How to play rhythm is a dancer on piano

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Rhythm Is A Dancer by Snap Chords, Melody, and Music Theory Analysis

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  • what it is and how to check it

    More recently, we have already touched on the topic of rhythm, and smooth playing in conversations about funk and have already discussed . After a little thought, I decided to propose to the court some simple rules that will allow you to get a tangible effect from practicing the development of a sense of rhythm.

    Of course, these are not some magic spells and they will not be able to turn you into a groove guitarist in one moment. But if you pay attention to each of these points every lesson, you will notice how you will begin to play more smoothly.

    In general, the feeling of rhythm is like riding a bicycle, if once you reach a certain level of performance, then after even long breaks it will be very easy to get back in shape.

    So let's get started.

    1) Practice with a metronome. All articles in magazines, websites and all video schools start with this simple recommendation. There is so much talk about metronome practice precisely because beginners often neglect it. Lessons with a metronome will not only help you work out complex rhythmic patterns, but will also have a positive effect on your high-speed playing, if you decide to learn how to play at supersonic speeds.

    When you practice some difficult fast phrase, start at a slow pace and gradually increase the speed. For example, when I play some difficult passages, I start with a tempo of 65 beats per minute and add 5 beats every time I feel that I can confidently play a phrase.

    If you are working on some kind of rhythmic pattern, then you can do the opposite. That is, this time we will gradually reduce the pace. Let's start with 100, 90, or 88 beats per minute and work our way up to 65. Why slow down? The answer is quite simple - when you play rhythmic patterns, for example, with sixteenth notes, you only play the pattern for the first couple of squares, focusing on notes and count, then you already remember how the pattern sounds and play by ear, but without using your "internal metronome" . It is quite difficult to play rhythmic figures, especially those that consist of a mixture of sixteenths and triplets, at slow tempos. Try playing the normals at 60 tempo, you'll find that it's hard to play at that tempo. Therefore, when practicing rhythmic patterns, I recommend gradually reducing the tempo, so you can constantly keep your brain in suspense and force yourself to play focusing on the score and duration of the notes played, and not just on the sound of the pattern.

    3) Listen to more music , based on the rhythm, analyze the heard rhythmic patterns, shoot grooves. The benefits of removing other people's compositions were mentioned () and. Entire generations of guitarists in the 70's and 80's were raised to play their favorite musicians. Now everything is much simpler, there is the Internet, a lot of guitar magazines and video schools. So if you decide to learn someone's song, one google request is enough. But at least ask the all-knowing search engine and take some time for interesting songs. While parsing riffs and rhythmic patterns, write them down on paper and analyze them. Shoot bass and drum parts, it's also very useful.

    4) Record your play and analyze . The problem of sound recording for the modern guitarist has long disappeared, there are hundreds of ways to record a guitar tolerably. At a minimum, combos or lotions with cabinet emulation are suitable here. Using VST plugins to work on the sense of rhythm is not effective, it is impossible to get rid of the delay with them, even if the delay is 2.7 milliseconds, this will spoil the whole effect of the practice. In this case, it is better not to use any effects at all.

    5) Play with other musicians . Playing in a group gives the best appreciation of your technique, and good criticism never hurts. The experience of playing songs together will allow you to better understand the structure of riffs and rhythmic patterns. Pay particular attention to how the guitar/bass and bass/drums pairs interact.

    A sense of rhythm is something that is essential for any musician, dancer, artist. Often, educators and all those who have it excellent, believe that this feeling is either "given" or "not given. " Sometimes this skill is poorly developed even among accomplished musicians who have graduated from college or even a conservatory. It is believed that more than a quarter of dancers (of course, we are talking about amateurs) do not hear the rhythm of the music, and, accordingly, cannot dance to the beat of it. You ask: how is this possible? I will answer - by improving my technique of execution.

    So what is rhythm and can this feeling be developed? In order to feel it, so to speak, “to touch it with your hands”, or rather to feel it with your whole body, you must first understand what is meant by musical rhythm. What, in fact, should a musician or a dancer feel?

    Encyclopedias describe rhythm as a certain ratio of the duration of sounds and their sequence. To someone who is far from music theory, such an explanation will tell almost nothing. This requires a simple and accessible comparison. And, perhaps, the easiest way to compare the rhythm with the human pulse.

    Listening to yourself, it is not difficult to hear or feel the beating of the heart. The pulse is the simplest rhythmic figure of equally loud notes (pulses) and equal intervals between them. Such is the even pulse of a healthy person. We can say that our inner rhythm beats the heart. And in music, this role is played by percussion instruments and bass guitar. They form the basis of the musical composition, its rhythmic pattern, reproducing beats in a certain sequence with different intervals of time and making different accents. It is this rhythmic pattern that we have to learn to distinguish and reproduce.

