That deep rooted issue confronting numerous performers of current electronic console instruments (and note that I am including Digital Pianos and Keyboards here) is when to utilize a foundation RHYTHM.
I am fortunate in that sense as I can generally feel the regular musicality in the music, and can play whichever way without any problem. Being a Ballroom and Latin American Dancer additionally makes a difference. (That was the way I met my Wife). The issue is that Automatic Rhythms can make life so natural, at any rate that was what I thought in the beginning of playing a Thomas Organ with Color-Glo (Yes I spelled it the American route as that was the manner by which it was on the organ).
That great Ta-Tat-Tat-Ta, Tat-Tat Ta ,Tat-Tat-Ta, taking you past the Tick-Tick-Tick-Tick of the trusty metronome was a genuine lift. Abruptly on the organ as you attempted to do the essential, Pedal-Chord-Chord, Pedal-Chord-Chord. Pedal-Chord-Chord, on your Moon River Waltz, the music increased more profundity and a specific extravagance, as the rhythm was steadier. Fine you state, BUT, what happens when you need to stop the mood, or re-start the musicality. You see that is the place a live percussionist (Drummer for the uneducated!) is extraordinary, as the individual in question can back off, delay stop, fill in, restart or simply adjust to the mind-set of the music and the performer they are going with. Psyche you as my child is a percussionist with a Ludwig Drum unit, that can raise a WHOLE LOT of different issues.
In this way, back to beat. Numerous individuals can differentiate between a Waltz, with its 3/4 planning, that is a steady 1-2-3 fitted into each bar of music (A bar being 4 beats consequently 3/4 time) and a straightforward 4/4 time, for example, a Swing. The issue is perceiving the different rhythms. The rundown is huge and incorporates Rhumba, Tango, Samba, Bossanova, March, March Polka, Dixie, Ballad, Slow Foxtrot and Jazz Waltz, to give some examples. Presently I need to state that, throughout the years, distinctive organ makers have dabbled with rhythms on their items and having played a wide range of makes of organ in my more youthful days, I have my top picks. To the extent my own organs went, on the Lowrey Citation Spinet, I adored the Mambo, and Go-Go (you could likewise blend the rhythms on this). On the Lowrey Coronation it was the March Polka and Waltz. On the Lowrey MX1 it was the vast majority of them, on my current Technics GX5 it is the Bossanova, March, Rhumba, Cha. , Jazz Waltz, Swing and Tango.
My solution to your choice issue, is tune in to a case of the music being performed by another person, for example, an ensemble or musical crew, while having your eyes shut. Tune in to the mood and melodic developments, at that point while you are as yet contemplating the tune, place your musicality segment on and tune in to all the varieties of every beat design that is like your bit of music. Alter the rhythm (speed) as important to coordinate the one in your mind, at that point tune in for the one that most matches your recollections of the piece. Trust me, there is no simple answer.
For instance, I love playing the bit of music “You’re The Only Good Thing That Happened To Me. I have the Jim Reeves form yet I was fortunate enough to meet that incredible Organist Steve Lowdell, and he plays is perfectly in a smooth Waltz style on his Cassette/CD “Pearls”. Presently the Waltz mood on my Technics GX5 is fine, yet the backup to the Waltz is not even close comparable to on my old Yamaha HC4 (Which I have now given to my child and his significant other after their ongoing marriage.) Although the Waltz beat itself is dainty, the streaming arpeggios of piano that go with it, repay drastically.
I will complete this currently by saying that this subject of Rhythm will be proceeded on my next article and I trust that I have given you a couple of things to consider. Keep in mind, ROME was not worked in a day.