Tom Poore wrote:So during lessons you’re providing the beat for the student to model.
No Tom - I really don't do that, at least not in the way that I believe you are supposing. Together, we assimilate rhythm entirely separately. The student supplies their own pulse during any playing - including the lead in.
Tom Poore wrote:There’s nothing “miraculous” about the metronome ...
I didn't mean to suggest that - rather the miracle being that the metronome somehow succeeded at the job where all other methods failed.
Tom Poore wrote:Allow me a philosophic tangent.
As usual Tom - your creativity and insight illustrate that you are exactly the sort of teacher that I would like for myself - I don't dispute that one can indeed use almost anything beyond its original purpose. Needless to say, I have nurtured many a nervous individual (though through other means), their blossoming is one of the several pleasures of our profession.
Tonit wrote:I personally do not think it is a good idea to discourage ambitious students to use it, or discourage them to learn how we could creatively use and utilize one of the best used workout musical tools, and to let them consider it as the last resort of some sort that we better off not knowing how to use.
As I said Tonit:
Mark wrote:... not entering into debate regarding anyone else's use.
Let me be clear - I am not running a vendetta against the metronome. I overstated my dislike for the purpose of mild humour. I do not actively discourage use of the device, nor do I hide the fact of its existence from students. It is
true that I don't believe that the musical world would suffer any great loss should all metronomes be whisked away overnight by aliens.
choose not to utilise one myself as I feel very strongly that it's early introduction serves not to reinforce one's own sense of pulse but the exact opposite - removing it to some external "other place". As to its ubiquitous presence - I have commented elsewhere on the products of, as you put it:
Tonit wrote:... the world of today wherein metronomes are widely accepted and used ...
Though they are perhaps able to execute scales with great velocity, though they may be otherwise technically adept, many (I would venture most) do not play musically at first sight, do not properly understand compound time, do not communicate change of meter, absolutely fail to recognise true hemiola - and so on. These essentially musical
deficiencies are apparent even amongst professional level players. A couple of examples (I know that these will resonate with Paul):
The first movement of John Duarte's English Suite
Performances where the metronomic pulse is prominent to the point of obscuring the meter are almost universal. Those where the meter has even been correctly apprehended are rare.
The well known Bourrée
from BWV 996.
Even if the meter has
been understood (again, not a given) the metronomic sub pulse, combined with an overly extravagant and repetitively monotonous execution of the partial cell - da da dum - usually obscures the phrase level construction.
Tonit wrote:... see metronomes as if they were a sort of chemo or radio therapy for terminal musical symptoms.
When I want to efficiently knock in a nail, I reach for an appropriate tool e.g. a hammer; if I ever needed
it for something ... I honestly don't know what ... I might turn to the metronome. Nothing to do with last resorts - only practicality.