Feeling The Pulse

Three-note move, note function. Okay, will you jump right into it? Don't you? Now, do you have any questions? Uh, no, no, except that, uh, you wanted to do it in this count for the one sixteenth. Uh, did you want me to just go? Because I can't play it that fast in sixteenths, unless... Well, no, don't worry about the speed of the sixteenths, just worry about focusing on lining up the notes with the count of the sixteenths. So it's like, okay, you can, I mean, you could go one e and uh two. I mean, speed is not the issue, it's playing the right notes with the right counts. I don't know why you're smiling like that. Because that's exactly the way I do it. No, I mean, that's, well, because she might have thought it was, you know, ridiculous to do it that way. But no, the point is to get it lined up with the counts. Yeah, okay. Right, so now with the sixteenth, you have to do it twice for it to come back around to the one. Now, another important thing about the sixteenths is that you want to make sure you're feeling the pulse on the downbeat, even if it's kind of in that out-of-time kind of way, so you're creating the muscle memory of where the body language is feeling the beat. Because very easily, if you're doing it that slow with the sixteenth count, you could go one e and uh two e, you know, feeling each beat on the sixteenth, so that's not right. It should be one e and uh two e and uh three. Oh boy. Okay, first of all, I kept pretty much the same emphasis, I guess, or expression, or articulation. Well, don't worry about accenting it, just feel it. It's not about really hitting that note harder, it's just feeling the pulse with the body language on those places, so that you're not like one e and uh two, you don't want it there, you want one e and uh two e, because when it gets in time and up to tempo, it's going to be one e and a two e and a three e and a four. If you're used to doing it the other way, it's gonna be one e and uh two, you know. Yep, yep, okay. Well, in eighth notes, let's see, first he wanted me to do note function. Yeah, just do note function a couple times, for note function awareness of where you are. Yeah, and also this will create the geography, box awareness, and we'll make sure your pulse is on the one, two, three, four's here too, your body language pulse. In other words, just kind of lean into it, like tap your foot and lean into it lightly. You don't want to be excessive, but you want to make sure that you're making a point about feeling this in a certain place. One and two and three and four and one and two and three and four and one and two and three and four and, and three and four and one, two and three and four and one and two, three and four and one. Should have made, pizza, top and bottom notes, do that with a count. Did I do that wrong? Well, I'm not sure about your body language, I'm not really, I'm not really seeing the beat or feeling the beat from the way you're moving. Again, we don't want this to be excessive, because, so I don't want it to be excessive just so that you can show me you're doing it, and then create bad muscle memory habits, because when things get fast, if you're used to going one and a two, if it's one and a two and three and four, unit one, you don't want to create that, right, because that can happen. I've seen it happen. So in fact I battle the thing like that with my own playing, that I created a muscle memory habit because I was working on feeling something so hard, you know, and then when I got to be, I would see videos of myself and I said, I look like a duck, you know, or a pigeon, like, walking down the street. So yeah, so you know, those things can come back and be a real pain, so hard, and you think, so you might want to, like, if you're not used to it, just take it out of context but still work on feeling that pulse. Because I mean, all this stuff, when you're working on this, you want to let the vocal, or in this case feeling the pulse, be a part of the working-up process, in the same way that, you know, like in working on some of that style stuff earlier on, we had the count be part of the working-out process, the one and two and three and four's, right, that was part of the development of the line, so that when it got to being, you know, up to tempo and playing that, the vocalization was a very comfortable part of what you were doing, because you were already used to physically doing it. So practicing physicality springs up a great point, practicing physicality is like, it's like a huge thing, that you don't wait to put it in last, you let it be part of the development process of what you're working on, okay. And this is simply so that, it kind of slows up the short term because it's more stuff to coordinate, but it speeds up the long term so you don't have to go back and put it in later. Does that make sense? Yes sir, I just haven't been doing it like that. Well, just start working on it like that, break, spend some time breaking it down to where you're going two and three and four and one, to where your focus is really on feeling the downbeats, you know, on the numbers. But watch out for excessive body movement, you don't want to program this massive movement of doing it, you know, because that again can come back and hurt you later too. It should be subtle, but it should be definite.