Page 1

Intro english

05

Intro deutsch

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Subdivisions Trainer

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Frank Mellies

YOUR Inner Pulse Trainer Micro Time Trainer

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Bilingual Edition english/german

Steady Tempo Trainer

72

Readingtexts (Foldout Pages)

85

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Impressum Verlag zwanzig14 © 2014 Frank Mellies, Hindenburgstraße 24, D-45127 Essen ISBN: 978-3-9816912-0-7 English translation: Michael Antony Austin Redaktion, Layout, Cover-Concept: medienbüro krüssmann, Holger Krüssmann Autorenphoto: Dennis Tiborc Logo: Frank Mellies Druck/Print: Buschhausen GmbH, Herten/GER This work is protected by copyright law and are operated by the publisher. Copyright © 2014 Verlag Zwanzig14. All rights reserved. Except for personal use, no part of the materials available in this book, website and app (including graphics and logos) may be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine-readable form, in whole or in part, without specific permission.

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Das Werk einschließlich aller Inhalte ist urheberrechtlich geschützt. Copyright © 2014 Verlag Zwanzig14. Alle Rechte vorbehalten. Nachdruck oder Reproduktion (auch auszugsweise) in irgendeiner Form (Druck, Fotokopie oder anderes Verfahren) sowie die Einspeicherung, Verarbeitung, Vervielfältigung und Verbreitung mit Hilfe elektronischer Systeme jeglicher Art, gesamt oder auszugsweise, ist ohne schriftliche Genehmigung des Verlages untersagt. Alle Übersetzungsrechte vorbehalten.


Intro english

Preface: Why "Inner Pulse Trainer"? When you take an instrument in hand and begin to play: Can you feel the music? Can you feel the difference between Triplets and 16th notes? Do you feel the difference between Tempo 147 and 149 bpm- or do you simply, just play a little faster? Do you feel the notes that you don't play? In other words: Can you feel the pulse in you? The pulse is to music, what the canvas is for the painter. The reference point for everything that happens in music is the quarterpulse. It is the pulse and the network inbetween, where the timbre of the instrument, the melodies and harmonies are applied. To understand rhythm, one must begin with the pulse. Without it there is no division into bars, no meter. Without pulse there is also no division between the Subdivisions. Without Subdivisions there are no down or off-beats, no swing, no syncopation, no phrasing etc. Without pulse there is also therefore no rhythm, and ultimately no music. The aim of this book: to unfold the pulse in you and anchor it! This is the way one takes 'outside' references (via metronome, click track, conductor etc...) to the 'inside'. "Inner Pulse" or "Inner Clock" means exactly that. If you can feel the pulse within you, then you can also feel changes in tempo. Thereby one can organise the spaces in between. (Micro Timing: Subdivisions, phrasing ). Only then will you begin to capture the "feel" of the music Thereafter you will not cognitively strive to think about the correct placement of the notes, and you wont needlessly worry anymore about whether your pace remains stable. You just know exactly how it must feel! You have a clear idea how it works, and are in a position to call it into play. Your hands and feet can not help but to play it right - provided you can technically implement what is meant. When the pulse is solid within you, you can begin to vary: You can play e.g the "Swing Note" (3rd Triol Beat) slightly sharper. You can play the rhythms relaxed, impulsive or just 'on' it (= before, after or on the beat). Each style of music, and ultimately every person, has their own view of time and their own feel. Only when you have a secure reference point within you, can you then vary accordingly. Then begins intuition, interpretation, creativity and individual expression.

The "5 Golden Rules For Timing":

When the topic turns to timing, there are five tips that come up again and again: 1. 2. 3. 4. 5.

Practice with a metronome e.g Click! Know and note the Subdivisions! Set the Click in other positions (Off Beat, "Swing Note".... ) ! Leave gaps in the Click! Count aloud while playing!

In my app "Inner Pulse Trainer" and in this book I have bundled these five rules into a systematic method. You will learn exactly how it works in the following pages. I wish you the Best of Luck and a good Time(ing) using your IPT !

Frank Mellies 3


About the IPT-App: This book is especially formated on the IPT-App for iOS devices. (Available in the App Store). That is why I present the functions of this App in detail here:

What should I do, when I do not have an IOS device?? If you do use it via an Android Smartphone or Tablet, you can subscribe to the prospective list at: www.Inner-Pulse-Trainer.com . You will be informed as soon as the IPT App is available for your device.

