The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.
Sentiment: NEGATIVE
It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.
I put a metronome up to all the songs, and I tried to really keep it true to the original tempos.
Up-tempo or slow tempo, I don't feel that one is better than the other.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Instead of thinking that's a nice tune, you start thinking is it the right pace, is it the right tempo? That is the death nell for artists.
I snapped my fingers all through it. Sometimes I set my own tempo during rehearsal by doing that.
I always work with the tempo of the energy of the character, whether he's fast or slow, or heavy or light.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
All syncopation means is accenting beats that you don't normally accent.
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
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