    The main mistake of beginning musicians is precisely that they try to concentrate on working out the technique of movements and strive to master them as much as possible. Learning a complex passage is realistic even for beginners, but far from everyone succeeds in performing it correctly in a particular piece of music the first time. Similar problems apply to vocalists. From the outside, this is clearly visible, and, as a rule, soon such a “miss” becomes obvious to the musician himself, especially if he plays or sings in pairs. This shows the lack of a sense of rhythm. But does this mean that it is necessary to put an end to the classroom? Not at all. Everyone can learn to hear music and develop a sense of rhythm.

    What is the sense of rhythm? It's not easy to define it! A little later I will try to do this, but first a little theory. (I assume that the basic terms, such as tempo, measure, time signature, beats, are generally familiar to the reader.)

    And so, here, as in many similar cases, two processes work:

    • analysis - hear and "decipher"
    • synthesis - play, reproduce

    One process-skill without the other does not make much sense. Look, if a person is only able to perceive a sound stream and distinguish between a rhythmic structure (analysis), but is not able to play rhythmically (synthesis), or, conversely, perfectly reproduces rhythmic figures and keeps the pace, but is not capable of auditory analysis, then he is not a good musician. . In an ensemble, both skills are needed at once! And, most likely, in a person, these two skills develop in parallel.

    Unit of measurement and standard

    When we, for example, in construction, need to measure the dimensions of an object (analysis), we take a tape measure. In a regular tape measure, the minimum unit / standard is 1 mm. It determines the maximum possible measurement accuracy. If we need to create an object of a certain length (synthesis), say, saw off a board, then we take the same tape measure ... and again the achievable accuracy is 1 mm.

    i.e. the reference is always used for measurement! If we need to understand, "remove" the structure of some phenomenon or time process, then we use the GRID with a step corresponding to the minimum unit of measurement. So, for example, to take a floor plan of a room, you can draw a floor with a grid in increments of 1 cm, and to record events within an hour, make marks directly on the dial of a mechanical watch . .. You need more accuracy - make the grid smaller!

    In order to analyze and generate rhythmic events, a person also needs a GRID of small and identical time intervals (i.e. "internal clock" - pulsation). And what is the time standard for a person? Heartbeats, breathing rate... ? These are rough units of measurement, and not constant, however, it's not scary - there is a way out!

    There are no people who are born without a sense of rhythm. The reason why some have it and others don't is because some develop it from a young age and others don't. That's all. Some children play football, while others study the music collection of their parents, listen carefully to the instruments, vocals and various rhythms, thereby creating an undeniable advantage over football players in terms of music perception.

    If you have a rhythm problem, here's what you can do:

    1. Listen to more music!

    Quite often, people who attend dance parties do so to relax. They can come to dance once a week and listen to music in the car for another twenty or forty minutes maximum. All. This is not enough! Listen to music constantly. At home and in the car. At work. Listen to music constantly and your sense of rhythm will begin to develop.

    2. Listen to the rhythm section of the music

    You will probably agree that most people, when they listen to music, listen to one thing - the one who sings. If you don't believe me, try to name a few famous bass players and drummers. That does not work? The focus is on vocals because vocals are perceived better by the human ear than bass or drums. People usually want to understand what the song is about, and that gets attention. If you really want to develop a sense of rhythm, try to focus on the rhythm section: bass guitar, drums, and other percussion instruments. Your attention to the rhythm section will immediately affect the sense of rhythm, and soon you will automatically begin to perceive what you hear in the bass and drums, and match it in your movements.

    3. Clap, bang on the table and knees to the rhythm of the music

    Sounds like an idiot? It is possible, but very important, that the internal perception of a rhythmic pattern, supported by movements to the beat, allows you to control yourself in the best possible way. To develop a sense of meter (equal beat), you can use any uniform movement: walking to a song, to instrumental music, imitative movements that you or your child make while playing. And, on the contrary, teaching rhythmic values ​​only through abstract explanations is detrimental to the musical development of children. One of the most important tasks of musical education is the development of inner hearing in children. This work begins not only when the students already know the rhythmic values, their names, musical signs, but much earlier.

    The teacher shows the beginning of the movement and helps to maintain the correct step, i.e. even rhythm. In the process of performing instrumental works, the teacher leads the children to understand the tempo, to feel the stresses. Students usually feel the accents well and mark them with a stronger movement. Children with great joy perform rhythmic tasks associated with simple instrumental works. For example, one group performs the rhythmic pattern of the upper, the other - the lower. Many children's songs can be used as such a musical repertoire.

    Naturally, the rhythm game can take no more than 5-10 minutes, but in the next lessons, songs and pieces related to rhythm tasks are repeated. With the help of such simple playing techniques, we gradually bring children to more complex phenomena of rhythm.

    Well, if you want to find people in the club who have a good sense of rhythm, it's easy. They usually cannot sit still when the music is playing. They stomp their feet, snap their fingers, and drum on the edge of the table. If you don’t find such people, it means that they are currently rocking on the dance floor with some sexy guy or some stunning beauty!

