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Applied Techniques: What About the Metronome
Applied Techniques With Igor Saavedra: What About the Metronome… is it Important for Developing Fundamental Abilities on an Electric Bass Student?
Meet Igor Saavedra –
Lately, this debate has gotten really very intense in the music world, so I think it’s very convenient to clarify many misunderstandings that “in my opinion” are very common regarding this matter. In fact, a couple of very well known and respected bass players on the scene are blaming and condemning this poor artifact in every place where they address their audiences.
They argue that studying with a Metronome will affect your capability to learn anything you are trying to incorporate to your brain because the Metronome will urge your process in an unnatural way… setting a learning speed that is not the one you are actually needing for that particular lesson or exercise… so really… you are the one entitled to manage that speed, “Not the Metronome”.
I share this opinion, but only in the moment when you are approaching a melody for the first time and trying to get the notes while placing them on the fingerboard in a logical way. Obviously the Metronome will become a nuisance on that process. The problem with that very understandable position is that teachers are going to the extreme with it and proposing that the Metronome should be BANNED from Music Schools and NEVER be used for studying bass and perhaps any other instrument, and that we should be throwing our metronomes literally to the garbage. So… that extreme and fundamentalist position is the one that I don’t share at all.
Everybody knows that 99% of the music that we play as bass players is based on the “Ontological Tempo”, that means the “Mathematic Pulse” or the commonly named “Beat”. So… Rock, Pop, Funk, Blues, Jazz, Fusion, Country, Vals, Salsa, Merengue, Songo, Tango, Latin American music such as the Candombe, Joropo, Landó, Huaino, Cueca, Bossa Nova, Samba, Zamba, Chacarera, Tonadas, etc., are fully based on that “Ontological Tempo”.
Also, is very important to consider that we as bass players are 99% of the time setting and establishing this Ontological Pulse along with the drummers, so that the other musicians can play comfortably and unload their ideas that are usually also expressed on mathematical divisions of the time.
So, which do you think is the most important rhythmical ability that a bass player should be developing to be able to offer that comfort to the other musicians that are relying on him to express their ideas and musicality? For me the answer is obvious, and that is “THE ONTOLOGICAL PULSE”.
As far as I know, the only reliable way to develop this ability is to get accustomed to follow and establishing a relationship with a device of unquestionable reliability. This innocent and hardworking device will always set a “Non Cartesian” or “Non Relative” sense of pulse for any musician that will rely on it (that’s so democratic indeed)… eventually allowing every musician to communicate in “Objective Time Terms” with each other. By the way, this device’s name is “THE METRONOME”.
I know that not everything in music is “measurable” and “quantifiable”, and that sometimes in music we have to follow our emotions and leave the mathematical aspects behind so to embrace for example the “Psychological Pulse” (Rubato, Ad Libitum, A Piaccere, etc.), as the ones to reign on some particular music pieces, but the “Real Life” of a bass player is not that, because in reality he will be 99% of the time playing or trying to play “Ahead of the Beat”, “Behind the Beat” or “On the Beat” closely with a drummer, and that means always closely related with the “Ontological Pulse”.
It is because of that simple fundament that I DO NOT AGREE with my respectable colleagues that think quite the opposite. I think that the first victim after this “Non Metronomical Approach to the Bass Rhythmics” will be our indefinable and intangible best friend “The Groove”.
Pulse needs for a bassist are first of all Ontological in real life, so I think Tempo must not be relativized. We should learn to “Construct” for later, being able to “Deconstruct”, so after we “The Bass Players” have been able to achieve the sufficient skills to “Master the Groove” thanks to, in my opinion, our reliable friend The Metronome. Perhaps we’ll be entitled and allowed to take that Metronome and grab a Hammer, Kerosene, Muriatic acid or whatever destruction device or substance that we may know about, and destroy that Metronome for good, so then being able to submerge ourselves into the fickle waters of the Psychological Expressions of the Pulse, which on my opinion is as the real musician’s life should be, “The derivation and deconstruction of the Ontological Pulse and not an entity in itself”.
Well, a slight detail that I forgot to mention… This process of construction and deconstruction might take about 15 years of hard work on average… so you better start right now if you haven’t yet.
Finally, it’s important to stress the fact that what I’m expressing here is circumscribed exclusively under the ambit of the IDEAS, and has nothing to do with personal issues. The colleagues that have a different opinion than mine have all my respect as musicians and as Human Beings which is far away more important.
¡¡Long live to the Metronome!!
See you on my next article.
Gear News
New Gear: Spector Doug Wimbish USA Custom Series Basses
Spector offers Doug Wimbish USA Custom Series basses…
Spector, a leading authority in bass guitar design, unveils two new Doug Wimbish USA Custom Series basses. Synonymous with bass excellence since 1987, Wimbish collaborated with Spector’s USA Custom Shop to create the DW-4 and DW-5 models, echoing the iconic instruments that have been favored heavily throughout his recording and performing career.