IPT functions at a glance

Selectable one, two or four bar Click Pattern. When you tap the screen, a submenu opens, revealing first the four areas (Subdivision-, Micro-, Space- and Standard-Clicks). Once there, you can select the desired click Pattern, by pressing each 'NOTE' image The volume is adjustable. Tempo Selection (submenu opens by tapping) and Start-Button Using this switch, Quarters can be turned on/off (Volume adjustable). Switchable and volume adjustable "Guides", to mark each, every second or every fourth 'ONE' Switchable single or two measure count in.

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Intro english

Click-Patterns of the IPT-App The selectable Click Patterns on the IPT App are divided into 4 departments.

Subdivision Clicks

Clicks Displaced

Clicks with Gaps

Standard Clicks

Subdivision Clicks To understand Time, you need not only a secure feeling for the Pulse, but also for the space between: The Subdivisions. The IPT offers different audable Subdivisions.

An example for Subdivision Clicks. Here alternate an 8th and a triplet.

Clicks Displaced Based on the concept of Micro Time. Here are some Clicks that are placed on the individual points of the Subdivision. You will learn to "feel" each of the placements.

Top: Binary plcements Bottom Ternary Placements

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Clicks with Gaps "Clicks with Gaps" provide 4th-Clicks with differently sized gaps. You will then more or less bridge these gaps "yourself“. Let's see whether you hit the next "One“ correctly! By this manner, you will learn to place the beats equally within a measure. You will get into the feeling and and acquire a steady tempo. That is, for example, very important when changing forms or using dynamic changes. Tricky parts with many notes or fills are easily played too fast or you end up hitting before the "One“.

Example for a 4 Bar Clicks with Gaps Pattern. The notes with the tiangular heads represent the Click. The slashes on the Note Line represent the exercise you are working on.

Guide Function "Lost in Clicks?" – Just keep cool! The IPT helps with training, but also shows you to always stay on track. The switchable and adjustable "Guides“ mark the "One“ and assist your orientation. The "Quarters“ are volume adjustable as well, while marking the quarter pulse. They can be switched off directly to silent mode, when you feel confident. Last, not least, the IPT helps you to get back on the track by counting in...

In this example you can see the slashes for your exercise and a 4 beat Micro Click Pattern, which lays on the Downbeat in the first bar, then varies on the 2nd 16th position. To assist orientation, the quarters and every 2nd beat of the guide are switched on.

Basic Metronome Function Of course, you can use the IPT, with the appropriate setting, as a basic/standard metronome. The "Quarters“ give you the quarter beat and the Click Pattern contains the Subdivisions. The volume levels, as usual, can be freely adjusted.

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Intro english

Using IPT Features To play a pattern and thereby hear a Micro Click, that lays for example on the second 16th note beat, seems almost impossible at first sight. You might soon feel the syncopation of the Clicks as a Downbeat. The goal is to feel the click on the position where it actually lays! Here the features of IPT app are ideal. With their help, you can adjust the requirement level of your exercises to perfectly fit your indivual skills. You can vary the range of syncopation by choosing individual click patterns:

Example with downbeats in the first of four bars.

Downbeats in the first of two bars

No downbeat

The Quarters are volume adjustable and clearly state where the pulse actually is.

Example with Micro Click on every 2nd 16th position. The Quarters help you to keep the beat.

The Guides show you the "One“ in different intervals.

Example with Guides on every "One“. It´s also possible to set guides on every 2nd or every 4th "One". 7


The Inner Pulse Training Program Timing exercises for all instruments In this training program, I have compiled basic exercises for timing and the internal Pulse. Once you have successfully completed this programme, you will have achieved a professional level in this regard. Of course, one can persue this further by working on polymetric, polyrhythmic, and rhythmic illusions etc. These are all useful things that expand the possibilities of your expression and can certainly strengthen your timing. However, the topic is so extensive, it would make more sense to fill another book about it. For the moment, let's focus on the basics!

Working with this book in three sections You know that the IPT app is divided into three "Departments". This training program is also accordingly structured in three sections.

