right pulse with this kind of visual device, musicians watch the pendulum as if watching a conductor's baton.
A more familiar mechanical mechanical musical was discovered by Dietrich Nikolaus Winkel in Amsterdam in 1814. Through a questionable practice, Johann Maelzel, combining Winkel's ideas, added the scale, called him a metronome and began making metronomes under his own name in 1816: "Maelzel's Metronome. " The original text of Maelzel's patent in England (1815) can be downloaded.
Ludwig van Beethoven was probably the first known composer to show a special metronome sign in his music. This was done in 1817.
Usage
Musicians practice playing to the metronome to develop and maintain a sense of time and tempo. For example, a musician who struggles to speed up may play the phrase over and over while slowing down the BPM setting at a time. Even pieces that do not require a very constant tempo (such as with rubato) sometimes give BPM marks to show the general tempo.
Tempo is almost always measured in minute rate (BPM). Metronome tempo is usually adjusted from 40 to 208 BPM. Another sign that shows tempo is M.M. (or MM), or MÃÆ'¤lzel Metronome. M.M. Notation often followed by the value of notes and numbers indicating the tempo, as in {{{1}}} . Specific uses include:
- Learn to play the tempo and beat consistently
- Exercise techniques (progressively adjusting the metronome to a higher speed or to expose the slowdown due to technical challenges)
- Click the track the recording musicians used to help audio-technicians sync audio tracks
Standard appearance
Metronome makers usually mark speed adjustments for this general tempo:
- 40 42 44 46 48 50 52 54 56 58 60 63 66 69 72 76 80 84 88 92 96 100 104 108 112 116 120 126 132 138 144 152 160 168 176 184 192 200 208
Metron types
Mechanical Metrononomy
The mechanical metronome uses adjustable weights at the tip of the inverted pendulum rod to control the tempo. The weights shift the pendulum rod to lower the tempo, or downward to increase the tempo. (This mechanism is also called a double-weighted pendulum, because there is a second, fixed weight on the other side of the pivot pendulum, in the case of the metronome.) The pendulum swings back and forth in tempo, while the mechanism inside the metronome produces a click sound with each oscillation. The mechanical metronome does not require batteries, but runs away from spring-wounded spring breakout.
Electronic Metronome
The most modern metronome is electronic and uses quartz crystals to maintain accuracy, comparable to those used in watches. The simplest electronic metronome has a button or button to control the tempo; some also produce tuning tones, usually around the A440 range (440 hertz). Sophisticated metronome can produce two or more different sounds. Tones can be different in tone, volume, and/or timbre to demote downbeats from other beats, as well as complex and complex timings. The popular quartz metronomer producer is Seiko.
Many electronic music keyboards have built-in metronomic functions.
Software Metronome
Metronome software runs either as a stand-alone application on computers and smartphones, or in a series of audio and multitrack audio devices. In recording studio applications, such as movie scoring, software metronomes can provide click tracks to sync musicians.
Metronome app and click track
IPod users and other portable MP3 players can use the previously recorded MP3 metronome click track, which can use different sounds and samples instead of just regular metronomic beeps. Smartphone users can install various metronome applications. One method avoids the need to bring a physical metronome into a lesson or practice session.
Use of the metronome as an instrument
Probably the most famous, and most direct, use of the metronome as an instrument is the composition of GyÃÆ'¶rgy Ligeti 1962, Poj Sym Symphonique for 100 metronome . Two years earlier, Toshi Ichiyanagi wrote Music for Electric Metronomes . Maurice Ravel used three metronomes at different speeds for the opening of his opera L'heure espagnole (1911).
Clicks from mechanical metronomists are sometimes used to provide a gentle rhythm without percussion. Paul McCartney does this on "Disorders" ( Flower in Dirt ). Following the metronome, McCartney rhythms by hitting various parts of his body. Also, in the Ennio Morricone theme "Farewell to Cheyenne" (shown on Once Upon a Time in the West ), the tapping of steady clips is given by mechanical sounds that are deliberately distorted and slowed by the metronome.
William Kentridge "The Refusal of Time" (2012) featured five metronomes in video installations.