    Rhythm sense components

    In analysis-perception it is:

    • perceive tempo and its changes
    • recognize size
    • distinguish 1st beat (beats)
    • to distinguish between the 2nd and other beats (beats)
    • to distinguish between small beats (i. e. 2,3,4,6 more often than the main strokes)

    In fact, ALL THIS IS RELATED with the skill, the ability to “throw” a measuring GRID of large and small beats onto the perceived sound musical stream, with “marks” where the first beat, i.e. the beginning of the beat.

    In synthesis execution, this is:

    • keep pace, be able to speed up and slow down the performance according to the requirements of musical expressiveness
    • mentally imagine, “generate” a GRID of large and small parts to yourself
    • fill the GRID with the actual musical texture - i.e. “put”, (perform) notes-sounds exactly in the right place

    And here, as you can see, it is IMPOSSIBLE to do without a grid!

    Absolute and relative time intervals.


    In dance circles, a situation often arises when, having learned movements at a slow pace, the student cannot PROPORTIONALLY speed up the performance (increase the tempo) and vice versa, performing quickly, cannot reproduce slowly.

    There is one more trouble in choreographic circles: the teacher often gives the score (1,2,3,4 ...) not by equal parts of the measure, as musicians do, but by the numbers of movements -1,2, then a noticeable pause, then 3 ,4 etc. It turns out that the uniform count is interrupted and the teacher himself prevents the clear formation of a mental uniform GRID, pulsations, on which movements are “strung”.

    In both of these examples, the student "removed, copied" the ABSOLUTE VALUES of the time intervals between events. And, just like a teacher, he can reproduce them. Those. he performs movements without an internal “pulse, metronome” (NET!), but on muscle and auditory memory. But without the grid, he can't change the tempo arbitrarily!

    Imagine a highly stretchable rubber strip, say 1 meter long. Let's stretch it to 1.5 meters, fix it, then line it for a 4/4 time signature along 16th notes. There will be 16 time slots in total. Now let's fill "this measure" with some rhythmic pattern. Here, and now

    • a) by releasing the strip, allowing it to return to its original length of 1 meter, we will see how ALL the intervals become proportionately smaller. But the musical "meaning" has not changed - this is the SAME drawing, only the tempo is faster!
    • b), on the contrary, by stretching the strip even more, we will also not break the pattern, but only slow down the pace.

    And what allows us to do this? - "Strict binding of notes (musical events) to the grid." Yes, in music RELATIONSHIPS, PROPORTIONS are much more important than absolute values. The musician is not required to accurately reproduce the interval of 10, 20 or 50 ms, but it is absolutely NECESSARY to maintain proportions accurately.

    And in both examples given earlier, the students memorized and reproduced the absolute values ​​of the time intervals quite well. But, not having the skill of representing the inner pulsation - the NET when listening and performing, they could not change the tempo. They could be safely attributed to those who do not have a developed sense of rhythm. Yes, and in the ensemble they would be constantly wrong

    Acquaintance with the elements of musical speech based on the prototypes of the surrounding reality is a well-known technique that is becoming more and more widespread in the methodology. In particular, the main rhythmic groups (quarters and eighths) are studied by children in comparison of large and small images. This is natural for a child, since up to a certain age, concepts such as good-bad, bittersweet, cheerful-sad, big-small are realized by him at the same time in comparison. Later, with experience, children understand what is between “good” and “bad”, between “fun” and “sad”, etc.

    The category of length and, moreover, the division of duration are conditional concepts for the child, they are formed at a later stage. The “image” of the rhythmic group is both understandable and multi-variant, therefore we “dress up” quarters and eighths in the guise of animal mothers and fathers, their children. Items can also be "large and small". This is a very valuable and "live" methodological material, which removes the neutrality of durations recorded in calms at the initial stage of work on developing a sense of rhythm. In addition, when working on rhythm in pictures, you can use onomatopoeic syllables, and not just rhythmic ones. With onomatopoeia, the characters of the drawing will certainly come to life with their mood characteristics. Such a performance will contribute to the development of the emotionality of intonation, and the understanding that even "lines attached to notes" can be "eloquent".

    The work on cultivating the sense of basic durations includes various forms, including the reading of words. One important point should be noted: children should perceive the rhythm of the word from natural pronunciation, and not a special stretching of syllables. Quite often, being engaged in the development of quarters and eighths, teachers master these durations, pronouncing the words measuredly and in syllables - de-re-vo, te-le-background - leveling the rhythm. This contradicts the most important thing in the development of a sense of rhythm - instilling the skill to hear the stress in a word, to single out this syllable as a longer one (DE-re-vo, te-le-FON). Undoubtedly, only two-syllable words with an accent in the first are suitable for working on quarters (kosh-ka, hare, etc.), including because the two-quarter size will be the main one in the work. For working on eighths, words of four syllables with an emphasis on the third (monkey, rattle) are convenient.

