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Mike Hamnett
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The "fifth limb" principle is as Tom mentioned,the use of the voice(it comes from kit playing,particularly associated with Gary Chester's book "New Breed",also Jim Blackly's"Syncopated Rolls").whereby if you have a kit pattern or exercise,you add in the voice counting time in the first instance.You then pass round all of the parts so that for example (with apologies to left handed and open handed kit players) on a shuffle groove,the RH plays the HH line,LH plays the RH line,LFoot plays the VOCAL line(ie the count)RFoot plays the LH line and the voice sings the RFoot line.You vary this into as many combinations as required,the idea being that the time keeping becomes so solidified that there is no interdependance from one limb to the others.
I also personally find that rather than peceive time as a count and subdivision system,it makes more musical sense to hear time almost in melodic terms.A simple example would be the third movement of the Haydn Trumpet Concerto where the first theme is a dotted crotchet/quaver combination,I would hear something on the second beat,allowing the quaver to,for want of a better word,"swing" off this imaginary note,not that I'm suggesting you interpret the piece in the style of Clifford Brown!
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[3485]Re:Re:Re:Time Keeping (325 reads)
[3477]tough question <>