Section 1:

Develope an understanding and feeling for pulse and subdivisions (Subdivision Clicks)

Section 2:

Develope an understanding and feeling for placements on the grid points of subdivisions = Micro Time (Clicks Displaced)

Section 3:

Develope an understanding and feeling for longer periods of time = Keeping Pace (Clicks with Gaps)

Section 3 uses the same exercises such as Sections 1 & 2. The difference lies in the selection of Clicks. Do all the exercises in two ways: Firstly "pure", then later on your instrument.

Phase "Pur“ You want to achieve that your sense of inner timing is established inside of you. There is the suggestion that the immediate use/handling of an instrument is not necessarily helpful. This means that at first, you should leave your instrument, and only use the IPT app, your voice and your hands. You can clap your hands together, on your thigh or table top. Or best yet, beat on your chest! This won't technically not push you beyond your limits, and you will clearly feel the beat.

Phase "Instrument“

If your internal Pulse has become established, you can switch to your instrument. Only you – or your teacher – can decide the right moment. When the time comes, please note the following instructions: 8


Intro english

Rhythm Instruments, Percussion, Drumkit Stay at a pace and technical understanding, in a range that you can cope well with. Keep it simple! At first, concentrate with your hands on the snare, use simple hand sets, and remain dynamic at the begining on one level. Increasing steadily, you can vary the basic pattern of exercise using three methods: Orchestration You have 2 hands, 2 feet, and depending on what you play, many different instruments: Bass Drum, Snare Toms, 2 or more Congas, Bells etc.... lay your beats on different instruments. Begin simply. For example, right hand on the bell left hand on the snare. Or every first beat in time on the Bass Drum. Etc., etc... be creative. You will find something that sounds good... Accent Pattern For example: Every fourth beat as an accent.- every beat on the second 16th as an accent on a different instrument... Sticking Pattern Alternately, Doubles, Paradiddle Stickings, Right-Hand Lead...

Sound Instruments The beats that have been played thus far with your hands, are now taken over by your instrument. Stay with a pace and technical ability in an area you can cope with. Then play simply, in rhythm, a single note or chord. Stay dynamically spread across one level. With increased confidence try fingerings, musical scales, scales and arpeggios. Since note duration counts with sound instruments, you should vary the articulation. Legato The tone is held until the next note (or rest). With tone sequences, the following tone ends the previous one. The longer the tone, the more important the sound of the tone itself. Non-Legato Similar to Legato, only in sound sequences the tone before the next is very briefly subverted. This is only possible up to a certain pace. Stakkato Every note is played regardless of its value, only briefly and intermittently. The „Sharpness" of this impact may vary. You could play, for example, alternating between a bar legato and a bar staccato. Or play any sound on a Downbeat legato, everything else staccato. Or vice versa. Or the Downbeat sounds staccato and loud, all others Legato and quiet – etc., etc. ... The possible variations of orchestration, dynamics, tone, intonation, phrasing and articulation for all instruments is infinite. Here, your personal musical expression is awaited and you will cross over the border between purely technical "practicing" and creative "play." 9


Check Lists and the Reading Text to fold out As you can see, here there are numerous elements that can be combined together:

Listening:

Up to 86 Click Patterns in Subdivisions, Clicks Displaced and Clicks with Gaps

Playing:

14 binary, 6 ternary rhythm patterns, 25 reading texts

Vocalising:

up to 9 subdivisions, 7 micro click patterns, 25 reading texts

Apart from this, there is also the Pure Phase and the Instrument Phase, and it makes sense to monitor the pace reached in each case. This leads to quite a lot of possible combinations. One way I recommend, to keep an overview of the large number of exercises is using the Check List at the end of every section. Here you can mark what you have completed and continue to keep a good overview. In addition, this book is designed in a way that you can simultaneously view, the Check List and Subdivision Patterns (or Reading Rexts) without the need for extra cumbersome sheets. For this purpose, the respective pages are housed in fold-out format at the back of the book. A word about the Check List: You should have already reached a certain degree of understanding before you make a tick. It's an illusion to fancy an immediate achievement of perfection in the first exercise. This is a lengthy process. So it is perhaps best to work with a pencil and without stress. - You will notice that over time, the quality of your complete timing will increase.