    Three-syllable words with first accent (BA-boch-ka, DE-voch-ka) and third (cro-ko-DIL, o-gu-REC) are simple combinations of fourths and eighths.
    At this stage, words with a beat are not included in the work (ar-BUZ, pe-TUH, ro-MASH-ka, ma-SHI-na, Kuz-NE-chik, etc.)
    It is very useful to make collections of pictures (words) for one or another study group. And if at the beginning the children will select a wide variety of pictures, then later on they can offer a game in which the pictures will be selected and arranged according to certain tasks.
    For example, children are invited to choose and name pictures with animals only in the rhythm of two quarters, and pictures with plants in the rhythm of a quarter and two eighths, etc. This form is very fascinating, and we have included it in this notebook.

    In addition to the words in the notebook for learning and fixing durations, interesting poetic texts are offered, which should be read, focusing on the size of the letters - syllables written in capital letters should be read in quarter durations, syllables written in small letters in the rhythm of eighths. The proposed technique for working on poetic texts, when they are written syllable by syllable in large and small letters (or in plain and highlighted (bold) type) has long been known in world practice. This helps children not only to read, but to memorize the poem by ear, to navigate in its rhythmic structure. The execution of texts with their visual distribution according to rhythmic formulas is methodically combined with “large and small” images of rhythm in pictures.

    The text is learned from the performance of the teacher, reading is usually accompanied by rhythmic claps or combinations of sounding gestures (claps, slaps, footsteps). After learning, it is desirable to draw the attention of children to writing the text in letters of different sizes, so that they can orient themselves in the rhythmic structure of the model.

    The relation to rhythmic syllables, despite its considerable (about two centuries!) age, is still not sufficiently understood.

    " Aimé Pari - a well-known French teacher of music and singing of the middle of the 19th century, theorist of the relative system of ear education - introduced rhythmic syllables into the system of teaching music, creating a "language of durations".

    Rhythmic syllables are often replaced by counting - “one-and-two-and”, which in no way reflects either the emotional criterion of musical rhythm or rhythmic pattern for the simple reason, for example, that the count is incomprehensible to children (“not visible” temporary the difference in durations), while when reading in syllables, the rhythm becomes “visible”. Compare - “one-and-two-and, one-and-two-and” and “ti-ti-TA, TA-TA”. The difference is obvious!

    “Mother did not understand that Asya at the piano, due to her childhood, is simply unbearably bored and only from her own falling asleep takes past (notes!), Like a blind puppy – past a saucer. Or maybe she took two notes at once, thinking that she would take it sooner - all the prescribed ones? .. Anyway, the game was not only deplorable, but also tearful, with streams of small dirty tears and tedious mosquitoes: -and, and-and, from which everyone in the house, even the janitor, clutched their heads with a hopeless exclamation: "Well, it started!".

    “The student counts: “one-and-two-and-three-and-one-and”, etc., and sees his task in extracting sounds simultaneously with the name of the corresponding counting unit ... It is assumed that one hundred the rhythm will turn out by itself, it will "form" itself, if the sounds fit correctly into this counted pattern. Such an account can be called an arithmetic account. It is certainly harmful, because it teaches the student to build musical movement not on the basis of a sense of rhythm, but on the basis of arithmetic calculation. For students with a weak sense of rhythm, the use of this technique (especially in the first period of musical training) can have disastrous consequences for all further rhythmic development.

    Rhythmic syllables have passed the test of time, and the main syllables “ta” and “ti-ti” have variants - “don-dee-li”, “so-ti-ki”, “step-run-gat”. However, despite the variability of assigning certain syllables to quarters and eighths, they have one indisputable thing in common - these are the vowels “a” or “o”, which, in their semantics, are defined as large, joyful, while “i, e” in their meaning they carry the small, the smaller. Even a simple example of your own pronunciation of "a" and "and" will prove this difference to you.

    “Why don't you try to somehow evaluate individual sounds? We tried. Young children are shown two matryoshka dolls - the same in everything, only one is very small, the other is large. They say: “Here are two sisters. One is called A, the other is I. Can you guess which one is I? And imagine - most children point to a small matryoshka.
    One girl was asked:
    - And why do you think that this matryoshka is called "I"?
    Ta answers:
    - But because she is small.

    That's how strongly her sound is connected with a certain idea.
    We use the main syllables (ta, ti-ti), although all the rest are given in figurative pictures. Here the choice is up to the teacher and his preference.
    The value of rhythmic syllables is that:

    • any of the rhythmic sequences is learned quickly enough;
    • rhythmic durations and groups are assimilated more successfully and more naturally;
    • with the help of rhythmic syllables, it is faster and easier to translate words into rhythm;
    • rhythmic syllables make it easier and freer to improvise and compose;
    • Rhythm implies movement and evokes motor reactions - it is always a joy and pleasure for children.

    It is believed that a person has only five ways to perceive the world around him. They are familiar to everyone: sight, smell, touch, taste, hearing. In fact, there are many more, although all the others can be more difficult to study in order to understand how they work. This is a sense of being in space, and the ability to maintain balance, as well as a sense of rhythm. For some they are better developed, for others they are worse. But you can work with them, and you can do it even with very young children.

