Tools to Develop a Stronger Sense of Tempo
Cypress Bartlett
Practicing your inner sense of time is incredibly rewarding when the fruits of your labor come to fruition on the band stand, in a studio session or even when locking in that little more tightly with friends on a jam. Although that labor of time keeping practice can come with a range of emotions that span from the frustration of not being able to settle on a particular groove to moments of utter bliss where you become one with your instrument conjoined with the music.
I asked myself the question ‘how do you practice tempo meaningfully’ and what methods are there to effectively set and sustain a solid tempo. Before digging into some methods (at the end of the blog), I will pre-face them with several of the stories that helped me create and solidify these practice regimes.
Being ready for the sub-division, knowing where the pulse is and coming in at the counted tempo
The first large shift in the way I approached developing a stronger sense of tempo and accuracy of the tempo after a count in was becoming aware of what sub-division is the fastest in comparison to the beat/ pulse.
An example being a song/ composition being counted in at 80bpm can feel anywhere from fast to slow depending on what sub-division and underlying back beat is played.
The tempo that is counted in may not dictate to the player their true speed, if a count off is at 80bpm, although the first few bars are performed at a ‘break beat feel’ (bar 10) that uses 32nd notes, there are several tendencies that can occur;
To come in too fast and overshoot the counted tempo, creating a rushed feel by playing too far ahead of the beat – This can result from competency and comfort of playing break beats or fast grooves
To come in under tempo and immediately dragging, resulting in what can become a very messy intro to a song or slowing the song down when it was meant to hit the feel change with intensity
Hit the tempo correctly, at first, although being unsettled with the pocket/ tempo, causing fluctuations in the tempo that causes awkward pushing and pulling between band members searching for somewhere to sit
No practice was needed (at first) to drastically improve my sense of coming into the ‘correct’ tempo, a quick quip from a jazz pianist during a rehearsal when studying at uni was all it took;
“Just think of the fastest sub-division you’ll be playing and count in on that”
Playing 8ths, internally count ( + = and)
“1 + 2 + 3 + 4 +”
8th note triplets “1 + a 2 + a 3 + a 4 + a”
16ths, “1 e + a 2 e + a 3 e + a 4 e + a”
Tempo doesn’t have to be linear
A solid example of this can be seen in analysing Tower of Power’s What is Hip, comparing between the studio version and the live versions can give you a perspective on how elements such as; the circumstance of where and who you’re playing to, the purpose of the performance and who you’re performing with can alter the starting and finishing tempo of a song.
What is Hip - Live
Beginning Tempo: 105bpm approx.
Ending Tempo: 110bpm approx.
What is Hip - Studio
Beginning Tempo: 103bpm approx.
Ending Tempo: 103bpm approx.
This comparison should not be used as a definitive measure that ‘increasing the tempo will result in a more energetic performance’ or ‘increasing the tempo by 5bpm live creates more excitement’, but should be used as one example of how tempo should not be only viewed as a one size fits all concept. With this in mind, consider asking the questions;
How will the tempo effect the; audience, performers and the atmosphere of the room?
Will the use of a click track to create tempo consistency be of aid?
Do you truly know the tempo of the song?
Konrad Ball (bass guitarist, singer and flautist from Sydney/ Central Coast) put it best to me in a conversation about setting tempo when singing, stating that when performing the same song over several gigs (with a drum machine), he would alter the tempo at times by several BPM, where one night the groove can feel too rushed to sing over, where the same tempo another night can feel as if it is dragging.
Another anecdote from musical director Andrew Worboys on setting variable tempo, is that is can be determined on the state of the show at hand, if the performers are on a Tuesday show (after a Monday break), are feeling semi-tired or are in need of a kick to their energy, bumping the opening number up slightly can bring out the fire for the show and lift the performance game of everyone (but that you should also be considering if the cast/ performers are needing a break, in which case, to consider backing off and gauging the fundamental energy abilities that can realistically be attained).
Communicating these tempo alterations with the band is essential when setting the overall tempo zone, that’s why it’s always important to;
Listen to where the melody is sitting rhythmically on the performance
Watching for visual cues from the band leader and being able to effectively steer the tempo when needed
Being aware that even a margin of 1 to 3 BPM can have a large effect on how the music ‘sits’ (sits’ in this context meaning where ‘all instrumentalists are rhythmically aligned)
Practicing, gathering meaningful feedback from band members/ musicians and recording performances can give invaluable data points to help refine the tool of effective tempo manipulation.
Top to Bottom: Konrad Ball, Tina Harris, me, Andrew Worboys (on the set of RENT 2021)
Tempo Zones
“Tempo changes of 10bpm can be overtly and not overtly felt on an initial listen.”
This term was first uttered to me from Konrad again during discussions about tempos and where they were to sit in a production of RENT (most notably for the song ‘Santa Fe’ and the leitmotif that is performed several times, at several different tempos during the show) and that when we performed the song, we were able to place it in several distinct tempo pockets that all worked, although only one fit the context of the show (which was a little slower and laid back). Tina Harris also highlighted that “It’s not about the tempo being exact, but the mood set by the tempo zone”.