Using the Voice No matter wether you only use your hands or your instrument: In each case you should count with a loud voice, particularly vocalise the pulse and subdivisions. Your own voice is the main route to developing the internal Pulse. The vibration of your voice carries the pulse from outside (your hands and feet, that use the instrument; your ears that hear the metronome hear ), to within your body where you feel it physically. This is how your feeling for the pulse will securely establish itself and, with some practice, you yourself will become the source of the pulse. The instructions for the exercises and the check list are designed accordingly. What is required here, is sometimes very challenging. But see it through. It's worth it! However, when dealing with your instrument, it is important that you can hear yourself, and that you listen to yourself, too. Admittedly this is difficult, when your own voice occupies so much space in your ears. In the "Instrument" phase you should therefore see things a bit looser and let your own voice stay occasionally silent. Then you can simply listen more to your instrument and what you play instead: Does your playing and the click run smoothly into each other? You feel the click in the right place? Does it flow? But in the "Pure" phase use your voice consistently. No mercy! – That's the key! 10


Intro english

Using The Voice with Wind Instruments Naturally, counting loud while playing a wind instrument won't work. The vocalizing of the exercises then remains with the instrument – withholding the phrasing. This "disadvantage" is compensated by the fact that wind insruments are almost constantly vocalised. This means simply that you as a blower can ignore the instruction about vocalising in the exercises and the Check List. Or you ignore what you would usually vocalise and use your foot instead. When it becomes too quick for one foot, alternate with your other foot in variation.

Tempo Variations In the Check List there is also a space to note down the reached tempo (in bpm – beats per minute). That does NOT mean, your aim is to reach the fastest possible tempo. Quite the opposite. Steady, slower tempi are more difficult to handle and to keep than fast beats. Only these you have control over in slow will function with ease, when you play quicker. That goes for finding timing and motion sequences, too – that means: technique. For this reason, I have especially noted slower tempi in the Check List. Feel free to increase tempi. However, you should find your way to cover all tempo areas over time, and you should remain in a level that you can technically handle.

Practicing vs. Playing Maybe all this seems quite technical, mathematical and without emotion. Maybe you might wonder what this has to do with music. "Technology" and "emotion" are undoubtedly opposites in music, but not in the sense of being mutually exclusive, or that one is more important than the other. On the contrary, they need and depend on each other. You probably already know that you can not express what you want if you do not possess the necessary tools. And if you have no emotion, and no clear idea of what you play should sound like, then your playing becomes purely study. Perhaps technically brilliant, but meaningless. Whenever I practice my technique (and the IPT-book deals about that very thing!), I try to be as precise as possible. I clearly strive for technical perfection. But when I play, for example on stage, I forget my technique and focus on my musical expression. That's it! Both never fully succeeds for me, but I keep on ... and in that regard, I've found out for myself personally that the exercises in this book helped to sharpen my distinction and imagination.

OK, that's quite enough of the clever words – now let's get to work...

Stay tuned, stay in time with your Inner Pulse Trainer!

11


We develop an understanding and feeling for pulse and the division of the spaces inbetween.

Wir entwickeln Verst채ndnis und Feeling f체r den Puls und die Unterteilung der Zwischenr채ume.

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Subdivisions Trainer (Subdivision Clicks) First, you should understand and internalise the relation between the pulse and the the four most common subdivisions. To achieve this, first vocalise the pulse and subdivisions loudly with your voice. Zunächst wollen wir den Puls und die vier am meisten gebräuchlichen Subdivisions als solche verstehen und verinnerlichen. Dazu wirst du zuerst laut Puls und Subdivisions vokalisieren.

Subdivisions

Counting methods, or syllables of vocalization for pulse and subdivisions. Zählweisen, bzw. Silben der Vokalisation für Puls und Subdivisions.

I have written some possibilities to Vocalise here: The loud counting on the first line, under the notes, helps in the orientation of time. ("Where am I right now?"). With the choice of syllables in the 2nd line, I took inspiration from the classical custom of Southern India music tradition. There, certain syllables help vocalise complex rhythms before they are played. Other syllables are also conceivable. Feel free to experiment! Ich habe hier zwei Möglichkeiten der Vokalisierungen aufgeschrieben: Das laute Zählen in der ersten Zeile unter den Noten hilft bei der Orientierung im Takt („Wo bin ich denn grade?"). Bei der Auswahl der Silben in der zweiten Zeile habe ich mich von der Praxis der klassischen, südindischen Musik inspirieren lassen. Dort ist es üblich, komplexe Rhythmen mit Hilfe bestimmter Silben zu vokalisieren, bevor sie tatsächlich gespielt werden.Denkbar sind auch andere Silben. Probiere es ruhig aus, was für dich gut funktioniert.