Display on metronome
Positive view of the metronome
In the 20th century the metronome is usually positively seen by players, musicians (who spend a lot of time analyzing metronome marks), teachers and conservatives. The general view is reflected in the following quotation:
Because the beats are so stable, the metronome is an excellent exercise tool for musicians. Practicing with the metronome is very useful for developing and maintaining rhythmic accuracy, to learn to maintain a consistent tempo, to resist the tendency to slow or accelerate in certain parts, and to develop evenness and accuracy in the fast section. Most music teachers think the metronome is indispensable, and most professional musicians, in fact, continue to practice with metronomers throughout their careers.
Often, the metronome itself may not be sufficient to study complex rhythms. However, his interests for all types of exercises and all genres can not be underestimated. The infallibility of the machine is a blessing because it eliminates conjecture; thus, players can use the metronome to learn to play evenly and resist the temptation to take extra time while playing the hard part. Players must begin with the premise that the metronome is mathematically perfect and categorically correct. From there, he has to make a personal commitment to play along with this perfect "room mate".
Metronome is often recommended to students without reservation:
Before a student can be persuaded to use a metronome, he should know why it matters. The most obvious answer is to help keep the rhythm clean. Another reason is keeping the meter consistent, placing a knock on the right position in the music. Metronome can also help students find and fix problems. [...] The metronome quickly notifies the player of this problem by suddenly not clicking on time with the tap of the player.
Objection, it is sometimes heard, that using a metronome tends to make a player a mechanic, not based on fact. Indeed, the students who play the most artistic are the most faithful in using their metronome while studying their work.
Many other quotes that support the metronome, can be found in the book Metronome Techniques: Potpourri citations .
Metronome, tight rhythm: modern performance practices
The above quote shows the importance of metronomers in the 20th century ("Most music teachers consider the metronome to be indispensable, and most professional musicians, in fact, continue to practice with metronomers throughout their careers").
The distinguishing features of the Modern style [...]: unyielding tempo, literal readings of dotting and other rhythmic details, and dissonance is left without pressure. [...]
Modern style [...]: light, impersonal, mechanical, literal, true, deliberate, consistent, metronomic , and organized. Modernists seek discipline and line, while they underestimate Romantic appearances because of their exaggerated rubor, bluff, pampering, and sentimentality. Richard Taruskin calls Modernism a "protection in order and precision, hostility to subjectivity, to the peculiarities of personality." This is characterized by formal clarity, emotional release, order, and accuracy.
Modern style [...] It does not usually change or form notes, [...] using placing aggregate accents, adding gracing altogether generously, or using rubato (tempo is metronomic and never give up).
Sol Babitz describes it as a "sewing machine" style, thinks of a rigid mechanical rhythmic approach, four that emphasize 16, and limited flexibility in the tempo that often characterizes the performances of historically heard repertoire. in a modern style.
The modern style is the ultimate implementation protocol currently taught in conservatories around the world.
Musicians from a hundred years ago, hearing the current cross-section of classical performances, are likely to be struck by the major difference between their performance practice and us: [...] Our performance practice [...] assumes that the predicted beat is routinely defended throughout the movement. [...] We compensate for the lack of flexibility of our time with the shades of color and very high dynamics which, however subtle and polishing it, tend to be abstract and non-personalized musical making, underscores the "absoluteness" ". The strict knit unity principle in a movement has been part of our understanding and experience of classical music for decades now, that today's musicians and listeners can hardly imagine that less than a century ago the "standard" classic repertoire was undertaken under the assumption that very different.
At the beginning of the 19th century the metronome was not used to tick all parts, but only to check the tempo and then put it aside. This is very different from many musicians today:
[...] the beginning of the nineteenth century [...]. There is little interest in using a metronome to tick all the way through a piece of music. But this is how these devices are used by conservative students today.
Some authors draw parallels between modern societies "ordered by the clock" and what they see as current metronomic performance practice of musicians.
While this section highlights the modern trend of rigorous mechanical performance as widespread in the 20th century and now, as early as 1860, some people advocated such "modern" performance practices. Franz Petersilea (ca. 1860) While some in the 19th century welcomed the metronome, others were critical.
