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Foot tapping vs Metronome



 
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deejaycee
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Joined: 15 Oct 2016
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PostPosted: Sat Oct 29, 2016 8:38 pm    Post subject: Foot tapping vs Metronome Reply with quote

Hi there,

Is there something special about the foot tapping, or would playing to a metronome work just as well?
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tomba51
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PostPosted: Sun Oct 30, 2016 12:52 pm    Post subject: Re: Foot tapping vs Metronome Reply with quote

deejaycee wrote:
Hi there,

Is there something special about the foot tapping, or would playing to a metronome work just as well?


Carmine advised foot tapping, because he wanted the beat to be your own internal clock, rather than from an external source. He not only told me that, but I also heard him say it to countless other students. (I used to arrive early for my lessons and observe the lessons that he would be giving to other students).
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deejaycee
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PostPosted: Sun Oct 30, 2016 1:50 pm    Post subject: Reply with quote

Thanks for that - will keep on doing it then!

I've been struggling for years now trying to get a workable embouchure back after trying to change to an upstream system (I think it was the Stevens Costello) . I ended up not being able to produce any note well and gave up all ensemble playing.

About 2 months ago I started solely working through the Carmine Caruso book and have started to feel a gradual 'shift' in my embouchure. I am starting to feel my embouchure form the way it used to.

My question is, should I carry on just doing the Caruso or add in other exercises like Clarke, etc.
I'm a little loath to do that as I finally seem to be making progress with just the Caruso.

What would Carmine advise?
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tomba51
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PostPosted: Sun Oct 30, 2016 2:43 pm    Post subject: Reply with quote

I can confidently say that Carmine wanted his students to not just play his exercises, but also to play music. So do your Caruso routine, but also practice other things, Clark, Arban, etudes, orchestral excerpts, jazz studies, whatever. And when you play music, forget all about Caruso. Just play.
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zaferis
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PostPosted: Sun Oct 30, 2016 3:04 pm    Post subject: Reply with quote

The problem is that your "internal clock" must also sink up with an external one any time you perform. Use the metronome, tap your foot if it feels good (the metronome is correct, not your foot). Tapping is just an external demonstration of your internal tempo.
Some time ago an excellent drummer told me "that if you can hear the click of the metronome, then you're not playing with it"

I vote for a variety of texts/etudes/studies, there are many aspects of playing that we must master. Use the ones that challenge your weaknesses and promote your strengths.
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tomba51
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PostPosted: Sun Oct 30, 2016 3:07 pm    Post subject: Reply with quote

Zaferis gave excellent advice. When playing music, use his metronome suggestions. However, when playing the Caruso calisthenics, use foot tapping. Carmine was VERY definite on that.
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deejaycee
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PostPosted: Sun Oct 30, 2016 3:38 pm    Post subject: Reply with quote

Thanks for the advice. Much appreciated!
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tim_wolf
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Joined: 28 Feb 2006
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Location: Lancaster, PA

PostPosted: Sun Oct 30, 2016 6:12 pm    Post subject: Reply with quote

zaferis wrote:
The problem is that your "internal clock" must also sink up with an external one any time you perform. Use the metronome, tap your foot if it feels good (the metronome is correct, not your foot). Tapping is just an external demonstration of your internal tempo.
Some time ago an excellent drummer told me "that if you can hear the click of the metronome, then you're not playing with it"

I vote for a variety of texts/etudes/studies, there are many aspects of playing that we must master. Use the ones that challenge your weaknesses and promote your strengths.


I'm hope someone much more knowledgeable than me will chime in, but I'm pretty sure the timing Caruso stressed was not musical timing, but the timing of the muscles.
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gstump
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PostPosted: Wed Nov 02, 2016 3:10 am    Post subject: Reply with quote

I am not sure what the issue is here regarding foot tapping when playing the Caruso Method. Tap your foot!!!

Here is the thing. The brain sends signals to the muscles. Caruso teaches us to go from one note to the next at a very precise moment in a very precise way. This creates muscle memory.

When you play music with a conductor or a drummer in a band or with a metronome, the learned muscle memory is recalled when changing from one now to the next. So tapping your foot in this non-Caruso context is up to the individual.

Mr. Caruso used the learning how to climb stairs analogy: A toddler looks at the stairs and learns how to lift and lower the legs. Since most stairs are fairly standard eventually the child learns to trust the muscle memory and not have to look.

Cheers,

Gordon Stump
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