    In different fields, this term is used to understand different phenomena, although they have much in common. - a sequence of sounds and pauses, replacing each other with a certain frequency. This phenomenon accompanies every person from birth to death. Breathing, heartbeat, the change of seasons and day and night - all this is characterized by rhythm, which was naturally transferred to other spheres of life, and most clearly manifested itself precisely in music. And it happened a very long time ago.

    There is even a special group of instruments - percussion, which are primarily responsible for setting the rhythm for everyone else when it comes to the ensemble. Throughout history, many experiments have been carried out by composers and mathematicians, many theories of musical rhythm have been built and destroyed, and disputes have not subsided so far. But what is the basis of a person's ability to reproduce not always a simple sequence of sounds?

    Sense of rhythm

    Before being born, the baby hears mother's heartbeat, conversations. At this moment, his sense of rhythm is laid and begins to develop. In the future, this will largely determine his life, what he will do, and what will not turn out so well. This can still be influenced, but the foundations will be laid at this time. Therefore, during this period it is so important to listen to good music, read poetry aloud - the fetus perceives all this perfectly.

    The sense of rhythm largely determined the development of music at its initial stage. Percussion instruments became the first instruments known at the dawn of mankind. To their sounds, people danced, calling for rain, begging the gods to save the harvest, bringing gifts, performing various rituals. And with the development of civilization, this important feeling has not been lost. Later, the rhythm in music developed, acquiring more complex forms, various melodies were superimposed on it. In a word, it has not lost its significance even today.

    What do you need

    Dancing, playing music, singing, reading poetry, even in ordinary everyday speech there is a certain rhythm! It is absolutely indispensable, even when it comes to elementary activities. Of course, one can live without a sense of rhythm, although this seriously limits a person in some areas.

    For example, even having a person simply cannot reproduce music without a sense of rhythm. Languages, both native and foreign, are much more difficult. This may be expressed in the impossibility of gracefully expressing one's thoughts, the speech will sound unnatural, "torn". Memory may also be impaired, some clumsiness is noticeable - in a word, a person misses a lot of interesting things for himself. Therefore, it is impossible to neglect such an important feeling.

    How to develop?

    As already mentioned, the sense of rhythm is laid in utero. Therefore, the first classes can begin already at this stage. The expectant mother can do special exercises, playing musical instruments, or read poetry aloud.

    Soon after birth, you can expand the range of activities. Children under one year old already love to play "patties", clap, repeat after adults. There are a huge number of nursery rhymes with which our great-grandmothers nursed children, but which remain relevant today. The constant communication of parents with the child, the special construction of phrases in poetry, rhymes - all this contributes to the development of the baby. So, what are the ways to stimulate the development of a sense of rhythm in a child? Which of them can be used at different ages?


    There are many different ways to develop musical abilities. Some of them are for kids, others for professional artists. They differ in levels of difficulty and the very principles of learning. If you constantly do these exercises, the sense of rhythm will develop. Yes, oddly enough, even with the most modest initial abilities, very high results can be achieved if you practice regularly and diligently.

    By the way, kindergartens and elementary schools even have a special discipline - rhythm. It helps even the smallest to feel the possibilities of their body, move to the beat of the music and release energy. The combination of several methods at once gives amazing results. During the classes, children listen to music, dance, do exercises like "Clap your hands" and learn through play. So, what is suitable for independent development at home?

    Poetry and music

    Classic tracks are great for little ones. You can listen to them even when the child has not yet been born. It's the same with poetry - the works of Agniya Barto, Marshak and Chukovsky are easy to remember and familiar at least a little to any modern mother, to say nothing of grandmothers. Up to 3-5 years old, children are interested in both listening and repeating rhymed lines after their parents. At the same time, not only the sense of rhythm is trained, but also auditory and associative memory. It is very useful.

    Music for babies can also be different. It can be songs from familiar cartoons, and sometimes it's interesting to just repeat the same verses in a singsong voice. There are even special collections that adults will also enjoy listening to. Children quickly memorize them and begin to sing themselves, which also contributes to an intuitive understanding of what rhythm is in music.

    Playing various instruments, like singing, also helps development. Children's pianos and xylophones can eventually be replaced with real ones or something else can be chosen: flute, drums, guitar, etc. Even if there is no special talent in this area, singing and playing at an amateur level can please the child, help develop him musical ability - the main thing is not to force him to do this.


    Another great exercise for children who have reached an age where it is easier for them to concentrate on the lesson for at least 5-10 minutes. The game "Clap your hands" should begin with simple "palms", then an adult can ask the child to repeat the rhythm beaten by him - at first simple, and then more and more difficult. This will teach the child to carefully follow the sequence of sounds and pauses and try to reproduce them. When he learns to repeat well, you can complicate the task, pay attention to the duration of the pauses and the intensity of the claps. This innovation will only make the game more interesting.

    Children up to 8-10 years old and even older can work with very complex and long variations, it will also be useful for them. At this age, it is already quite possible to try to reproduce the rhythmic pattern of your favorite songs, especially if the child is already learning to play a musical instrument.


