The metronome can be valuable for a concert band director, but its effectiveness hinges entirely on correct and judicious application. All too often, directors default to constant use, which can inadvertently transform a helpful training aid into a hindrance or, worse, a crutch that prevents the ensemble from developing a natural, internal sense of time. Knowing when and how to deploy this device is key to both teaching musical literature and fostering a mature ensemble.
BEST TIMES TO USE A METRONOME:
-
Learning New or Complex Music: When introducing a new piece, the metronome provides a reliable anchor. It may or may not be needed on the initial read, but can certainly be used at the beginning of the learning process. The best practice is to start at a slow tempo, allowing students to process elements such as notes, rhythms, articulations, melodic vs. supportive materials, phrases, blend, balance, dynamics, style, as well as a good first impression of the piece. When the ensemble becomes more familiar with all these aspects, the tempo can be gradually increased over time.
-
Technically Challenging Sections: For technically demanding passages, intricate rhythmic patterns, or sections featuring odd time signatures, the metronome helps build accuracy. It serves as an impartial timekeeper, highlighting deviations and forcing the ensemble to adhere to a precise, consistent tempo.
-
Fundamentals and Warm-Up: The metronome is an excellent tool in providing stability in warm-ups as well as helping increase speed and agility with single tonguing, multiple tonguing, scales, arpeggios, and articulation patterns.
EFFECTIVE IMPLEMENTATION:
To maximize the metronome’s effectiveness, directors can employ a few simple techniques:
-
Start Slow and Increase Gradually: Always begin at a tempo where the band can play the material perfectly, and then increase the tempo in small, manageable increments.
-
Subdivisions: Most digital metronomes have settings that indicate beat one as well as the various subdivisions. These are useful to start out with as they provide much rhythmic information. As the ensemble improves, challenge them to be more responsible for the pulse. If the tempo of the music is 150 beats per minute, turn off any subdivisions and set the metronome for 75 beats per minute. This makes the ensemble play twice as much material before hearing the next beep. When they are comfortable with that, set the metronome for 38 beats per minute. Now they are responsible for the entire measure. This incremental process gives the ensemble more responsibility, and ownership.
-
Balance of Use: Do not use the metronome all the time. Remember it is only a tool, not a constant essential. If the metronome is used all the time, it could subconsciously become part of the song and extreme results could include not being able to play without it. Also, the metronome doesn’t always need to be used at the beginning of the rehearsal or the first time a song is being rehearsed or played. There is benefit in seeing if the ensemble can internally remember the tempo.
-
Volume: The metronome does not always have to be louder than the entire ensemble. There is benefit in having its presence at a softer setting. The met can be a gentle reminder of when things might be off without screaming the pulse.
WHEN TO TURN IT OFF:
-
Musical Details: Students will be less likely to hear or pay attention to tone quality, intonation, blend, balance, or clarity of articulation if the metronome is always on. Proper focus on all elements is crucial in complete development.
-
Musical Development: Students also need the opportunity to see the bigger picture. How Ample time should be allotted to larger musical elements like dynamics, phrasing, expression, and overall scope of the piece.
-
Weaning Process: Once a section or piece can be played comfortably and accurately at a certain tempo or the recommended tempo, the metronome should be turned off. However, removing the metronome doesn’t have to be all of a sudden. Sometimes students are not ready for a complete removal. If a director waits until they think the ensemble is ready to play without the met, that may be too late in the process. There is nothing wrong with making the group play without an external pulse before they are completely comfortable. It can help foster desired growth. Turning the metronome on or off at certain points in the music can be great reminders and as mentioned earlier, turning down the volume can also be helpful. Sometimes all that is needed is a short, quick reminder. As a general rule of thumb, the farther you are in the season, the less the metronome should be used. As a performance is approaching, the metronome should hardly be used at all.
OTHER SMALL TIDBITS:
- Don’t turn on the metronome until you have the ensemble’s full attention. Loud noises are not an effective way to get the students in the right frame of mind at the start of rehearsal. Manage the classroom environment properly.
- Too many times, the responsibility of the pulse is relegated to the percussion section. Pulse should be an ensemble concept. Following the percussion section could really be no different than following a metronome.
- Don’t let the students look at the flashing light. Make them listen and watch the conductor. Again, it is an ensemble concept.
- Occasionally, consider moving the metronome to a different part of the room. Many times, a section on one side of the ensemble has the main line and everyone needs to focus on them. This can help foster that.
In summary, the goal of metronome use should be independence, not dependence. The metronome is a powerful tool used to build a solid rhythmic foundation, but practice must be balanced including time without the metronome to ensure the students internalize that foundation, developing a natural, musical sense of time necessary for a truly mature and expressive performance.
Scott Hillock
Manager - Broken Arrow, OK
|
|
Leave a comment
All comments are moderated before being published.
This site is protected by hCaptcha and the hCaptcha Privacy Policy and Terms of Service apply.