Lawler wrote:But this thread is about Ortega's perspective on right hand technique so I'll stop there.
True - and, though I get the feeling that Scott doesn't really pay much attention to what we write, I'll stop after this too.
As a member of the loony minority here on this issue - I won't expect to change anyone's entrenched opinion. The suggestion though, that for everyone, a metronome is some sort of prerequisite for becoming a musician is patently false. How on earth do we imagine a musician's life unfolded before Winkel and Mälzel ... did they just meandering around in the background like some free jazz group, unable to find the pulse? They must have laid awake night after night, praying for some mechanic to come along and invent the Acme Inflexible Conducting Device
prawnheed wrote:If you ever wish to play with others, practise with a metronome.
Well - that's quite a strong comment. How do you back it up? Are you saying that I won't be able to play in ensemble unless I take up the metronomic yoke? I'll say a polite thanks, but no thanks to that advice.
Tom Poore wrote:In my experience, amateur players who never practice with a metronome are easy to identify.
Tom - I find that amateur players who work extensively with the metronome are equally easy to spot. I spent a large part of my working life in ensemble situations and as an accompanist. I can state outright that metronome monsters (whilst delightfully simple to rattle along with) are easily
the most unmusical and most difficult to support due to their often not having an internalised pulse.
In a way, it doesn't matter to me - I can comfortably accompany a human, a metronome or a cement mixer - but it's a shame, especially in examination situations for instance, when a technically adequate player is unable to make use of available support through lack of musical communication.
Tom Poore wrote:Here’s what a former student of Chopin wrote:
“In keeping tempo Chopin was inflexible ... the metronome never left his piano
As you might guess, I'm well aware of discussion around Chopin's time keeping, his favouring of contrametric over agogic rubato etc. We could swap contradictory quotes all day - for instance Berlioz famously said:
Hector Berlioz wrote:... Chopin simply could not play in strict time.
Maybe if he'd kicked the metronome down the street? But it's all beside the point - as was, I accept, the Beethoven stuff. I just wanted to highlight what a shyster Mälzel was.
Tom Poore wrote:By the way, tell an experienced chamber music or orchestral player that practicing with a metronome is a waste of time. The polite ones will suppress a smile and change the subject. The less polite ones won’t.
Hmm, right up until Prawnheed informed me that I can't possibly be, I considered myself
to be an experienced chamber musician ... City of London Sinfonia
, BBC Symphony Orchestra
, The Fibonacci Sequence
... harpists, flautists, string quartets ... I could make a list as long as your arm.
Oh well - each to their own.