    Another area in which you need to feel the rhythm in music and life is movement. It is impossible to dance beautifully and organically if you do not feel the accompaniment. But learning is necessary. And dancing is a great way to understand how the body moves, how its muscles work, to realize the principles by which music is built. Therefore, it is not necessary to limit children in self-expression in this way. Dancing in any of their manifestations will only benefit - it develops the body, imagination and sense of rhythm. On the contrary, it is worth inventing games on this basis. For example, a child of 4-6 years old can be offered to portray some animal to the music. At the same time, you can clap and stomp to the beat of the melody.

    For musicians

    Serious amateurs and professionals alike need a well-developed sense of rhythm. The most effective exercise for them is recognized as playing under a metronome - a special device that sets the pace. Constant long-term training hone skills, which is especially important for drums, bass guitar, but other performers can't do without it. It is especially difficult when it comes to any ensemble. It can be difficult for people to adapt to each other, while not making mistakes in the work. In order for everything to work out, joint rehearsals are held, in which, over and over again, the musicians repeat passages, polishing the slightest roughness and bringing them to perfection. And without a sense of rhythm, this is simply impossible.


    The main exercise that should become a habit for a musician is playing with a metronome. At first, it may seem difficult to you, since the metronome will call without straying from the main rhythmic pattern.

    Over time, you will get used to the metronome and not notice it - and in doing so, your rhythm will improve significantly. The metronome settings can be changed by increasing or decreasing the tempo of the rhythm , which will allow you to further improve your .

    Start training at a slow rhythm x and gradually increase their speed. As time goes by feeling rhythm will appear for you and you will feel it while playing.

    It will also be useful for you to have more, which has a complex rhythmic structure. Find recordings of established and professional musicians and try to learn useful skills from their music for yourself.

    As you play songs, record them and then listen to them to see how rhythmic your playing sounds from the outside. When recording, do not use any guitar effects - they can break the real rhythm of your playing.

    Finally, practice the sense of rhythm is not possible - be sure to communicate and play along with other musicians, as well as together with the rhythm section and drum kit.

    Learn to fall into the rhythm of group play, keeping it going without slowing it down or speeding it up. Pretty soon you will start to feel the general rhythm and will not stray from it.

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    Tact is the ability not only to behave in accordance with the generally accepted rules of decency, moral standards, but also to avoid situations that may be unpleasant, burdensome or offensive to other people.

    What are the main signs of tact

    A tactful person will not be intrusive, unceremonious. He will not put another person in an awkward position, even if he has a high status. Therefore, it is easy and pleasant to communicate with him. To some extent, tact is politeness. A tactful person, above all, does not cause inconvenience to other people. Before coming to visit even close friends, he will definitely ask if they are free at this time, if his visit will violate their plans. Once in an unfamiliar company, he will not unceremoniously look at people or ask them too frank questions (for example, how much they earn). A tactful person will not talk about things little known to his interlocutors or uninteresting to them.

    Even if he speaks on a topic that is familiar and interesting to his interlocutors, he will try not to drag out his speech so as not to tire the listeners.

    A tactful person knows the sense of proportion and taste. He understands what is acceptable when communicating with certain people and what is not, what can be joked about and what is undesirable.

    Being tactful also means being ready to help, but at the same time not being too persistent, all the more intrusive. A tactful person will willingly give good advice, but usually only after his opinion is asked. He is reluctant to criticize other people, especially behind the back.

    A tactful person tries to solve his difficulties, problems on his own, and turns to others for help only in exceptional cases when he cannot cope on his own. In conversations, disputes, he refrains from categorical expressions, an aggressive commanding tone.

    A tactful person, even being absolutely sure that he is right, prefers to use words like "if I'm not mistaken", or "it seems to me that".

    Tactfulness - an innate or acquired quality?

    It is possible that tact is to some extent transmitted to a person at the genetic level. Otherwise, it is difficult to explain why some people literally instinctively feel and understand how best to behave in a given situation, what words to say, etc. But even a person who is not particularly tactful, well-mannered, with desire and perseverance, can change for the better. To do this, you need to learn to understand people, empathize with them, support them. It is very useful to consider your behavior as if "from the outside", putting yourself in the place of another person, thereby passing a certain test.

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    Do not be upset if you are not blessed with innate sensitivity. Tactfulness can be developed in oneself through certain work. Observe the relationships between people and be careful with the feelings of others.


    Watch how relationships develop between people. To do this, you can refer to the works of world literature. Read novels, watch how the characters interact. Books written by world-famous authors can teach you a lot. You will see how some character traits of this or that hero are connected with his actions, you will understand what words or actions lead to quarrels and breaks, how different people can react to different circumstances.

    It is also useful to observe people's relationships in real life. Other people's actions, emotions and words will help you get to know others better. Over time, you will learn to predict how other people will react. This will help you become more tactful and attentive to the feelings of those around you.

    Think about what character traits help you get along with others, to show yourself as a tactful person. For example, they include kindness, attentiveness, the desire to understand another, non-obsession with oneself, the ability to listen. You can take as an example a person you know who successfully builds relationships with people of various types. Think about what qualities help her in this, and try to develop them in yourself.

