How to Amplify Your Metronome for Rhythmic Development
Playing with a metronome is a vital element in the bagpipe learning game. But, how do you play with a metronome while also playing your…
Playing with a metronome is a vital element in the bagpipe learning game. But, how do you play with a metronome while also playing your…
Are you hitting the beat accurately? Are you like most pipers who struggle with this piping fundamental? Can you easily identify what exactly should be on the beat?
When you play a strathspey, does anyone ever tell you that it “sounds like a march”? Is it difficult to get the correct strathspey rhythm, no matter how many times you play through the same tune? One method of learning a strathspey correctly is to use a metronome from the outset, and hear your playing improve.
We pipers know that playing “on the beat” is critical, not only for unison in a group, but also to attain total musicality in the music we’re playing. However, as an individual how many of us have been told that we play “consistently ahead of the beat”, or that we are “sometimes on the beat, but not always”?
Rhythmic accuracy, scale navigation, grace note quality, embellishment quality, and ALAP/ASAP, are foundation skills on the Highland bagpipe. We must be able to accurate navigate the notes on the chanter, we must have crisp, clean grace notes and embellishments, and we must imply dynamics through ALAP/ASAP.
In Scottish country dancing, the reel is one of the four traditional dances, the others being the jig, the strathspey and the waltz. A reel is in 4/4 time, but when written out, reels are most often written in a 2/2 time signature, also known as "cut time".
When you are learning a new jig, do you often have trouble staying “on the beat” because you are using all of your concentration just to play all of the melody notes, gracenotes and embellishments correctly? Then, after you get those pesky things out of the way, are you still having trouble getting that “jig feel”? Using a metronome during your practice may well be a useful tool for you.
When you are learning a new competition march, do you often have trouble staying “on the beat” because you are using all of your concentration just to play all of the melody notes, gracenotes and embellishments correctly? Then, after you get those pesky things out of the way, are you still having trouble getting that “march feel”? Using a metronome during your practice may well be a useful tool for you.
Do you know pipers who say they never use a metronome because they “already play on the beat”, or they never saw the benefit of using one? Have you ever tried to play the practice chanter or the pipes while using a metronome, but got frustrated because it was nearly impossible to play “on the beat”?