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Exercises overview in this chapter: Listen!

Play!

Vocalise!

Excercise 1.1

Subdivision pattern

Quarters

Subdivision pattern

Excercise 1.2

Subdivision pattern

Subdivision pattern

Subdivision pattern

Excercise 1.3

Subdivision pattern

Subdivision pattern

Quarters

Exercise/Übung 1.1 • • • •

1: Listen: A Click pattern from the note section Subdivisions. In the IPT App, you'll find exactly this pattern once again. 2: Clap/Play: Quarter Pulse 3: Vocalise: exactly what you hear or see in the score. First count ("One a and a two ..." ), later use syllables ("Ta ka te ke ...") 4: Practice this until voice, clapping and clicks are in correspondence.

• • • •

1: Höre: ein Clickpattern aus dem Notenteil Subdivisions. In der IPT-App findest du genau dieses Pattern wieder. 2: Klatsche/Spiele: dazu den Viertelpuls 3: Vokalisiere: exakt das, was du hörst bzw. im Notenbild siehst. Erst zählen („Ein ne un te zwei ...“), später Silben ( „Ta ka te ke....“) 4: Übe solange, bis Stimme, Klatschen und Clicks harmonieren.

Example with subdivision pattern 10 Beispiel mit Subdivision Pattern 10 14


First, do these exercises pure, only your voice and hands. When you feel more confident, change to your instrument. Follow the instructions in "Working with this book". Mache diese Übungen zunächst pur mit Stimme und Händen. Wenn du dich sicher fühlst, wechsel zum Instrument. Beachte die Anweisungen im Kapitel „Arbeit mit diesem Buch“.

Check List for Exercise/Übung 1.1 Listen!

Play!

Vocalise!

IPT plays

= Subdiv. Pattern

Pur

Instrument

Subdivision Pattern 2

Pur

Instrument

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Bpm: 40 / _____ / _____ / _____ / _____ / _____ / _____ / _____ / _____ /

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Your guide to exercises: Where do you train on what? Listen!

Play!

Vocalise!

Excercise 1.1

Subdivision pattern

Quarters

Subdivision pattern

Excercise 1.2

Subdivision pattern

Subdivision pattern

Subdivision pattern

Excercise 1.3

Subdivision pattern

Subdivision pattern

Quarters

Exercise/Übung 1.2 • • • •

1: Listen: A Click pattern from the note section Subdivisions. In the IPT App, you'll find exactly this pattern once again. 2: Clap/Play: Subdivisions as you hear or see them in the score 3: Vocalise: exactly what you hear from IPT or see in the score. First count ("One a an a two ..."), later use syllables ("Ta ka te ke ...") 4: Practice this until voice, clapping and clicks are congruent.

• • • •

1: Höre: ein Clickpattern aus dem Notenteil Subdivisions. In der IPT-App findest du genau dieses Pattern wieder. 2: Klatsche/Spiele: exakt das, was du hörst bzw. im Notenbild siehst. 3: Vokalisiere: exakt das, was du hörst bzw. im Notenbild siehst. Erst zählen („Ein ne un te zwei ...“), später Silben ( „Ta ka te ke....“) 4: Übe solange, bis Stimme, Klatschen und Clicks deckungsgleich sind.

Example with subdivision pattern 10 Beispiel mit Subdivision Pattern 10 16


Check List for Exercise/Übung 1.2 Listen!

Play!

Vocalise!

IPT plays

= Subdiv. Pattern

= Subdiv. Pattern

Pur

Instrument

Subdivision Pattern 2

Pur

Instrument

Subdivision Pattern 3

Pur

Instrument

Subdivision Pattern 4

Pur

Instrument

Subdivision Pattern 5

Pur

Instrument

Subdivision Pattern 6

Pur

Instrument

Subdivision Pattern 7

Pur

Instrument

Subdivision Pattern 8

Pur

Instrument

Subdivision Pattern 9

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Subdivision Pattern 10

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Subdivision Pattern 11

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Subdivision Pattern 12

Pur

Instrument

Subdivisions

Subdivision Pattern 1

Bpm: 40 / _____ / _____ / _____ / _____ / _____ / _____ / _____ / _____ / 17


We develop an understanding and feeling for placements on the grid points of subdivisions.