    It's not just dancers and musicians who need a sense of rhythm. It must be developed by everyone. After all, it is directly related to the ability to control your body, with the coordination of movements. In childhood, this affects, first of all, the mental person, and personal development in general. Previously, it was believed that no matter how much one wanted to develop a sense of rhythm, it was impossible to develop, but now it has been proven that this is quite possible to implement.

    Is it possible to develop a sense of rhythm?

    Earlier it was mentioned that it can and should be developed. If it seemed that the sense of rhythm, as well as musical ear, was something from the heading of innate abilities, then science has proven that with the help of special ones all this can be easily developed.

    How to develop a sense of rhythm in music and dance?

    1. Metronome . Everyone heard that classes with him at times will help improve the sense of rhythm. Always start at a slow pace and add 5 beats each time.
    2. Entry . Record all your classes on a voice recorder, video camera. Like it or not, but from the side it is easier to see your own mistakes.
    3. Objective view . When it comes to developing a sense of rhythm in music, it is important to listen to yourself while playing. Thus, errors are better audible and visible.
    4. Listen carefully . Dancers are advised to carefully listen to the musical composition, mentally laying it out in parts: rhythm, vocals and the melody itself. Every audio has a background. That's what you should listen to. At first it is not easy, but over time, thanks to this exercise, any composition will be perceived in a completely new way. In addition, it is useful to tap the rhythm on the table.
    5. Slaps . Many teachers advise both children and adults to clap music, highlighting strong and weak areas with claps.
    6. More music . Analyze compositions of various genres. At first, these should be melodies, in the creation of which various musical instruments are used. For example, it can be Latin American music.

    Drumming for dancers - GAREM

    Uvіmk. Posted view garem. do statti

    Excerpt from DVD book Hossama Ramzi

    Translation and comments Nevena Bogacheva

    * DRUMMING (DRUMMING) from English. TO DRUM - drumming. In this context, it means the musical education of the dancer.

    This article is an excerpt from my DVD book titled "Rhythms of the Nile/Drumming for Bellydancers" which came out last year. I wanted the article to appear in print as well, because I judge by the flood of emails that have been hitting me from drummers and dancers all over the world. People write to me, and I see that the need for this information is growing steadily.

    From the time I started playing for belly dancers - and it happened so long ago that I can't remember - I realized that there are basic rules of the game - "A GOOD DANCER'S DRUMMER" *, in accordance with which it will be presented my stuff.

    To become a professional drummer for belly dancers, you need to understand what Egyptian/Middle Eastern dance is.

    * A GOOD DANCER'S DRUMMER - in our context, it can be translated roughly as "What is a good drummer for a dancer."

    The real art of oriental dance is to make the music visible.

    My main rule is:

    "The real art of Oriental dance is to make the music visible."

    What does this mean? And the fact that each musical sound must be translated by the dancer into the language of movement in three dimensions.

    For example, if a whole orchestra plays (all musicians together) a long phrase - whether in the intro, end or middle of the composition - then the dancer must make large, voluminous movements, moving around the entire stage, covering as much of the available space as possible than in fragments, when one instrument performs a solo.

    I am NOT going to tell the dancer WHAT moves to do, and I won't tell the drummer what rhythms, embellishments or accents he or she should play at those places. Both must understand that it is a big sound produced by the whole orchestra or a small one produced by the soloist, and present it accordingly.

    This rule sheds light on an important concept of translation of music .

    I often ask myself: How does a dancer translate music? And I feel that many drummers, dancers and musicians would like to know about it too.

    Let's Think...

    We taught the audience that you can twirl your hips without any knowledge of Middle Eastern dance. You can know nothing about styles, confuse names, never hear the names of your old masters and completely not delve into the culture. It never earns respect. We ourselves made it so.

    When, in the company of unfamiliar people, a person, talking about himself, says: “I dance flamenco” or “I perform kathak \ Odissi style”, in response, at least surprised and delighted: “wow!”, Which means something like “this is Yes!".

    Tell me that you are doing a belly dance, what will be the answer? That's right, at best - an ironic smile and an "understanding" (in the sense that "we have seen, we know what we are talking about") nod of the head.

    Do you understand why? To dance flamenco, you need to know the history and theory of this dance, know the special terms, you can't do without it. You must delve into the science of rhythms, which are very complex, learn about the experience of famous flamenco dancers who lived before you and who live today. I'm not talking about the history of the costume. The same is true for Kathak or Odissi. These ancient types of Indian dance art (as a rule!) are studied by dancers from childhood - sign language, correct body position.

    Deep penetration into a subject ALWAYS causes respect and is considered difficult.

    What's wrong with belly dancing? Do you dance bellydance? And ... everything is clear. We taught the audience that you can twirl your hips without any knowledge of Middle Eastern dance. You can know nothing about styles, confuse names, never hear the names of your old masters and completely not delve into the culture.

    This is never respectful. We ourselves made it so.

    Today the state of affairs is such that EVERYONE must understand that it is OUR RESPONSIBILITY to educate the audience, to convey to people the knowledge that bellydance is not a cheap form of striptease.

