Groove y sensación de tiempo

Exploring Time Feel in Music

Introduction

A lot of stuff that I've been playing in this course so far has been using a lot of unorthodox bowings for some of you out there. You might notice that the way I'm playing certain melodies does not sound like a straight classical interpretation, no straight eighth notes.

The Importance of Rhythm

We've talked a little bit about melody and harmony. Now, I want to discuss rhythm in a couple of different ways. Rhythm can manifest as:

• Playing triplets
• Using a dotted quarter note followed by an eighth note

These rhythmic ideas can serve as a springboard for all kinds of improvisatory concepts.

Time Feel and Groove

Before diving deeper into rhythm, I want to emphasize the concept of time feel on the violin. This can also be referred to as "groove."

If you're a classical player who has never experimented with other types of music, approaching this idea might feel daunting. You likely have a strong technical facility on your instrument, but you may find that even when you play the right notes, something doesn't sound quite right when you try to play along with a recording.

Observations from Various Genres

Folk players, such as:

• Bluegrass players
• Scottish players
• Irish fiddle players

These musicians already have a distinctly different kind of time feel compared to classical music. For example:

• Irish fiddle players: Their playing often grooves with a unique feel.
• Bluegrass players: They embody their own type of groove, which differs from the Irish style.

Both genres are "groovy," but they are unique in their expression.

From a jazz perspective, I find the term "pocket" incredibly useful. It represents a comfortable approach to time feel, applicable whether you're playing ripping Celtic fiddle or grooving to a D'Angelo record.

Traditional Perspectives on Rhythm

For many classical players, the approach to time and rhythm is often rigid:

• You might be accustomed to thinking in terms of measures and rests.
• Each beat (one, two, three) correlates with a vertical line in sheet music.

This perspective treats rhythm as a vertical mark, locking into a grid. While this is "correct," it can also be very challenging to play in this way, requiring countless hours of metronome practice.

Your First Assignment: Rethinking Time

Here's your first assignment regarding time feel:

• Visualize Time: Instead of thinking of time as a linear progression, consider it like a tennis ball or a watch.

  Using the watch analogy:

• 12:00: Perfectly on the beat

• 11:00: A little ahead of the beat

• 1:00: A little behind the beat

Practical Application

If you're an orchestra player working on excerpts, I challenge you to set your watch:

• 1:00 or 11:00

As I visualize the watch face, I aim to place notes slightly ahead or behind the suggested beat.

Example Exercise

Let's return to our trusty G major scale.

• If you're trying to play accurately, you might find yourself subdividing too much to maintain groove.

Attempt to play the G major scale:

• Play it one 16th note after a simple click of a metronome.

For instance: Da da, da da, da.

You might find it roughly executed, but that's not the main point. Now try shortening the distance by incorporating a tiny rest.

Exploring "Laying Back"

From my studies with jazz players, I've learned the importance of "laying back." Many string players tend to play on top of the beat. As an advanced improviser:

• You can play various styles that dance around the beat, but it's crucial to control this tendency.

Expression Through Timing

This control can broaden your horizons as an improviser:

• Play in front of, on, or behind the beat in various degrees. This enhances your level of self-expression, much like playing different modes on a G major scale.

Reflection and Assignment

For your assignment:

• Think about your watch or any circular concept of time (like a golf ball or basketball).
• Take some modal ideas or just a plain scale and explore with them at a slower tempo to maintain deliberation.

Record yourself while doing this! For many of you, this will be new territory. You might be astonished by the transformation in your sound when you approach it deliberately, patiently, and accurately.