Verst채ndnis und Feeling f체r die Platzierungen auf den Rasterpunkten der Subdivisions entwickeln.

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Micro Time Trainer (Micro Time Clicks)

Pulse and Subdivisions should already be fairly well established now. Next, we take care of putting your tones precisely on the individual gridpoints of the subdivision (micro time). At the same time your contact with the pulse will be further strengthened. The combination of these IPT App Micro Click exercises will prove a good challenge for your inner Pulse. Puls und Subdivisions sollten jetzt schon ganz gut etabliert sein. Als nächstes kümmern wir uns darum, deine Töne präzise auf den einzelnen Rasterpunkten der Subdivisions zu setzen (Micro Time). Gleichzeitig wirst deinen Kontakt zum Puls weiter festigen.

"Chain" Exercises (> see page 40)

Micro Time

Chain refers to the "chain" of Vocalised subdivisions. First do these exercises pure, that means using only your voice and hands. When you feel more confident, change to your instrument. Follow the instructions in "Working with this book" (page 8). Chain bezieht sich dabei auf die „Kette“ der vokalisierten Subdivisions. Mache diese Übungen zunächst pur, also nur mit deiner Stimme und Händen. Wenn du dich sicher fühlst, wechsele zu deinem Instrument. Beachte dabei die Anweisungen im Kapitel „Arbeit mit diesem Buch“ auf Seite 8.

"3 Hands“ Exercises (> see page 55) Here the full subdivisions are no longer vocalised. Instead, your voice vocalises the row like a “3rd hand“, after every rest point. The same applies here: First do these exercises pure – only with your voice and hands. When you feel more confident, change to your instrument. Follow the instructions in the section Phase Instrument on Page 8. Hier werden nicht mehr die vollen Subdivisions vokalisiert. Stattdessen vokalisiert deine Stimme als „dritte Hand“ der Reihe nach jeden Rasterpunkt. Auch hier gilt: Mache diese Übungen zunächst pur, also nur mit deiner Stimme und Händen. Wenn du dich sicher fühlst, wechsele zu deinem Instrument. Beachte dabei die Anweisungen im Abschnitt Phase Instrument auf Seite 8.

19


"Chain" Exercises Chain refers to the "chain" of Vocalised subdivisions. First do these exercises pure, that means using only your voice and hands. When you feel more confident, change to your instrument. Follow the instructions in "Working with this book" on Page 8. Chain bezieht sich dabei auf die „Kette“ der vokalisierten Subdivisions. Mache diese Übungen zunächst pur, also nur mit deiner Stimme und Händen. Wenn du dich sicher fühlst, wechsele zu deinem Instrument. Beachte dabei die Anweisungen im Kapitel „Arbeit mit diesem Buch“ auf Seite 8.

Your guide to exercises: Where do you train on what? Listen!

Play!

Vocalise!

Excercise 2.1 "Chain"-Exercises

div. Micro Click Patterns

div. Rhythm Patterns div. Reading Texts

div. Subdivisions

Excercise 2.2 "3 Hands"Exercises

div. Micro Click Patterns

div. Rhythm Patterns div. Reading Texts

div. Grid Points

Exercise/Übung 2.1 • • •

1: Listen: 2: Clap/Play: 3: Vocalise:

A micro click in the IPT-App one of the 14 rhythm patterns in the Check List 4th, 8th, 16th (binary) or 4ths, triplets (ternary) (Counting or syllables "ta-ka-te"/Wind-players step on the ground!)

• • •

1: Höre: ein Micro Click in der IPT-App 2: Klatsche/Spiele: eines der 14 Rhythmus Pattern in der Check Liste. 3: Vokalisiere dazu binär: 4tel, 8tel, 16tel oder ternär: 4tel, Triolen. (Zählen oder Silben „Ta ka te ke" ... Bläser klopfen mit den Füßen!)

Example in binary subdivisions: Click on the 2nd beat of 16ths – Rhythm Pattern no. 8 – Vocalisation of the 8th´s Beispiel mit binären Subdivisions: Click auf dem 2. Beat der 16tel – Rhythmus Pattern 8 – Vokal auf den 8teln

20


Check List for Excercise 2.1: Binary Chain - Rhythm Patterns - Micro Click 1 Listen!

