Contrary to the real world experience of a
master, rhythm is not considered to be very important in contemporary
music curriculums and harmony and scale theory are considered to be the
foundation of music and musical education, when in the real world of
improvisational mastery it is rhythm that is the foundation of all
music. Without it there is diffuse amateurism and tentative grasping for
coherence at best. The result is disappointingly powerless
performances that do not inspire and audience in any genre.
Most
dissect solos by Hendrix, Pat Martino, Coltrane, Holdsworth, Chick
Corea, Clapton, Jack Bruce, Jaco Pastorius and other masters, but purely
on a harmonic level and in a modal framework, atonal, polyphonic,
etc... But there is no realization that it is the rhythmic variations
and accents, as fundamental elements of phrasing, that give life,
power, grace and transcendence to these masterpieces.
Most
players cannot play in time for very long and improvise at the same
time . That in itself reduces their power by 95%. Yet it is not even
acknowledged by them in most cases, but an audience knows when it is
missing and when it is there. A Coltrane or Dolphy or Michael Brecker
solo exists in a state of timeless wonder only because they were both
absolute masters of playing in time and using rhythmic variations very
deliberately, with exalted fluency and superb control and spontaneity.
John
Mclaughlin is explosively transcendental because the elements -seen by
most as otherworldly- in his improvised language are held tightly in
his finely honed dominion over rhythm and time signatures. Emerging
master improviser Bryan Baker was forged into a musical colossus by
his long and focussed study of the elements of rhythm. As a result he as
ascended as a unique voice rather early in his career. Allan Holdsworth
is admired for his melodic fluency and harmonic conception but nothing
is said about his mastery of rhythmic fluency, where one finds the
relentlessly hypnotic momentum behind his phenomenal legato and
sometimes staccato phrasing.
It is high
time in 2012 that music educators ad the missing link of absolute
rhythmic study to their curriculums. If not the current situation will
continue with only the very few born with rhythmic awareness going on
to great musical expression and the great majority staying mired in
frustration and imprisoned in mediocrity.
No comments:
Post a Comment