Criticism of metronome use
The metronome only provides a fixed, stiff, and non-stop pulse. Therefore, the metronome marks on the sheet music provide a reference, but can not accurately communicate the pulse, swing, or musical flow. The pulse is often irregular, for example, in accelerators, rallentando, or in musical expressions as in phrases (rubato, etc.).
Some argue that metronomic performance goes against the performance of culturally conscious music, so the metronome is a very limited tool. Even very rhythmical musical forms such as Samba, if done in the correct cultural style, can not be captured by a metronome beats. A constantly rhyming style of performance can be criticized as "metronomic."
Many well-known composers, including Felix Mendelssohn, Richard Wagner, Giuseppe Verdi and Johannes Brahms, criticized the use of metronomes.
Excerpt
... the series is even, perfectly quantized, the 16th note, no more evocative of samba, than the metronome. In fact, this representation ignores what constitutes the essence of samba in the first place - a swing!
The metronome has no real musical value. I repeat, the metronome does not have any value as an aid to any action or performance that music is in the intention. [...] refers to the analogy with the art of drawing sisters. Graphic artists understand well the essential and generic differences that exist between the mechanically assisted images on the one hand and the free hand on the other. Similarly, musicians must distinguish between (1) the types of time resulting from boring, indiscriminate adherence to the soulless beating of a machine, and (2) the noble swing and perfect control of the pulsation that comes in our game after years of practicing in treating and practicing a sense of time as a free and creative human faculty.
[...] using a metronome as a constant guide to increase speed or keep a rhythm. This is one of the worst abuse of metronome. [...] If used excessively, it can cause loss of your internal rhythm, loss of musicality, and excessive physical difficulty from excessive exposure to rigid repetition.
Good performance is so full of minute retardation and acceleration that almost no two steps will take exactly the same time. It is well known that playing with a metronome is mechanically playing - the reason is, of course, we then play with the size, or rather with the tap, not by the phrase. A sharp musical instinct revolves in playing a single measure with a metronome: mathematical precision gives us a dead body instead of a living organism with its ups and downs and its rhythmic energy stream. Therefore, it can be suggested, in conclusion, that the use of a metronome, even to determine the average speed rate, is dangerous.
What is a music rhythm ? Perhaps this is the difference between rigid and metronomic performance in its adherence to taps, and the performance that flows with the elasticity and flexibility that comes from the music itself. The rhythmic appearance of music seems to take cues from consideration of style, tempo, phrase, and harmonic structure, as well as form. Sometimes we may not be really sure what makes the music sound rhythmic, but we know when we hear it It should not surprise us that some kids do not know instinctively how to play music. Many children are surrounded by popular music that is rigid and inflexible in its rhythm, characterized by endless beats that are often synthesized or computerized. Even some CDs and MIDI disks specially designed for use with piano teaching materials can encourage students to become too metronome in their game. In general, our students may not be familiar with the subtle tempo nuance idea, and may need help understanding this.
Many other quotes that are critical of the metronome can be found at Wikiquote: Metronome.
Metronome Techniques
The metronome technique is very broad and has been the subject of several books. So this short section only summarizes some of the main ideas and approaches. The "intuitive" approach to the practice of the metronome is simply to play along with the metronome. However, with metronomic techniques, musicians perform separate exercises to strengthen and stabilize their rhythm and tempo, and increase their sensitivity to the timing and precision of music.
Play "in pocket"
The basic skill required is the ability to play right in the pocket with the metronome in a relaxed way. This first step helps the musician to connect with metronome time clearly and precisely at the millisecond level, to help internalize exactly the same sense of time in you. This is not an end in itself, and the goal is not specifically to play like a metronome.
It's harder to play in a pocket with a metronome than expected, especially with a piano or percussion. That's because the metronome clicks may seem to disappear when you hit the right click - or it may sound less clear. The farther you get away from the clicks, the easier you hear the metronome. Musicians who try to play in a pocket with a metronome without using the technique set to do this may find that it introduces tension and effort into their instrument technique.
To overcome this problem, musicians start by learning to play consistently in front of or behind a beat whenever they want to. As a result, they develop a clear sense of "where the click is" and can also play to hit clicks too, in a relaxed way.
