With todays piece I thought I'd move to rhythm as a subject, especially since the last entry was a lot of numbers about a particular scale.
I chose a diatonic progression 1 - 5 - 6 - 4 - 1 - 5 - 1 - (turnaround) in the key of C Major. Can't get much simpler. With this comfortable place to play within harmonically, I'm able to get fluid with the time. This song is a great example of the way I delay the next chord change. The process starts fairly soon into the piece and I'll tease the listener into thinking I'm adding beats to the harmonic rhythm. In todays case I never add beats to the whole, to the very end. If you keep count, you'll most likely feel the tension this produces, but for me it's a way to do something rhythmically unique. I will stay in this seemingly non-synchronous state for long enough to turn other band mates around. For example, after hearing me playing a beat behind for enough time to be convinced I've added a beat and therefore a decision can be made (and this is critical) to readjust the beat to re-synchronize.
I have a lot to say about the scenarios that follow from this crucial decision to readjust the beat. The two choices, one way or the other at the Y in the road, both produce a list of differences in the outcome of the performance from that point on. I'll stop short of taking this further for now.
In my solo recordings you can hear me stretch this over-the-bar-line timing effect a lot. To confess, I will take it to the point where in a solo setting, I've encroached so far into the next measure(s), that in order to give the cadence at the end of the section time to breath before the next section (bridge likely), I'll add beats. This is practically only doable in a solo context, even then the form police will start to fill out a citation. Nobody wants to work at keeping the beat while listening, only to have no reward waiting after it's over. The player gets the blame for loosing the time. Understandable. UNLESS you decide as a listener, to go with the flow, don't crunch a lot of numbers and let the piece unfold for you, then decide if it's musical or not.
Anymore, I just like to listen for feeling, passion and take in the shape of a piece and enjoy it as a real listener. This is difficult as I start my sixth decade of being a serious pianist and yes, a judgmental and analytical musician too!
I chose a diatonic progression 1 - 5 - 6 - 4 - 1 - 5 - 1 - (turnaround) in the key of C Major. Can't get much simpler. With this comfortable place to play within harmonically, I'm able to get fluid with the time. This song is a great example of the way I delay the next chord change. The process starts fairly soon into the piece and I'll tease the listener into thinking I'm adding beats to the harmonic rhythm. In todays case I never add beats to the whole, to the very end. If you keep count, you'll most likely feel the tension this produces, but for me it's a way to do something rhythmically unique. I will stay in this seemingly non-synchronous state for long enough to turn other band mates around. For example, after hearing me playing a beat behind for enough time to be convinced I've added a beat and therefore a decision can be made (and this is critical) to readjust the beat to re-synchronize.
I have a lot to say about the scenarios that follow from this crucial decision to readjust the beat. The two choices, one way or the other at the Y in the road, both produce a list of differences in the outcome of the performance from that point on. I'll stop short of taking this further for now.
In my solo recordings you can hear me stretch this over-the-bar-line timing effect a lot. To confess, I will take it to the point where in a solo setting, I've encroached so far into the next measure(s), that in order to give the cadence at the end of the section time to breath before the next section (bridge likely), I'll add beats. This is practically only doable in a solo context, even then the form police will start to fill out a citation. Nobody wants to work at keeping the beat while listening, only to have no reward waiting after it's over. The player gets the blame for loosing the time. Understandable. UNLESS you decide as a listener, to go with the flow, don't crunch a lot of numbers and let the piece unfold for you, then decide if it's musical or not.
Anymore, I just like to listen for feeling, passion and take in the shape of a piece and enjoy it as a real listener. This is difficult as I start my sixth decade of being a serious pianist and yes, a judgmental and analytical musician too!