Almost all songs/ compositions are initially written to a specific tempo that generally matches the best flow and feel between the interactions of the melody, harmony, rhythm, dancers and audience (Hanz Zimmer also expands on this within their master class)
The concept of ‘tempo zone’ is subjective to every performance, arrangement and composition, that is why the descriptors ‘fast’, ‘moderately fast’, ‘moderately slow’ and slow are used instead of the Italian terms or bpm indicators. As a piece that is written for a tempo of 200bpm+ (Giant Steps – John Coltrane) can feel slow if played under 120bpm due to the melody/rhythms being strung out, or a song written for a tempo of 80bpm can feel fast at 120bpm due to the melody/ rhythms having to be played at a much faster speed (although there are techniques to avert this within re-arrangements that involve drastic tempo changes, but again, this blog is getting too long and dense to dive into that). Nathan Barraclough (Musical Director/ Guitarist/ Sound Engineer) notes that the band leader should consider the “emotional feel for the tempo and that factoring in different stable places where the emotion sits with the tempo impacts the performance”.
Right to Left: Andrew W., Nathan Barraclough and myself enjoying the joys of Japanese food in Kings Cross between shows!
This distinction between slow to fast should also be viewed as a stretchy spectrum, where the difference between fast and slow can be from 100 bpm (slow feeling) to 200bpm (fast feeling) to 110bpm (slow) to 120bpm (fast), again this is dependent on a case by case basis.
Below are two examples of how this effect of tempo change can occur:
Molasses – Hiatus Kaiyote (Sheet music here)
There is no meaningfully felt change in tempo when listening to the song straight through, although when compared side by side, there is a present difference in tempo.
Verse (0:27): 80bpm approx.
Chorus (1:18): 90bpm approx..
Toko – Jordan Rakei - Outro (4:00) 3 tempo shifts
1st – 90bpm approx.
2nd – 100bpm approx.
3rd – 111bpm approx.
As you can hear, the instantaneous shift of tempo is immediately felt as it is purposefully accented within the production and performance of the song.
When comparing the two examples, it is evident that tempo changes of 10bpm can be overtly and not overtly felt on an initial listen.
The subjectivity of tempo zones and weather you feel the tempo of the song is too fast or too slow can be answered by asking yourself several questions;
Am I already familiar with the original compositions tempo and is this influencing my perception of what I’m playing?
Are the sub-divisions and rhythms I’m playing too crowded or too spaced for this arrangement?
Is the groove I’m playing idiomatic to the style being performed?
What are the thoughts and perceptions of the tempo of the other band members
Am I/ are we in the pocket of this tempo zone for this arrangement/ performance?
What emotion is being conveyed by this performance/ show/ arrangement and am I/ are we in the best tempo zone to convey this?
Here are some comparisons of songs within different ‘tempo zones’ for the song Smells like Teen Spirit, pay attention to the difference in how the different instruments access different sub-divisions to create a strong tempo foundation within the idiom of each version. This is most prevalent between the Robert Glasper version and the original (by Nirvana), where upon initial listening, there is little sense that the Glasper version is 10bpm slower, when you do a side by side comparison of the two the difference in tempo becomes more overtly apparent.
Smells like teen spirit original: 117BPM
Robert Glasper Ver.: 107bpm
2CELLOS Ver. (live at Opera House Sydney): 130BPM average
Tools to help create tempo consistency and awareness
There are several tools that can be used on a gig by gig basis to increase your ability to set, create and maintain tempo consistency.
Finding the tempo can come from;
Memorizing of the tempo itself by how it feels on your instrument.
Be cautious if you become more fluent at the technique, as becoming better at a faster technique can skew your perception on how fast you’re actually playing)
Singing the chorus/ verse and fining where the pulse sits from the melodic rhythm.
Be aware of each sections rhythmic sub-division of the melody. E.g. Finding the tempo through the chorus, counting the song in a little too quickly, and getting to a rap section that cannot be sung. I learnt this lesson on a gig when playing a cover of ‘Waterfalls’ by TLC
Dancing and how people will move to the song. Moving your body prior to counting in (especially to music that’s being performed for people to move to) and feeling how your movement will sit with the pulse can give a good indication on how to set the tempo. This concept was truly brought to light to be by Tina Harris and Andrew Worboys, stating that if the music can be danced to individually, you have a higher chance of setting a good tempo. On the more serious hand, when setting tempos for theatre or tightly choreographed dance situations, more strict tempos are required for the machine of the show to run smoothly without potential injury or show stops.
This can help after playing a prior song that was at a faster tempo where your energy and heart rate can be increased.
Awareness of your instruments techniques within different subdivisions. If a song feels too fast or too slow, be aware of your ability in regard to the technique of the phrase or pattern you are trying to play, and ask yourself if it is;
Too slow because you are very efficient at a particular technique
Too fast because you need some more practice at a faster passage
Too Slow because you haven’t played that technique at that tempo very often
Too fast because it may be the wrong technique for the tempo
Too slow or fast because you’re used to a particular tempo for a particular song/ composition
Too slow or fast because that’s the tempo you learnt it ought to be (for a different situation)
Tools to practice your tempo consistency
Metronome
This is probably the most obvious, although there are many different ways in which you can use the metronome to help with finding and maintaining a pocket, and it’s as simple as not having the metronome on ‘all 4 beats’.