The other thing they do is listen to hear how their game sounds merge with the metronome to create a new sound when you play right in the pocket with the metronome. By listening in this way (and through other exercises) it is possible to play right in the pocket with the metronome casually. At the same time as they play in their pockets, they also work on the flexibility and ability to play in exactly the same way anywhere in the beats.
Timeliness and sensitivity to music time
Many exercises are used to help with timeliness and time sensitivity, as well as independence, to ensure you are less dependent on the metronome. These exercises include:
- Set the metronome to silence for a number of actions, and see if you're still on time when it's back on again
- Set to not sound for longer periods of time and see if you're still on time
- Play music in your mind's ear, and try to spend time with the metronome when you do it
- The tap grouping practice, with the metronome set to a slow tempo, is set to click on the measured tap, every second sizes, the tap of both sizes is not the first technique (or second and fourth, used for jazz), set to click every 5 taps for rhythms in 4/4, and so on.
- Rotate the replaced click
- Play polyrhythm with metronome
And many other exercises. Many modern metronomic techniques have to do with various methods to help solve time problems, and to encourage and develop a clear sense of music time and to help with timeliness.
This firmness and accuracy you can develop and encourage through metronomic techniques does not endanger the expression of music in time and rhythm; indeed one of his motivations is to help with the nuances of time and tempo. An analogy with art can help. It's like the Giotto circle, or the straight line of the Apelles, if you can play a very stable and precise beat, this helps with the nuances of time, this does not mean that you can only play the perfect beat, just like the impressive Giotto or Apelles. displaying techniques does not mean that they can only draw circles and straight lines.
Music expressive rhythm
Modern metronome techniques address the problem of expressive music rhythm in many ways. For example, most of the focus of modern metronome techniques is to encourage and develop a sense of tempo and good time in your game, and in your mind. So you can work with the metronome in a separate exercise to achieve this. When you have a more precise understanding of the passage of time, you can choose yourself how to use this in your musical performances. You are still playing in a musical expressive fashion with constantly changing tempos and beats; the only difference is that as a result of your work on timeliness with the use of metronome, you are more aware of what you are doing..
To be an artist you must be able to play in perfect time - slow, fast, or anywhere. Then one must be able to leave time at will. It's not the same as having time to leave a player, and that is the effect if one can not play with a metronome.
Special metronome exercises are used to help keep the rhythm and time of this fluid while you work with a metronome. There are many of them, they include:
- Drift gradually from one tap to the next and rotate polaritmic with a metronome
- Play front or back beat clicks - and feel comfortable with playing anywhere relative to metronome clicks.
- When you play with a metronome from the pulse synchronously and gradually push your notes in front of the click and drag back to the pulse simultaneously (also another interesting way behind the pulse)
At the same time you can develop a higher level of awareness of many natural rhythms in your daily life and use exercises to help bring rhythm into your music.
Time Feel, the subject of Chapter 7, is one of the great keys to musicality for rhythm section instruments. But being able to play behind or in front of the pulse can also add expression to the melody line. This, along with slight changes in dynamics, creates phrases in music. The ability to hear heart rate and accelerate or decrease speed is a great way to incorporate human feelings into musical performances. Of course, this is all relative to the tempo, and is best achieved relative to a stable tempo. In other words, the more clearly your pulse, the better your ability to manipulate it. It also works for ritardando and accelerator actions, as they are relative to a stable pulse and best done gradually rather than in a sudden shift "
In this way, with appropriate metronome techniques, the use of metronome helps you improve the sense of time and time right without causing the expected problems for musicality and expressive time. The thing to remember is that you use the metronome to help out with the right timing - but that the rhythm of rhythm and sound counting in music is something that comes from yourself. A natural rhythm for humans and covering our lives, though you may need help to bring that rhythm into music. As Andrew Lewis said in his book:
Rhythm is everywhere. Be sensitive to it, and stay alert to spontaneous events that can spur rhythmic development. Listen all the time and use your imagination. Become a rhythm antenna.
The true meaning of the passage of time does not come to humans so naturally (sometimes time may seem to pass quickly and sometimes slower) and that's where the metronome can help most. That's how the metronome tech teachers referenced here think of tools - as a way to increase your sensitivity to music time, and develop greater timeliness and a clearer understanding of the passage of music time - the relative that musicians can use then use expressive, natural and liquid rhythms, with as many rubato and tempo variants as they want.