These signature basses faithfully replicate Wimbish’s originals, down to the smallest details like neck contours and nut widths. Customized EMG pickups, developed in collaboration with Wimbish, capture the distinctive sound that has shaped his monumental musical impact. These models invite players to explore the feel and response that have defined Wimbish’s signature style over the years.
Available in 4-string and 5-string versions, each model boasts unique features & finish options. The DW-4 comes in Amber Stain Gloss and Black Stain Gloss options, while the DW-5 offers Dark Blue Stain Gloss and Faded Natural Gloss. Every purchase includes a certificate of authenticity signed by Doug Wimbish. Wimbish comments, “Spector took the time to get every little nuance right, and that to me is dedication and being thoughtful enough to know ‘I want to nail it,’ and they did. I’m able to pick these instruments up for the first time and play them like I’ve already had them for years.”
For more information, visit spectorbass.com/doug-wimbish-usa-signature-series/.
Photo: Doug Wimbish, pictured with the new Spector Doug Wimbish USA Custom Series basses
Bass CDs
New Campaign: Alberto Rigoni, Nemesis Call – Queens Of Strings
Italian bass master and composer ALBERTO RIGONI is thrilled to announce his brand new project “Nemesis Call – Queens Of Strings”.
Nemesis Call – Queens Of Strings features a super talented drummer from Japan (TBA) and tons of female guitarists such as SAKI, Giusy Busetto, Alexandra Zerner (TBC) and many many others (TBA). Furthermore, Alberto has also launched a Fundraising Campaign for the project. 20% of the income will be donated to Lega del Filo d’Oro legadelfilodoro.it/it, an Italian association that helps deaf and blind children!
Alberto shares:
“Hello friends and music lovers! I’m Alberto Rigoni, an Italian composer and.. a BASS GUY! Between 2008 and 2024 I released 13 solo albums, spanning from progressive, rock, ambient to funky and experimental music, which also features contributions from musicians such as keyboard wizard Jordan Rudess (Dream Theater) drummer Gavin Harrison (Porcupine Tree) and Marco Minnemann (the Aristocrats), keyboardist Kevin Moore (ex Dream Theater), singer John Jeff Soto (ex Goran Edman (ex Y. Malmsteen), bassists Nathan East, Stu Hamm (Joe Satriani), Nik West (ex Prince) and many others. I’m also bass player for BAD As, Sunset Groove Society, Kim Bingham, The Italians bands and co-producer of Mistheria’s Vivaldi Metal Project.”
Alberto on the new project Nemesis Call:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, will be released on June 4th, 2024, when Vittoria came to life I felt the need to compose new music (yes, I really can’t stop!!!!!). This time will be quite challenging because I’m willing to release an instrumental ambient/prog/rock/metal album, that will feature a talented and young drummer (TBA) and tons of female guitarists (that’s why I will call the album “Queens of the Strings”) such as Alexandra Zerner, YOKA and many others (TBA/TBC)). It won’t be easy to manage all such great musicians but I will make it!! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025.”
The Fundraising Campaign:
As an independent artist, Alberto is looking for supporters who can help him reach the budget for the production (recordings, mix, mastering, artwork etc.) of this new album and has started this fundraising campaign that will end successfully on October 15th, 2024.
Get further information about Alberto Rigoni’s new project Nemesis Call Fundraising campaign at albertorigoni.net/nemesiscal
Bass Videos
Artist Update With Bassist Derek Frank
Bassist Derek Frank…
Many of you will remember the last time I chatted with Derek Frank was back in 2017. The main thing that impressed me was how busy Derek was and how he juggled playing with many huge acts.
Now, I am happy to hear that Derek launched a new album last March titled “Origin Story” where he digs deep into his roots and pays homage to Pittsburg.
Join me as we get caught up after all these years and hear the details about the new album, how Derek gets his sound, and his plans for the future.
Photo, Stephen Bradley
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www.derekfrank.com
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Gear News
New Gear: Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Internationally renowned bassist ALBERTO RIGONI (soloist, BAD AS, Vivaldi Metal Project, TwinSpirits, etc.) is proud to announce the release of his signature bass VPR5 made by renowned Italian luthier Gaetano Costanzo!
The bass is entirely handmade in Italy, without the use of CNC or other machinery, and has rather special features. The VPR is a 5-string bass (but also available as a 4-string) with 30 frets, Seymour Duncan pickups, Music Man Alnico style, passive electronics (volume, tone and a switch to select series/parallel/single-coil mode), alder body, and American maple neck and fingerboard. Gotoh tuners that ensure perfect intonation. The bass is totally painted white (nitro finish) but other colors can be requested. The VPR has a weight of about 2.9 kg and suitable for any genre.
For more information contact Gaetanobass77@gmail.com or visit online at www.instagram.com/gaetanocostanzoluthier or www.facebook.com/GaetanoCostanzoLuthier