Changing where the metronome sits can help with maintaining and developing your own sense of time as opposed to relying on the metronome to keep the tempo and not yourself.
Metronome on beats:
5. On the ‘e’ or 2nd 16th/semi- quaver
6-9. Only beat 1, 2, 3 or 4
10-13. Only on beat 1, 2, 3 or 4 of every 2 bars
2 and 4
1 and 3
On the ‘ands’/ ‘off-beats’
On the ‘a’ or 3rd 16th/semi- quaver
There are more permutations, although these are some great starters. A great way to approach this practice is to pick one of the above permutations and to focus on it for several weeks and after becoming comfortable with the new way in which the metronome is placed, then change to another permutation.
Sub-divisions
A significant element that can alter your tempo without realizing is when you change between sub-divisions (triplets to 16ths, 8th notes to 16th note triplets ect). These effects can be ambiguous and unfelt to the performer if they are unaware of the feelings associated with the;
Physical approach: The strength and stamina associated with the changes that may be required
Technical approach: The ability to perform the shift in sub-division, whether that the performer needs to;
Change or alter their technique to suite the shift in sub-division.
Have practiced performing the technique at a quicker relative sub-division (e.g. 8ths to 16ths to 32nds).
Be fluid with multiple rudiments as to be able to swiftly change from sub-division to sub-division without having to think about the rudimental changes.
Mental approach: The knowledge of each sub-division and what physical and technical approaches are needed to best execute the shift without disrupting the flow and tempo.
What can usually occur when these aspects haven’t been thought of, practices or drilled by a mentor, is that tempo can;
Speed up when shifting to a slower sub-division, why?
Slower subdivision are usually easier to perform physically and so are able to be performed at a faster pace
Slower sub-divisions give you time to think more about what rudiment you are playing, or you unconsciously shift to a more familiar rudiment. Triple strokes are also easier to perform and so give you a chance to fix or perform a triple stroke which can become much harder and near impossible at faster sub-divisions and faster tempos
Slow down when shifting to a faster sub-division, why?
Shifting to faster sub-division can be physically harder to perform if you are using a technique that is;
Unfamiliar
Less efficient
Involves triple strokes
Less time to think about your rudiments (if they are under practiced) can cause you to second guess and then, in turn, cause a loss of flow and may impact on your ability to keep a stable tempo
Become ambiguous to the player, why?
If the performer shifts between; binary (subdivisions that are; quarters, 8ths, 16ths, 32nds ect.), triplets (crotchet triplets, quaver triplets, semi-quaver triplets ect.), quinputlets and septuplets without knowing how they feel either by practice or mentored performance, the shift to an unfamiliar sub-division can cause the player to wonder why the rudiment is ‘feeling wrong’, an example of this is shifting from 8th notes (R L R L) to 8th note triplets (R L R L R L) using a single stroke roll. If the player is unfamiliar with and or doesn’t have the knowledge that their hands will alternate with the pulse, they can become unbalanced when trying to cross co-ordinate their body with a potentially new coordination that may be required.
Here is a great warm up exercise to incorporate into your routine to develop upon the transitions between sub-divisions. Try using this in conjunction with the before mentioned metronome alterations
Half-time & Double time Feels
Simply put for those unfamiliar, this is where the backbeat and/ or chord changes within a song/composition are performed at exactly half the speed or double the speed of the given tempo.
The effects are very similar to the ‘sub-divisions’ segment (speeding up and slowing down) although what to be aware of is slightly different.
Coordination: is your ability to shift to half/double/triple the tempo between your limbs been practiced or considered
Tempo: Will the change to the new feel be within your ability to keep up?
Technique: If there is a struggle with a shift between feels, are you placing the hits of the snare/ bass within the parameters of the new sub-division you are moving to?
The feel shifts should always be practiced with a metronome, as moving from a ‘normal time’ groove (back beat on the 2 and 4) to a double time groove (backbeat on 1, 2, 3 and 4), and vise verse, can cause you to speed up and slow down. I distinctly remember the first time practicing this transition consciously and being shocked at how perceptively slow (on a personal basis) a double time can feel, and that I must not speed up when shifting to the new feel (even though it personally felt like I was slowing down!
Try practicing these with the below drumless backing track, where the pulse set by the instruments mimic the metronome exercises.
No Drums:
With Drums:
These three broad stroke practice tips are to be taken at your own pace and within what you are needing to work on, as well as to be taken with a grain of salt as having long conversations with musicians who have been working in the industry for decades and performing with them (professionally and recreationally), is that tempo CAN be very subjective, to the point of where professionals can disagree on whether a tempo was too fast or too slow on the same performance.
The one thing that we can all do though is continue to strive for excellence and to explore musical ideas that can add to our knowledge tool kit, as so when opportunity arises, we have the ability and sensitivity to produce the best performance we can.