04-26-2006, 02:51 AM
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7/8-5/8 Timing?
Does anyone know the best way to count meters like 7/8 and 5/8?
I have a piece that I'm learning right now and it jumps those time sigs. just like that...
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04-26-2006, 05:23 AM
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most pieces with those kind of rhythms subdivide into twos and threes, i.e. for 5/8 either 2+3 or 3+2, and the same thing for 7/8. Mark where those pulses occur in pencil on the music, and do lots of out loud counting away from the instrument, with vocal emphasis or foot-taps or head-nodding, whatever suits, on the pulses. Plus lots of clapping the beats with strong emphasis on the pulses.
If you really want to get into it, actually conducting the pieces is also a good way to internalise the rhythmic architecture. Depending on where the 3 and the 2 are, use a 2/4 beat shape for the 5/8 with a longer movement where the 3 occurs, and for the 7/8 use a 3/4 shape, also with a longer shape where the three is.
If it is an absolutely straight 5 and 7 per bar with no internal pulse, then lots of out-loud counting.
Some people find the phrase "Lollobrigida" useful as a way of establishing a five feel, and for seven " Gina Lollobrigida". ( I think she was a very pneumatic actress of the fifties and sixties, but it's the syllabic evenness of her name that is of use to us here!)
Do as much work as possible without the instrument, as this isn't an instrument problem but a mental and rhythmical one. That way, when you go back to playing it with the instrument in hand, you'll have established good habits, and they will be associated with picking up the instrument.
Sue
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04-27-2006, 12:04 AM
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Quote:
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Originally Posted by suetuba
most pieces with those kind of rhythms subdivide into twos and threes, i.e. for 5/8 either 2+3 or 3+2, and the same thing for 7/8. Mark where those pulses occur in pencil on the music, and do lots of out loud counting away from the instrument, with vocal emphasis or foot-taps or head-nodding, whatever suits, on the pulses. Plus lots of clapping the beats with strong emphasis on the pulses.
If you really want to get into it, actually conducting the pieces is also a good way to internalise the rhythmic architecture. Depending on where the 3 and the 2 are, use a 2/4 beat shape for the 5/8 with a longer movement where the 3 occurs, and for the 7/8 use a 3/4 shape, also with a longer shape where the three is.
If it is an absolutely straight 5 and 7 per bar with no internal pulse, then lots of out-loud counting.
Some people find the phrase "Lollobrigida" useful as a way of establishing a five feel, and for seven " Gina Lollobrigida". ( I think she was a very pneumatic actress of the fifties and sixties, but it's the syllabic evenness of her name that is of use to us here!)
Do as much work as possible without the instrument, as this isn't an instrument problem but a mental and rhythmical one. That way, when you go back to playing it with the instrument in hand, you'll have established good habits, and they will be associated with picking up the instrument.
Sue
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OK, thanks! That helped alot. I will be attending the ITG conference in June and I will be playing Oliver's Birthday by Bruce Broughton and Concert Etude by Alexander Goedicke for their Youth Comp.
__________________
Gloria in Excelsis Deo
Soli Deo Gloria
2 Timothy 2:5 And if a man also strive for masteries, yet is he not crowned, except he strive lawfully.
Life is Short, Practice Hard.
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