I always play with a click track, but now I also want to teach a foot to tap. Is it best to have a foot tap on the 1? I have seen people tap on 1/4 notes at low speeds but I am looking more for a permanent good habit. Thoughts?
I think the pulse really is the foundation of music and something I want to be totally aware of while playing. Therefore I tap on every beat when I can, at low-medium speeds. When that start to feel uncomfartable i tap on 1 and 3. (But when I do that my brain change the way of thinking. I group something as triplets when I tap on every beat and sextuplets when I tap on 1 and 3.)
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In general, I teach my students to tap their foot on the beat (1, 2, 3, 4 in the case of 4/4 time), but with more rapid combinations of tempo and time signatures, you may want to switch to the pulse, as previously mentioned.
Aim:Ā The purpose of this research was to examine the effects of listening to music and foot reflexology during the perioperative period on nausea, pain and anxiety in children aged 7-12 years.
Material and method:Ā The sample for the randomized controlled experimental study included children who underwent outpatient surgery in the Pediatric Surgery Clinic. Research data were collected. A total of 99 children were included in the study with 33 in the music group, 33 in the foot reflexology group, and 33 in the control group.
Results:Ā In the preoperative and postoperative periods, Children's Perioperative Multidimensional Anxiety Scale (CPMAS) scores for the music listening and reflexology groups were significantly lower than the control group (p < 0.05). In the postoperative period, the Children's Emotional Manifestation Scale (CEMS) scores for the reflexology and music listening groups after the application were significantly lower than the control group (p < 0.001). Postoperative Baxter Retching Faces (BARF) scores were found to be significantly lower in children who listened to music compared to the control group (p = 0.002). The Children's Hospital of Eastern Ontario Pain Scale (CHEOPS) scores for children in the control group were found to be significantly higher in the postoperative period than for children in the music and reflexology groups (p < 0.001).
Practice implications:Ā In the perioperative period, listening to music and reflexology for children can be recommended as non-pharmacological nursing interventions with low cost and easy implementation.
June 29, 2006 at 01:29 AMĀ He says at orchestra he "silently" taps his foot for rhythm. I really am having trouble with rhythm, but tapping my foot has actually helped. Someone on this site told me its a "bad habit" that you shouldn't try to start.
June 29, 2006 at 02:15 AMĀ I try my best not to make any unnecessary movements while I'm playing, including tapping my foot. I enjoy watching players who move as economically as possible; they tend to have less tension and more freedom in their playing. If you can tap the rhythm correctly, it seems to me that you have it in your head. I've also had conductors beg us not to tap, complaining that it's impossible for everybody to tap in exactly the same way at exactly the same time, which makes the orchestra look amateurish. Keep time by hearing the sound in your head, listening to other instruments (if you're in an ensemble), breathing, or, if you feel that movement is absolutely necessary, tapping your toe inside your shoe.
I say be your own judge. If you like tappin your foot wile you play then do it. if it hurts you then stop. Any other form of music its fine to tap your foot because its a natural response to a groove.
June 29, 2006 at 03:10 AMĀ Tapping isn't so much wrong as it is not helpful. Usually when I watch people tap their foot i see their foot slightly behind the actual beat, and then they respond to their foot which makes their playing doubly behind the beat.
It's better just to feel the beat in your chest cavity. With my quartet I often have us sing our respective parts and tap on the sternum in order to begin feeling the beat together. That seems to help more than bouncing the scroll up and down or worse yet, tapping the foot.
June 29, 2006 at 09:18 PMĀ Also, when one person taps his/her foot, another person might see it and get confused. This used to happen to me a lot when I was in grade school, but then again you don't exactly see the same level of "professionalism" in a seventh grade band concert. ;)
June 29, 2006 at 10:55 PMĀ Another word of warning. I knew somebody at school who was told not to tap her foot. So she tapped her big toe inside her shoe instead. She said that she ended up with tendonitis in her big toe!
June 30, 2006 at 12:33 PMĀ I was always taught that if the foot is right likely you are wrong and if you are right the foot is likely wrong -- either way it plays to put your concentration on the real task at hand.