Alternative to metronome use
If a musician decides not to use a metronome, another method is needed to overcome the disruption of time and tempo, and to hurry and drag without his help. These ideas can also be useful as complementary approaches along with metronome techniques.
One starting point is to notice that we are dependent on a sense of rhythm for ordinary activities such as walking, running, hammering nails or cutting vegetables. Even speech and thought have various rhythms. So one way to train the rhythm is to work bringing this into music, becoming a "rhythm antenna" in Andrew Lewis's words. Until the nineteenth century in Europe, people used to sing when they were working, just in time for their work rhythm. The rhythm of music is part of everyday life, Cecil Sharp collects some of these songs before they are forgotten. For more on this see the Work track and the Sea Shelf. In many parts of the world music is an important part of everyday life even today. There are many stories about people (especially tribal people) who often sing and spontaneously in their daily lives, when they work, and when they engage in other activities.
"Benny Wenda, a Lani man from the highlands, is the current leader of Papua in exile in England, and a singer.There is a song for everyone, he says: a song for mountain climbing, a song for a fireplace, a song for gardening. interconnected with the land, women will sing for the seeds of sweet potato as they plant it, so the earth will be happy. "Meanwhile, the man will sing to the ground until it is soft enough to be dug."
Musicians can also work to strengthen their sense of pulse using inner sources, such as breath, and breathing. Or work with imagination, imagine the pulse. They may also work with their heart rate, and rhythm in their chest muscles in the same way.
The other thing they do is play music in the ears of their mind along with the rhythm of walking or the rhythm of everyday life. Other techniques include listening to music in the ear of one's mind before playing it. Musicians can overcome the disruption of time and tempo by learning to listen to the perfect performances in the ears of their minds first.
In some musical styles such as early musical notes inÃÆ'Â © gales (according to one interpretation of minority views) it can be appropriate to use different approaches that do not work much with a sense of inner beat and instead work on motion ideas and more closely related to the rhythm of talk and poetry. The ideas of this approach can be useful for all styles of music.
The basic idea is:
- Notes should be subtly not the same - not having the same three tones helps keep the music alive and engaging and helps prevent any feeling of similarity and boredom in music - the idea of ​​"Entasis"
This technique is very challenging in its application, because the musicians are currently highly trained in regularity. However, like a heartbeat, the beat of music must fluctuate in speed as the emotional content of the music fluctuates. Like the natural shifting accent in speech, the musical accent needs to shift according to the meaning expressed. To feel perfect, music must be metrically imperfect.
- Music notes and phrases can be set in cues - a particular rhythm pattern that comes naturally - not a tight measure.
- Individual records may be delayed a bit - when you expect certain records, e.g. at the end of the music phrase - just wait a while before playing the note:
The cognitive partner hesitates in anticipation: anticipation is made by building assumptions on assumptions about what will happen. When a supposed event fails at the expected time, there is a moment of disappointment. Disappointment, however, soon turned into a rush of fun when the anticipated event was perfect. Art is always on time.
- The notes played together can be left running time out with each other in a maintenance-free manner "Sans souci".
When the alignment of notes in scores indicates that they are done strictly and simultaneously, they may be deliberately mixed or played in an irregular or surprising way to create a careless effect (sans souci). This technique gives the music a relaxed feeling without effort
It only touches some ideas; for more details, see "The Craft of Musical Communication".
This is a minority view on the interpretation of this style of music, but it is worth mentioning here because of its different approaches to the timing and rhythm of music, and its relevance to the way rhythms can be practiced. A more commonly accepted view is that Notes inÃÆ'Â © gales are played with the same number of swings almost every time, like the modern Jazz.
See also
- Beat (music)
- Oscillator
References
External links
- Online Metronome with accessible version
- Online Metronome
- The Metronomic Performance Practice: History of Rhythm, Metronomes, and Mechanization of Musicality (pdf); PhD Thesis by Alexander Evan Bonus (May 2010)
- Metronome (Oxford Handbooks Online) (alternatively) by Alexander Evan Bonus (April 2014)
Source of the article : Wikipedia
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