Schöner Pauken
Rhythmische Genauigkeit durch fliessende Bewegungen
(Sprache: Englisch, Deutsch)
When we play timpani, we produce our sounds through the movements of our handsand arms. When we strive for rhythmic precision, we should therefore accordinglyorganize and give structure to these motions. But what does that mean? How canmovements be...
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When we play timpani, we produce our sounds through the movements of our handsand arms. When we strive for rhythmic precision, we should therefore accordinglyorganize and give structure to these motions. But what does that mean? How canmovements be executed, in order for them to be favourable for precision?When single movements are constantly repeated without interruption, they developinto regular cyclical motion sequences. And since they are so uniform and predictable,they are particularly suitable for our purposes.Examples of cyclical motion sequences are familiar to us through walking, when wewant to get from point A to point B. Once we get started, the movements always followthe same patterns, largely automatically. It's not necessary to consciously commandthe individual steps. The size and speed of our steps change only through a consciousdecision on our part. This autonomy and independence of movement has theadvantage that we can do other things simultaneously: we can chat, converse, dosomething with our hands at the same time, etc.. However, this independence ofregularity is by no means reserved just to our feet and legs. Through evolution (formerlywe were four-legged!) our hands and arms are fundamentally capable of doing thistoo.For example, if I play a flowing continuous series of strokes with one hand, I'm notactually thinking about things like tempo, rhythm, meter etc. Regardless of thenecessary acoustic control of what is happening, it is particularly important for me tofeel the regularity of movement, which I perceive in various ways:- by the same constant size of movement- by the same constant speed of movement- by the same constant activity of the muscles involved- by the same constant "answer" (rebound) from the vibration of the skinHere too, these strokes become more or less independent, so in turn this gives me theopportunity to do something completely different with the other hand. And that is agood thing, because we shouldn't be doing
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incessantly the exact same strokes. Withregard to the rhythmic accuracy that we are aiming for, our challenge is now to retainas much of our steadiness and reliability as possible, even when playing more complexrhythms. The more the individual movements are combined to achieve a continuousflow of movement, and the better the movements of each hand interlock, the calmerand more predictable the movements become. Obviously this has an immediate effecton your rhythmic steadiness. Ideally, a feeling could arise here that some people mayknow from juggling: an automatic and perpetual interlocking of activities of both hands,that never seems to stop and is by the way a lot of fun! The fact that the whole processalso has a positive effect on your sound is of course a very welcome aspect. It alsohas its own personal aesthetic!The following exercises illustrate how exactly just a careful adjustment of repeatedstroke sequences can succeed in coordinating your hands effectively while playing.And it works like this:We have 13 examples of different movement and coordination models to deal with.At the beginning of each of these models an idea is presented in a referencemeasure. Here your hands are simply synchronized. This way you can evaluate yourmovements effectively to assure that both sides are identical in quality. Then yourhands carry out the exact same movements, but time-shifted, which causes changesin rhythm.Here it is extremely important that the indicated tempi are strictly observed.Furthermore all exercises should be played with rather large movements (in the forterange)in order to perceive and comprehend the coordination process.Instead of using sticking indications (R and L) I have chosen a means of notation whereone hand is notated above the line and the other below the line. I recommend workingthrough each model with the same assignment (eg. left hand above, right hand below)and afterwards do them all over again the other w
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Inhaltsverzeichnis zu „Schöner Pauken “
Einführung Introduction Modell 1 / Model 1 Regelmässige Bewegungen beider Hände mit identischem Rhythmus /Uniform movements of both hands with identical rhythmsModell 2 / Model 2 Regelmässige Bewegungen beider Hände mit identischem Rhythmus+ Zwischenschwung beider Hände /Constant movements of both hands with identical rhythms+ intermediary swing of both handsModell 3 / Model 3 Regelmässige Bewegungen beider Hände mit identischem Rhythmus+ Zwischenschwung einer Hand /Uniform movements of both hands with identical rhythms+ intermediary swing of one handModell 4 / Model 4 Regelmässige Bewegungen beider Hände mit unterschiedlichen Rhythmen /Uniform movements of both hands with different rhythmsModell 5 / Model 5 Regelmässige Bewegungen beider Hände mit unterschiedlichen Rhythmen+ Zwischenschwung einer Hand /Uniform movements of both hands with different rhythms+ intermediary swing of one handModell 6 / Model 6 Gemischte Bewegungen:eine Hand bewegt sich regelmässig (+ Zwischenschwünge),die andere Hand spielt abgesetzte Einzelschläge /Mixed movements:one hand moves continuously (+ intermediary swings),the other hand plays separated individual strokesModell 7 / Model 7 Regelmässige Bewegungen beider Hände mit unterschiedlichen Rhythmen+ Zwischenschwung beider Hände /Uniform movements of both hands with different rhythms+ intermediary swing of both handsModell 8 / Model 8 Unregelmässige Bewegungen beider Hände mit identischem Rhythmus /Irregular movements of both hands with identical rhythmsModell 9 / Model 9 Gemischte Bewegungen: eine Hand regelmässig, die andere unregelmässig /Mixed movements: one hand constant, the other irregularModell 10 / Model 10 Unregelmässige Bewegungen beider Hände mit identischem Rhythmus+ Zwischenschwung beider Hände /Irregular movements of both hands with identical rhythms+ intermediary swing of both handsModell 11 / Model 11 Gemischte Bewegungen: eine Hand unregelmässig,die andere regelmässig + Zwischenschwung /Mixed movements: one hand irregular,the other
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constant + intermediary swingModell 12 / Model 12 Unregelmässige Bewegungen beider Hände mit unterschiedlichen Rhythmen /Irregular movements of both hands with different rhythmsModell 13 / Model 13 Unregelmässige Bewegungen beider Hände mit unterschiedlichen Rhythmen+ Zwischenschwung einer Hand /Irregular movements of both hands with different rhythms+ intermediary swing of one hand7 kurze Übungen / 7 short exercises
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Bibliographische Angaben
- Autor: Arend Weitzel
- 2022, 32 Seiten, Masse: 21,2 x 29,6 cm, Geheftet, Englisch/Deutsch
- Verlag: Leu-Verlag
- ISBN-10: 3897751941
- ISBN-13: 9783897751941
- Erscheinungsdatum: 30.07.2022
Sprache:
Englisch, Deutsch
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