Vocalise! "One two..." Ta ta

Play ! ↓

"One an two an..." "One e an a two..." Ta k a t a k a . . . Ta ka d i m i . . .

4'

8'

16'

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Pur

Bpm: 40 / _____ / _____ / _____ / _____ / _____ / _____ / _____ / _____ / 21


We develop an understanding and feeling for longer periods of time and practise keeping pace

Verständnis und Feeling für größere Zeiträume entwickeln und üben, das Tempo zu halten

22


Steady Tempo Trainer (Clicks with Gaps)

Up until now you've learned about subdivisions and how the individual gridpoints of the subdivision feel. Thereby your Micro Timing should be solid, and playing with a Click should not cause any more problems. You should also be getting by without constant activity from the Click. Du hast bis hierhin den Umhang mit den Subdivisions gelernt und wie sich die einzelnen Rasterpunkte der Subdivisions anfühlen. Dein Micro Timing sollte damit schon sehr solide sein, und das Spielen mit Click macht keine Probleme mehr. Du solltest aber in der Lage sein, auch ohne ständige Unterstützung durch das Click auszukommen.

Steady Tempo

Next then, we want to work on your time – your feel for the evenly shared distribution of tones between two points, that are further apart than two quarter notes. For example, between the "one" and "one" of the next bar. The aim here is to keep the pace stable over a longer period. As well as, if a style change occurs in the song, or when a challenging fill-in is imminent, etc... With the Clicks with Gaps you will learn exactly that. The distances between the clicks are growing larger here, so you're forced to feel out and keep a stable pace on your own. First, to lay a foundation, we return to the subdivisions. Als nächstes wollen wir also an deiner Time arbeiten – deinem Gefühl für die gleichmäßige Verteilung von Tönen zwischen zwei Punkten, die weiter auseinander liegen als zwei 4tel Noten. Zum Beispiel zwischen der „Eins“ und der „Eins“ des nächsten Taktes. Hier geht es darum, das Tempo über einen längeren Zeitraum stabil zu halten. Auch dann, wenn ein Formteilwechsel im Song kommt oder wenn ein anspruchsvolles Fill-in ansteht etc... Mit den Clicks with Gaps lernst du genau das. Die Abstände zwischen den Clicks werden hier immer größer. So bist du gehalten, aus dir selbst heraus dein Feeling und Tempo stabil zu halten. Um eine Grundlage zu legen, kommen wir zurück zu den Subdivisions.

23


Your guide to exercises: Where do you train on what? Listen!

Play!

Vocalise!

Excercise 3.1

Clicks with Gaps of your Choice

Quarters

Note Tree Changes

Excercise 3.2

Clicks with Gaps of your Choice

Note Tree Changes

Note Tree Changes

Excercise 3.3

Clicks with Gaps of your Choice

Note Tree Changes

Quarters

Excercise 3.4

Clicks with Gaps of your Choice

Readingtext

Subdivision or Readingtext

Exercise/Übung 3.1 (Note Tree/Clicks with Gaps) • • • • • •

24

1: Listen: 2: Clap/Play: 3: Vocalise:

Clicks with Gaps of your choice Quarters Note Tree Level Changes

1: Höre: Clicks with Gaps deiner Wahl 2: Klatsche/Spiele: Viertel 3: Vokalisiere: Notenbaum-Level (Wechsel)


Check List for Exercise 3.1: Clicks with Gaps - Note Tree/Notenbaum Listen!

Vocalise!

Clicks with Gaps of your Choice

Note Tree Level Changes as played

Play ! Quarters Note Tree "Root" = 1

2 Bars

1 Bar

1/2'

1/4'

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 2

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 3

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 4

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 5

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 6

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 7

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 8

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 9

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Steady Tempo

Pur

Bpm: 40 / _____ / _____ / _____ / _____ / _____ / _____ / _____ / _____ /

25


Your guide to exercises: Where do you train on what? Listen!

Play!

Vocalise!

