> > I like his answer, not sure about the wording of the
> > question though? ..."metronomic time"?
> > What does that mean?
> He seems to mean a pulse that doesn't speed up or slow down.
What's interesting there is a metronome has to be minimal/unobtrusive
but still loud and clear. Not unlike how a desktop background pic has
to
look cool but not get in the way.
I hate metronomes that go toc toc toc toc toc toc toc toc, personally,
but I don't mind ones that go TIC toc toc toc TIC toc toc toc.
If James Brown had a metronome it would surely have a
pronounced downbeat like that, maybe a few HAW! screams too.
WK has some good value lessons to download from his site that cover
this stuff in more detail. He's an engaging educator imo as well as
being a true iconoclast.
Well-considered stuff. I call it 'studying with yourself'---at least
it's an aspect of it (specifically I mean the taping part---but the
reflecting and caring, too). Candidly, I've never heard this guy play,
though I've seen his name for years. If his playing is on the level of
his insights, though, he's worth hearing.
Anyway, the metronome is no secret. And it figures that a guy spending
a lot of time in the studio with click tracks would make the leap of
faith tom practice and tape it, especially if the publicly heard
results of record dates displeased him.
It just goes to show that people are always looking for complicated
answers to simple questions, and the answers almost always are rooted
in the basics.
> Well-considered stuff. I call it 'studying with yourself'---at least
> it's an aspect of it (specifically I mean the taping part---but the
> reflecting and caring, too). Candidly, I've never heard this guy play,
> though I've seen his name for years. If his playing is on the level of
> his insights, though, he's worth hearing.
> Anyway, the metronome is no secret. And it figures that a guy spending
> a lot of time in the studio with click tracks would make the leap of
> faith tom practice and tape it, especially if the publicly heard
> results of record dates displeased him.
> It just goes to show that people are always looking for complicated
> answers to simple questions, and the answers almost always are rooted
> in the basics.
It is indeed well considered stuff, and Krantz is no slouch, at least
within his genre.
I recall working when I was a young man working with a drummer who had
a particularly great feel for music. We used to have long
philosophical discussions about what it meant to play straight in the
groove, to play on the back side of the time and to play on top of the
time. We'd practice messing with time. He'd play a pulse on a hi-hat
while we'd play back beats with snare and guitar on the back side of
the time. Old time R&B kind of stuff. It was an indispensable part of
my musical education.
This stuff is definitely worth paying attention to, and Krantz's
approach seems pretty sound to me.
> > Well-considered stuff. I call it 'studying with yourself'---at least
> > it's an aspect of it (specifically I mean the taping part---but the
> > reflecting and caring, too). Candidly, I've never heard this guy play,
> > though I've seen his name for years. If his playing is on the level of
> > his insights, though, he's worth hearing.
> > Anyway, the metronome is no secret. And it figures that a guy spending
> > a lot of time in the studio with click tracks would make the leap of
> > faith tom practice and tape it, especially if the publicly heard
> > results of record dates displeased him.
> > It just goes to show that people are always looking for complicated
> > answers to simple questions, and the answers almost always are rooted
> > in the basics.
> It is indeed well considered stuff, andKrantzis no slouch, at least
> within his genre.
> I recall working when I was a young man working with a drummer who had
> a particularly great feel for music. We used to have long
> philosophical discussions about what it meant to play straight in the
> groove, to play on the back side of the time and to play on top of the
> time. We'd practice messing with time. He'd play a pulse on a hi-hat
> while we'd play back beats with snare and guitar on the back side of
> the time. Old time R&B kind of stuff. It was an indispensable part of
> my musical education.
> This stuff is definitely worth paying attention to, andKrantz's
> approach seems pretty sound to me.
You'll get as many opinions of where the beat 'should be' as people in
a playing situation. And ulcers for sure, enemies possibly---if you
won't budge from your view while playing. No one wants to be around a
stiff-ass. Except maybe another stiff-ass. In which case they probably
deserve each other anyway.
> > > Well-considered stuff. I call it 'studying with yourself'---at least
> > > it's an aspect of it (specifically I mean the taping part---but the
> > > reflecting and caring, too). Candidly, I've never heard this guy play,
> > > though I've seen his name for years. If his playing is on the level of
> > > his insights, though, he's worth hearing.
> > > Anyway, the metronome is no secret. And it figures that a guy spending
> > > a lot of time in the studio with click tracks would make the leap of
> > > faith tom practice and tape it, especially if the publicly heard
> > > results of record dates displeased him.
> > > It just goes to show that people are always looking for complicated
> > > answers to simple questions, and the answers almost always are rooted
> > > in the basics.
> > It is indeed well considered stuff, andKrantzis no slouch, at least
> > within his genre.
> > I recall working when I was a young man working with a drummer who had
> > a particularly great feel for music. We used to have long
> > philosophical discussions about what it meant to play straight in the
> > groove, to play on the back side of the time and to play on top of the
> > time. We'd practice messing with time. He'd play a pulse on a hi-hat
> > while we'd play back beats with snare and guitar on the back side of
> > the time. Old time R&B kind of stuff. It was an indispensable part of
> > my musical education.
> > This stuff is definitely worth paying attention to, andKrantz's
> > approach seems pretty sound to me.
> You'll get as many opinions of where the beat 'should be' as people in
> a playing situation. And ulcers for sure, enemies possibly---if you
> won't budge from your view while playing. No one wants to be around a
> stiff-ass. Except maybe another stiff-ass. In which case they probably
> deserve each other anyway.
There are opinions galore about everything under the sun, and I agree
that arguing them is pointless. However, it's good to have some
command of where you are inside the beat, and I think that was
Krantz's point.
I also think that certain genres lend themselves to different
approaches to time and feel. Show gigs require playing on top (which
is different than rushing), while R&B requires laying back. In those
situations, it's good to be working with players who are sensitive to
that, and it's painful to be working with players who aren't.
> > > Well-considered stuff. I call it 'studying with yourself'---at least
> > > it's an aspect of it (specifically I mean the taping part---but the
> > > reflecting and caring, too). Candidly, I've never heard this guy play,
> > > though I've seen his name for years. If his playing is on the level of
> > > his insights, though, he's worth hearing.
> > > Anyway, the metronome is no secret. And it figures that a guy spending
> > > a lot of time in the studio with click tracks would make the leap of
> > > faith tom practice and tape it, especially if the publicly heard
> > > results of record dates displeased him.
> > > It just goes to show that people are always looking for complicated
> > > answers to simple questions, and the answers almost always are rooted
> > > in the basics.
> > It is indeed well considered stuff, andKrantzis no slouch, at least
> > within his genre.
> > I recall working when I was a young man working with a drummer who had
> > a particularly great feel for music. We used to have long
> > philosophical discussions about what it meant to play straight in the
> > groove, to play on the back side of the time and to play on top of the
> > time. We'd practice messing with time. He'd play a pulse on a hi-hat
> > while we'd play back beats with snare and guitar on the back side of
> > the time. Old time R&B kind of stuff. It was an indispensable part of
> > my musical education.
> > This stuff is definitely worth paying attention to, andKrantz's
> > approach seems pretty sound to me.
> You'll get as many opinions of where the beat 'should be' as people in
> a playing situation. And ulcers for sure, enemies possibly---if you
> won't budge from your view while playing. No one wants to be around a
> stiff-ass. Except maybe another stiff-ass. In which case they probably
> deserve each other anyway.- Hide quoted text -
> - Show quoted text -
Well, unless the stiff ass is the leader, who is capable of stiffing
you on the pay.