    This is what led me to discover a formula that is simple yet powerful in its artistic effectiveness. The unique formula for translating music : E = E IN ITS SIZE AND DIRECTION.

    What is the first E ?

    This is the musical sound you hear. Be it an orchestra or a soloist.

    What is the second E?

    This is a movement made by a dancer in response to a musical sound. This movement should be equal in length and size to this musical sound. Movement also changes direction every time the music undergoes even the slightest change in its sound. To achieve correct performance, the dancer must understand HOW the pieces of music are constructed. Therefore, below is a brief description of the structure of Arabic music and how this understanding should be translated by the dancer into the language of dance.

    If you are a drummer and understand these principles, you will be able to predict what to expect from a dancer and therefore be able to predict what sounds you are best at making while he/she is dancing.

    There are 4 layers in any musical composition:

    • RITM

    Let's start from the first point:

    Rhythm gives emotion. This is important to realize, because a big problem for beginners, and often continuing belly dancers, is that they dance a melody, mistakenly believing that it gives rise to emotion.


    Dancers and drummers should know a little about this. If not, read part 1 of my DVD book.

    Rhythm is musical sounds characterized by regular and accented beats, produced in cycles.

    The accent can be not only a stronger sound, but also a STOP.

    Note that variations and sets of dooms and techs are not yet rhythm. Even regular beats are not rhythm yet. Accents + regularity + cyclicity (repetition after a certain time).

    What gives emotions? Rhythm or melody? We often make mistakes in answering this question. Until we hear the same melody, put each time on top of a new rhythm - this is how Hossam Ramzi sang his “Aziza”, the main musical theme, to us, and each time he played a different rhythm. The melody remained the same, each time the rhythm changed - and the general mood changed, completely different emotions were born. EMOTION GIVES RHYTHM.

    This is important to realize, because a big problem for beginners, and often continuing belly dancers, is that they dance a melody, mistakenly believing that it gives rise to emotion.

    The melody itself lives in close relationship with the rhythm.


    Melody is musical sounds derived from musical notes. These sounds are played in a given sequence, one after the other, with certain pauses between notes. This sound - with a clear sequence and pauses - gives rise to a musical phrase.

    Melody, like the sounds of music, lives in close relationship with rhythm. From this "cohabitation" musical sentences or phrases are born.

    In the Egyptian and some other musical traditions, the melody is built in the format question-answer . The soloist asks a question and the orchestra plays the answer, or vice versa. Depending on WHAT instrument asks the question, the dancer can and must predict what movement should be made.

    … the dancer is mainly expected to move according to the sound of the instrument, that is, the way the soloist plays. If the soloist makes a sound, then the dancer moves with the sound. If the sound changes from note to note, let's say, in speed - it accelerates or slows down - then the movements change accordingly.

    I have divided solo instruments into three main families:

    The Ney family, or the flute family

    Family Ney includes the NEY (flute) and the kavala. You can find their sound on my master of the Arabian flute CD.

    When nei or kavala are played, the sounds produced by them can be described for the most part as legato (long), like a breath of wind, which have a constant sound and are slow and linear in their form. Sometimes musicians playing on the neu or kavale can play faster, then the sounds take on the character of a short staccato . But usually these instruments play legato . And therefore, it is quite natural to expect from the dancer to perform slow, “drawn-out” movements, wave, snake, use high, sometimes open movements of the hands (as happens when we cry to heaven and ask God). You can even just sit on the floor or kneel while doing this.

    No one expects to see long sounds neu or kavala the dancer's shaking hips, until, however, the soloist plays one of these instruments, faster, in staccato.

    Thus, while solo nei or kavala are playing for the dancer, please, if you are participating as a drummer, choose as few decorations and “stuff” as possible for playing the tabla. Just "keep the pulse" of the music and let the rhythm go.

    Family Kanun/ud

    Kanun as an instrument contains 87 strings in groups of 3. It makes a “trrrrrring” sound from each “stroke” on the strings. Therefore, if the dancer translates these sounds correctly, he must perform the shakes in such a way as to visualize the nature and duration of the sound.

    As a drummer, you should be easier on the parts where kanun plays his solo and can only grace the sound of the tabla at the end of a group of 4. Continue to mark the pulse with a constant, even, but attractive rhythm, do it in such a way that someone who plays on eve , had the ability to "breathe". This is his solo, not yours!

    Intermediate family

    All other musical instruments fall into this completely unpredictable family. They can play legato, slow and long sounds just as well as short, fast, staccato. The following tools fall into this category:

    • VIOLIN
    • MISMAR
    • PIPE

    Electric piano as an instrument capable of simulating the sounds of the above instruments or synthesizing various sounds.

    Now, the dancer is mainly expected to move according to the sound of the instrument, that is, the way the soloist plays. If the soloist makes a sound, then the dancer moves with the sound. If the sound changes from note to note, let's say, in speed - it accelerates or slows down - then the movements change accordingly.

    Learn more