Excercise 3.1

Clicks with Gaps of your Choice

Quarters

Note Tree Changes

Excercise 3.2

Clicks with Gaps of your Choice

Note Tree Changes

Note Tree Changes

Excercise 3.3

Clicks with Gaps of your Choice

Note Tree Changes

Quarters

Excercise 3.4

Clicks with Gaps of your Choice

Readingtext

Subdivision or Readingtext

Exercise/Übung 3.2 (Note Tree/Clicks with Gaps)

26

• • •

1: Listen: 2: Clap/Play: 3: Vocalise:

Clicks with Gaps of your choice Note Tree Level Changes as given in the Check List the same Note Tree Level Changes

• • •

1: Höre: Clicks with Gaps deiner Wahl 2: Klatsche/Spiele: Notenbaum-Level (Wechsel) – siehe Abhakliste 3: Vokalisiere: dieselben Notenbaum-Level (Wechsel)


Check List for Exercise 3.2: Clicks with Gaps - Note Tree/Notenbaum Listen!

Vocalise!

Clicks with Gaps of your choice

Note Tree Level Changes as played

Play ! ↓

2 Bars

1 Bar

1/2'

1/4'

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 2

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 3

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 4

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 5

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 6

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 7

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 8

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Note Tree "Root" = 9

Pur

Instr.

Pur

Instr.

Pur

Instr.

Pur

Instr.

Steady Tempo

Note Tree "Root" = 1

Bpm:40 / _____ / _____ / _____ / _____ / _____ / _____ / _____ / _____ / 27


Readingtexts for Subdivision Patterns (2 bars)

You can use the fold-out pages in a way that you have your eye simultaneously Subdivision Pattern 01

on the exercise s, checklists and readingtexts.

Du kannst die Lesetexte so ausklappen, dass du gleichzeitig Ăœbungsanweisung, Abhakliste und Lesetext im Blick hast.

Fold-out No. 1:

Subdivision Pattern 02

Subdivision Trainer

Exercise 1.1 (page/Seite 25)

Exercise 1.2 (page/Seite 27)

Exercise 1.3 (page/Seite 29) Subdivision Pattern 03

Notenbaum / Notetree

Exercise 1.4 (page/Seite 33)

Exercise 1.5 (page/Seite 35)

Exercise 1.6 (page/Seite 37)

Exercise 3.1 (page/Seite 73)

Exercise 3.2 (page/Seite 75)

Exercise 3.3 (page/Seite 77)

Subdivision Pattern 04

Subdivision Pattern 05

Readings

81

Subdivision Pattern 06


Good timing can be learnt!

Get along with your Inner Pulse Trainer ! How the IPT-App and this book correspond:

Perhaps you‘re already in a position to play with confidence using a metronome. That‘s alright, but only the first step. The aim of this book is now to develop and anchor the pulse within you. It‘s about being able to take the ‚outside‘ references (metronome, click track, conductor etc.) and place them ‚inside‘ yourself. No matter what style, no matter what instrument: With this book a systematic approach is presented for this basic, but nevertheless often neglected topic. The exercises are exclusively tailored to the Inner-pulse-trainer app developed for smartphones and tablets.

Introduction english

Einführung deutsch

Subdivision Trainer

Gutes Timing kann man lernen! Möglicherweise bist du schon in der Lage, sicher mit Metronom zu spielen. Das ist gut, aber erst der halbe Weg. Das Ziel dieses Buches ist nun, den Puls in dir zu entfalten und zu verankern. Es geht darum, die Referenz von außen (Metronom, Click Track, Dirigent etc...) in dein Inneres zu verlegen. Egal welcher Stil, egal welches Instrument: Mit dem vorliegenden Buch steht erstmals eine systematische Methode zu diesem ebenso grundlegenden wie vernachlässigten Thema bereit. Die Übungen sind exklusiv zugeschnitten auf die Inner-pulse-trainer-App, die für Smartphones und Tablets entwickelt wurde.

Micro Time Trainer

Steady Time Trainer

Reading Examples

www.inner-pulse-trainer.com

www.inner-pulse-trainer.com

Profile for Holger Krüssmann

Your inner pulse trainer summary english  

WELCOME to our english preview of the printed guide to the INNER PULSE TRAINER app to optimize your rhythm- and timing-skills! Here you'll f...

Your inner pulse trainer summary english  

WELCOME to our english preview of the printed guide to the INNER PULSE TRAINER app to optimize your rhythm- and timing-skills! Here you'll f...

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