How Deep is Your Beat?
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- Опубліковано 30 вер 2024
- FREE PDF to follow along to the video - openstudiojazz...
In this Bass Guided Practice session, Bob DeBoo uses his skills to take a deep dive into the ocean to find how deep your beat is on the bass!
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I'm a drummer and this was fantastic. I've gone down to 4 bars but never 8 so will try that.
I've been trying this macro time approach for about a month now and it has really improved my sense of time and space. I've noticed that by not having a click at the top of 4 of 8 bars but having it on 4 of the first bar really improved my tendency to rush certain phrases. So it works really well to both improve your time and reduce any dependency on the click.
You can still potentially be sloppy in between so it's still important to make sure you're playing subdivisions accurately but micro time practice addresses that. Thanks again for a great lesson!
You are really amazing. I used to even put the metronome on the upbeat all of the 8ths notes. I even tried doing the metronome in 3/4 in a 4/4 song and 7/8 in a 4/4 song. It is very difficult. Good to practice but I like those natural feel songs
Thanks Robert! I love that 3/4 in 4/4 & 7/8 in 4/4 concept, but I use drum loops instead. Difficult indeed, but sure feels good when you line everything back up in 4. Like coming home!
Thx u🙌🏽🙌🏽🙌🏽!!!
Good stuff, good concept. And your bass sounds good too.
thanks Chaka!
Say it with me, folks: MACRO TIME! Wish more folks spoke about this type of time practice. I dunno why Ari Hoening considers Macro Time to be a dirty word. Maybe he understands it a different way? Anyway, macro time is the key to learning how to build your phrases organically. Bob, you gotta get everyone on Open Studio talking about Macro Time. As you say, this is the key to developing a "deep beat" -- on any instrument. I like how you described it as relative time, like relative pitch--that's an excellent comparison, especially when you start placing hits and accents on different parts of that big beat. Like, put the click on the downbeat of every four measures and snap the "and of 4" of every measure. Gets you to really hear how each part of the measure feels, because you compare it to the big beat. A 6th in C minor has a certain sound, just like the "and of 4" has a certain sound within the context of a measure or phrase. We need the drummers to talk more in this language over here :) One thing I'd pass on from my musicianship teacher back in NYC--Bruce Arnold. He advised NOT to subdivide at first. Instead, you memorize the space/time in between the click. It's very meditative. You don't put anything into the click--you just listen. Similar to hearing pitches in a key center--you memorize them as pure sound, not as a reference to other notes or melodies. After you get close, then you can start to subdivide.
I like that 'just listen' concept a bunch. When I'm not feeling it yet it kinda forces me into that anyways though on the really slow clicks. I remember you bringing up the macro time on the 'About Time' video a while back and I knew it was time (not a pun! lol) to revisit this concept. I'm glad you felt the relative pitch/time analogy, because it definitely feels legit to me. I will have to research Mr. Hoenig's (I'm a big fan of his!) stance on this, because I'm sure I'd learn a lot and am not aware yet. Thanks for watching and for the insightful comments!
@@bobdeboo8549 Very interesting stuff, indeed. I always talk about it because I want to see how pro's like yourself approach macro time. I'm still at the tip of the iceberg.
I remember that Ari said that he thought that macro time was too vague, and that he always strives for the precision of subdivision. There's the same issue with people about key based contextual ear training--they think it's too vague. After spending 10 years with contextual key based ear training, the whole point is to layer in the detail and complexity of harmony onto the key center--as to create movement while still retaining the cohesion of playing an entire composition--such as a jazz standard. Harmony becomes a spice to the rue that is the key center--it all flows in the same base. All sauce and no spice is boring flavor, indeed. All spice and no sauce means that you are at risk of losing the flavor the dish and getting overwhelmed by all that spice. Hope that comparison makes some sense :)
Same with macro time. The subdivisions are still there, but they punctuate the "rue" that holds the entire sauce together. When you look at the subdivisions in isolation, you may only see eighth notes, sixteenths, and some rests. When you look at subdivisions within the context of macro time, you see how they work to build a complete phrase--like how syncopated hits build to release at the end of a four bar phrase. You see the release through the context of that larger span of time.
One day, I'll convince some masters of macro time and contextual ear training to guest speak at Open Studio. Until then, this was an EXCELLENT intro into the world of macro time--a concept I've been trying to convince drummers round UA-cam to talk about for over a decade :) Awesome work as usual, Mr. Bob!
Thank you so much Bob
this is amazing thank you
great lesson!
You are great teacher !
Great practice. Thanks!
Thank you so much Bob !!!
thanks for watching Stephane!
Great video! I’m a classical Cellist and I’ve always found if I put the metronome on the after beats two and four instead of one and three it keeps me from pushing ahead which is always my tendency. You can also feel more of a groove clicking on the after beats even when playing a Tchaikovsky symphony. ;-)
That's very cool! I appreciate your perspective from the classical side. Have you tried it where you keep slowing the metronome like in this video? I would be curious, because it seems like fluidity in tempo and expression are hallmarks of a lot of the classical rep...
@@bobdeboo8549 A month ago I download that app that you recommended in which you can slowly remove the beats I cannot figure out for the life of me how to operate the damn thing
@@stevenj9970 oh no, really? What's going on with it? I've been using it for years, so I can likely help
Amazing Bob! Great Lesson!
thanks Roberto!
Fantastic video, thank you Bob
Thanks Pieter!
So excellent !!
thank you Charles!
Wish they had jazz guitar
they do
What's up. Do you mean you wish Open Studio had jazz guitar?
@@bobdeboo8549 yes