- Shopping Bag ( 0 items )
Ships from: Dallas, TX
Usually ships in 1-2 business days
We are very excited about Mr. Arnold's innovative instruction series. We believe that this series of books will help more students and professional musicians to perfect their technique and reading skills through the use of an interactive "practice partner." We know of no other books to compare with them; they are truly a teaching method for the New Millennium!
About the Author:
Bruce Arnold is from Sioux Falls, South Dakota. His educational background started with 3 years of music study at the University of South Dakota; he then attended the Berklee College of Music where he received a Bachelor of Music degree in composition. During that time he also studied privately with Jerry Bergonzi and Charlie Banacos.
Mr. Arnold has taught at some of the most prestigious music schools in America, including the New England Conservatory of Music, Dartmouth College, Berklee College of Music, Princeton University and New York University. He is a performer, composer, jazz clinician and has an extensive private instruction practice. Currently Mr. Arnold lives in New York and is performing with his own "The Bruce Arnold Trio", and "Eye Contact" with Harvie Swartz, as well as with two experimental bands, "Release the Hounds" a free improv group, and "Spooky Actions" which re-interprets the work of 20th Century classical masters.
Example 2 shows how you might subdivide a measure where the eighth-note is the common denominator but the measures contain mostly sixteenth notes.
You can see in example 2 that feeling the pulse as sixteenths can make it easier to execute certain rhythms. You will find that reading examples 1-5 could be felt with an eighth note pulse while example 6-10 could be felt with a sixteenth note pulse.
Composers subdivide measures to help the performer see how they hear the internal accents of that measure. You will notice in Example One that 5/8 measure is felt in a group of two and a group of 3 eighth notes while the 3/8 measure in Example Two is felt as three separate and equal beats notwithstanding the natural accent the 1st beat of the measure would receive. When reading the examples found in this book, use these groupings to help you quickly see how a measure is felt and divided.
This method presented here of feeling a basic common denominator pulse will greatly help you in initially playing the examples. Of course you ultimate goal is to feel the pulse of the entire measure which is the original reason to have an odd meter. This is particularly true at fast tempos where it is much more natural and musical to feel the pulse of the measure as your primary beat. In order to do this you must develop a natural internal feel for the underlying common denominator pulse which comes with beginning to trust your internal clock and letting the basic pulse move to the background in your mind . This should eventually be taken further, to where you have an aural image of the rhythm before you play it with no conscious internal subdividing. This last level comes with practicing the examples contained in this book along with playing music in odd time signatures until it's a natural process. As you get more comfortable you should start to feel the time rather than count the time. It is much better not to count at all, but to "feel" the overall rhythmic pulse of the measure. The audio example should help you to relax while still knowing if you are playing correctly.
Many of my students have asked me how they can improve their comprehension and execution of rhythms within odd meters. This book is an attempt to fill those needs.
Although there are many books available that address rhythms, this odd meters series of books is unique in that each written example is accompanied by an audio example. These audio examples can be downloaded from the internet at muse-eek.com. The audio examples use midi files. Midi files programs can be downloaded for free on the internet.
Volume one of this odd meters sight reading series aims at getting a student proficient at recognizing and playing highly syncopated rhythms while moving through time signature changes. The examples herein are typically found in contemporary rock and fusion where intricate meter changes and syncopations don't always line up with the traditional basic accents of a measure. Other volumes in this odd meter series will take this one step further by introducing metric modulation, more varied metric denominators and rhythmic values. See the final pages of this book for a complete listing and description of current music related publications.