Tempo Control Quotes

The simplest beats, on what rock music or any music has been formed on, can be the toughest beats to execute and perform, because it's really easy to not respect a simple 4/4 beat, because people always want to play fast.

Accelerando means in tempo. Don't rush.

Conducting, I tried it once off the cuff, and quickly realized there were subtle aspects that I was missing. There is a lot more to it that I was able to grasp simply by watching conductors.

I think it's beneficial to practice with a metronome or drum machine in order to strengthen your sense of time. It will help your concept of time and improve your feel.

Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

I tried practicing for a few weeks and ended up playing too fast.

I'm learning to work under pressure. Yesteryear songs are slow and demanding on the expressions.

We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.

For my shows, I don't play too many slow songs.

Some musicians play with their heart, you know what I mean? I don't know what to tell a person that can't - if you can't tell a person what you're talkin' about when they're rushin' or droppin' the tempo, you get somebody else.

I have an erratic drummer for anybody who's just listening to this, he can keep time, but just in spurts.

I need to work on timing and the pace of the game. I need to know when to slow it down and speed it up.

Conducting is way over my head.

Drummers are conductors - we set the pace for the music - so if you're not relaxed and feeling right, the whole thing goes out the window.

Whenever you play dance music, it serves a function. It becomes a utility; you have to worry about the tempos and what you're going to play for people. But when you're playing for listening, you're free.

To be able to play as slow as Al Jackson is almost impossible.

We have to put expressions in a song when we sing it.

Don t play this piece fast. It is never right to play ragtime fast.

I don't like to rush my music.

The massive thing that has changed for me was the game management aspect. I still get it wrong sometimes, we all do, when to attack and when to kick, how to control the game, speeding it up and slowing it down. Whereas I used to just go flat out, as hard as I can, get the ball out and get to the ruck as quick as possible.

You've got to learn a pace that's fast enough to win, but slow enough to finish.

Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.

What is scurrilously called ragtime is an invention that is here to stay. That is now conceded by all classes of musicians... All publication s masquerading under the name of ragtime are not the genuine article... That real ragtime of the higher class is rather difficult to play is a painful truth which most pianists have discovered. Syncopations are no indication of light or trashy music... Joplin ragtime is destroyed by careless or imperfect rendering, and very often players lost the effect entirely by playing too fast.

I don't use a Beatmap; I don't use any click track. Any time I count off, it's just in my heart. Sometimes I'll go off the feel of a crowd, like if they way they're bouncing is a little quicker than the song, I might kick up the tempo a little bit. I see where the crowd is at. It's nothing drastic, but all the tempos are from my internal clock.