you're a genius with the "micro ticks idea" I would try to reverse the counting when I would play to break it down, like quarters=4, 1/8ths = 2, 1/16ths =1 and so on.... the metronome gives the brain some ease on managing the timing again, I really appreciated this video. I found timing in a mendelssohn 'song without words' and in the arabesque 2 from debussy I believe.
I have already watched your previous videos about this polyrhythm and I'll try this tip as well on my next practice session. Thank you for sharing this lesson 🙏 and also for the slowed piece playing. It's really helpful 😊
@@BachScholar , But “fastest” is misleading because that implies a measure of “speed”, whereas this isn’t about speed, it’s about computing an equidistant distribution of ticks when combining dissimilar different rhythm patterns.
But "fastest" can also be slow. It is just a relative term. When talking strictly in math terms, it's a "common multiple" with no reference to speed, but in music there has to be some sort of speed reference. In music, the common multiple is moving and has a rate of speed.
Watched at 2x speed for the fun of it. That metronome goes bananas.
you're a genius with the "micro ticks idea" I would try to reverse the counting when I would play to break it down, like quarters=4, 1/8ths = 2, 1/16ths =1 and so on.... the metronome gives the brain some ease on managing the timing again, I really appreciated this video. I found timing in a mendelssohn 'song without words' and in the arabesque 2 from debussy I believe.
I have already watched your previous videos about this polyrhythm and I'll try this tip as well on my next practice session. Thank you for sharing this lesson 🙏 and also for the slowed piece playing. It's really helpful 😊
I just watched your fantasy impromptu slow A half hour ago haha. I really like this piece both slow and fast.
That sounds very beautiful
Great advice! Micro ticks, perfect way to practice polys
The metronome is so hypnotic!
Brilliant like always
Thank you very much.
You were correct in terminology.
12 is the LCM (least common multiple) of 3 and 4.
But with music it's the "fastest common multiple"
@@BachScholar ,
But “fastest” is misleading because that implies a measure of “speed”, whereas this isn’t about speed, it’s about computing an equidistant distribution of ticks when combining dissimilar different rhythm patterns.
But "fastest" can also be slow. It is just a relative term. When talking strictly in math terms, it's a "common multiple" with no reference to speed, but in music there has to be some sort of speed reference. In music, the common multiple is moving and has a rate of speed.
Yeah. Basic mathematics. Yet he can’t understand basic biology.
Thanks for showing this technique. Please could you suggest some easier pieces to try this technique out? Thanks again.
Measures 5 and 21 of Debussy's Reverie
Measures 34-35 of the Finale of Beethoven's Sonata Op. 10, No. 1.
Measure 5, last beat of Scriabin's Prelude Op. 11, No. 3.
You don't have to play the entire "Fantaisie-Impromptu" but just try out a couple measures.
Liszt, Consolation No. 3 in measures 6, 10, 22, 26, 51, 53
Awsome! Great! Now I can do it! (I hope so)
Pass the God damn butter!
19 Августа !!!
a bit late on the left hand at times?
No, the LH is precisely correct. It is your ear playing tricks on you.