June 30, 2006 at 02:54 PMĀ I agree with you that foot tapping is not always bad. I mean, for several years I was playing in a horn section in a band with bass, drums, guitar, keyboard - the works. We not only tapped our feet, we were encouraged by our director to dance and sway and even jump around sometimes! It was a very different situation, though.
July 1, 2006 at 01:52 PMĀ The conductor serves the purpose of keeping all of the tapping on the same beat, so that the audience will hear great ensemble playing. It is only when all of the tapping is in the correct rhythm that the audience hears it as one foot, rather than a hundred separate feet. This is what makes for a great performance.
July 1, 2006 at 03:20 PMĀ My performing sphere is pretty narrow (for now, anyway!) as an orchestral musician and sometime chamber player, but foot tapping isn't acceptable if it's at all audible or visually distracting. But we're not allowed to put fingerings in the parts either, and I wouldn't mind doing that from time to time! Some things I don't do just because I don't want to get in anybody's way.
It could be the classical mentality of overanalyzation, but does anyone else find that foot tapping robs you of energy that could be put somewhere else? I'm really talking about classical, where often strong rhythm has to be implied rather than explicitly marked, as with drum beats. When I make myself stop tapping, it sort of closes a leaking valve and makes the playing itself stronger and tighter.
Sniffing is an interesting point too. I think breathing is always better for rhythm than foot tapping. For one thing, it helps your rhythm far more and it also helps with eliminating shakes if you are nervous in a performing situation since your body is getting more oxygen. I would experiement with breathing more than tapping your foot. When I started focusing on my breathing, my rhythm and musical timing improved dramatically. Not to mention my playing started to feel secure rather than panicky no matter the tempo. Breathing is good. If for nothing else, you won't turn blue on stage!
stomping and foot tapping are not the same thing. A good stomp is extreely helpful in momentarily breaking up tension , releasing inhibition and creating musical energy. I think Pruimrose even recommended it to some of his studnets on ocassion. I have been advised to play with it by Alexander teachers at times.
1) Like it or not, this forum is basically used by classiclay trained players. I am not saying this is good or bad, not saying any style is better than another in any sense whatsoever. That would be wrong and ridiculuous. But, at the moment ost questions are focused in this genre, that is the default setting as it were, and to complain that classical players are belittling other styles and types of music because they respond for this context does not really make sense.
3) I did raise the point that foot tapping as done by claaically trained musicians-is- a physical issue that cause tension. I have done a lot of work on problems that originate in oot tension cause by tapping. Part of the reason is that when a gipsy or jazz player uses this action it is coordinated with the whole body cooperating with expressing the music. For classically trained players it is generally both a sign of and caus eof inner tension taht needs ot be dealt with.
July 2, 2006 at 09:50 PMĀ This is kind of random but I though it was funny. This guy came to my school - Peter Sheppard Skaerved. He played a lot of weird modern compositions. He would stomp the ground, whistle, and make funny noises with his mouth, among other strange things. He scared the entire audience when he stomped. He said in between these spectacles that his goal was to get young players more interested in the music of living composers - but after seeing him play, I wanted to just play music by "musty" old dead composers. I'll leave the stomping and whistling to others.
July 3, 2006 at 01:12 AMĀ My old music teacher and I would play duets together--he would stomp his foot alot but that was more in irritation with me--a signal that I was off rhythme. Whenenver I hear foot stomping I think of my inablility to keep up with the tempo--this is not a good thing.
July 3, 2006 at 01:56 AMĀ Hee hee, I thought of you Buri just a couple days ago when I was sitting in with some old friends of mine, reading quartet music. Unconsciously, I started tapping my foot, out of excitement I guess - but it was definitely a long series of taps, not a good ol' stomp.
July 6, 2006 at 10:44 PMĀ I find that many people tap their foot for security in rhythm but they dont realise that when they make a rhythmic mistake or get to a difficult passage, their foot is not a metronome and so it also goes wrong. Therefore I would discourage it.
July 7, 2006 at 04:55 PMĀ Simple (though probably obvious) point: sound travels much slower than light. Everyone in an orchestra sees the conductor cue a beat at (for our porposes) exactly the same time. Sounds propogates much more slowly, so if I tap my foot on one end of the violin section, the tuba player might hear it somewhat later than he sees the conductor's beat (even if I was right). 0852c4b9a8
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