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Joined: Sep 2006
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I personally only use a metronome for practicing scales, arpeggios, and Hanon. I dislike even practicing actual pieces of music to a metronome, preferring to instead discipline myself to hold a steady pulse. To that end, my no-frills electronic metronome has served me just fine. YMMV.  Thats right... useing a metronome for practicing scales, arpeggios, and Hanon will build into your musical brain tempo control, which will, after time, positively affect your playing so you can play without tempo fluctuations.
Blues and Boogie-Woogie piano teacher.
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Joined: Mar 2009
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OP
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I personally only use a metronome for practicing scales, arpeggios, and Hanon. I dislike even practicing actual pieces of music to a metronome, preferring to instead discipline myself to hold a steady pulse. To that end, my no-frills electronic metronome has served me just fine. YMMV. Thats right... useing a metronome for practicing scales, arpeggios, and Hanon will build into your musical brain tempo control, which will, after time, positively affect your playing so you can play without tempo fluctuations. This is pretty much what I expect to use the metronome for. I seem to have a decent internal sense of timing. When I'm working on an actual song I can keep things pretty even so long as I can listen to a recording of it and I've got the fingering down OK. Most of the music I'm messing around with is pop/rock stuff and I find that if I "listen" to the lyrics/vocal part in my head while I'm playing I can keep pretty close to where I belong. It's usually the coordination thing that really fouls me up.
I'll figure it out eventually. Until then you may want to keep a safe distance. ![[Linked Image]](https://www.pianoworld.com/ABF_Medals/3medals.jpg) ![[Linked Image]](https://www.pianoworld.com/forumpicts/MOYD_2011/MOYD_1.gif)
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Joined: May 2003
Posts: 2,631
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I'm with John Pels on the value of a good electronic.
Life's too short to mess with stuff that's error-prone.
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Joined: May 2007
Posts: 1,278
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Anyone that honestly believes that metronomes are only good for scales and Hanon needs to re-evaluate. Serious pianists use them daily to gradually increase tempo without adding rhythmic anomalies within virtuosic passagework. THAT is the purpose. Anyone can make themselves believe that almost anything is correct rhythmically with their "internal metronomes". Metronomes keep you honest. Anyone that has taught piano knows that one of the most useful tools for the young pianist is counting out loud. It is only then that that "internal metronome" gets some discipline. For 35 years I have been getting the comment "I am counting in my head, so I don't have to count out loud". Invariably the rhythm is totally wacked. Record the playing.The results will invariably speak for themselves. Students are always amazed at how far off they are.
Metronomes are the serious pianist's best friend. When you get to the point that you can actually listen to yourself from almost a third party perspective, you will apprehend the anomalies that occur within the beat. Rhythmic anomalies are the doom of technique. Many folks bemoan the fact that "I don't play like Horowitz or Kissin" or pick your virtuoso. Admittedly there are basic talent issues involved, but there is also a discipline involved. If you don't work like the masters, you won't play like the masters. It is the discipline that makes absolutely sure that all of the beats are where they belong. And now of course I guess I will be deluged with some detractors that imply that working with a metronome will yield a mechanical performance. That is balderdash as well, and I have NEVER been accused of that on my worst day.
Why am I on a tear today? Because I have been working for hours with a metronome on a section of the Rachmaninoff Suite Op 17 and it is getting better by degrees. It always does when I work this way. There is no magic to getting a good result at the piano. It is one of the most highly disciplined mental activities on the planet. So, I will reitterate, if concert-pianists have no trouble using them daily(and not only in scales and Hanon), why should we?
Obviously if you are playing non-technical passages there is less need for a metronome.
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Joined: May 2009
Posts: 25
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The real purpose of the metronome is to be able to discern a tempo from a composer's reference and to gradually increase tempo while maintaining evenness. If you have a pendulum metronome in great condition it will of course do that. Exactly my point, John. I think we're mostly in agreement here. My original allegation was simply that the greater inherent accuracy of a quartz movement vs. a pendulum isn't a relevant deciding factor between the two devices. I stand by that. People keep mentioning all the broken, dropped, and damaged mechanical metronomes they've seen. But if you drop your piano, that probably won't do it much good either. Even an electronic metronome probably would be done-in by the right drop on the wrong surface. I think you have to compare properly working mechanical metronomes with properly working electronic ones. That said, the caveats you've noted are all valid: you must place it on a level surface, you have to properly maintain it, you have to treat it delicately and avoid dropping it, if it doesn't beat evenly you need to have it repaired. If all that sounds like too much fussiness, then by all means choose an electronic device. As I said, choose between the two because of the practical features you like or dislike. Shock resistance and portability are important practical features and the electronic devices are undoubtedly superior in those regards.
My anniversary falls on trash day, too!
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Joined: Jan 2003
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it is also fun to play with the metronome. for instance try playing a piece written in 4/4 time with the beat sounding on the 2nd or 4th beat.. ot perhaps try playing a measure and 1st beat of the next measure counting in 5/4 time, moving on the next measure again and again.. these type of things really solidify your mastery of the notes.
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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Joined: Aug 2005
Posts: 18,356
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A couple of years ago my hubby asked what I wanted for my birthday, and I told him "a metronome." He was confused by the choices and bought me two, a wind-up Wittner and a digital metronome. I tried both out for a while but have long since defaulted to using only the Wittner. It's got a soul-satisfying deep "thock thock" sound that is much more pleasing to my ear than the electronic beep of the digital metronome. I also find the visual cue of the pendulum quite helpful. Buy the metronome you like the sounds and looks of the best. You'll use it more if you like it, and that's the whole point. 
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Joined: Sep 2008
Posts: 8,453
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Anyone that honestly believes that metronomes are only good for scales and Hanon needs to re-evaluate. Serious pianists use them daily to gradually increase tempo without adding rhythmic anomalies within virtuosic passagework. THAT is the purpose. Anyone can make themselves believe that almost anything is correct rhythmically with their "internal metronomes". Metronomes keep you honest. Anyone that has taught piano knows that one of the most useful tools for the young pianist is counting out loud. It is only then that that "internal metronome" gets some discipline. For 35 years I have been getting the comment "I am counting in my head, so I don't have to count out loud". Invariably the rhythm is totally wacked. Record the playing.The results will invariably speak for themselves. Students are always amazed at how far off they are.
Metronomes are the serious pianist's best friend. When you get to the point that you can actually listen to yourself from almost a third party perspective, you will apprehend the anomalies that occur within the beat. Rhythmic anomalies are the doom of technique. Many folks bemoan the fact that "I don't play like Horowitz or Kissin" or pick your virtuoso. Admittedly there are basic talent issues involved, but there is also a discipline involved. If you don't work like the masters, you won't play like the masters. It is the discipline that makes absolutely sure that all of the beats are where they belong. And now of course I guess I will be deluged with some detractors that imply that working with a metronome will yield a mechanical performance. That is balderdash as well, and I have NEVER been accused of that on my worst day.
Why am I on a tear today? Because I have been working for hours with a metronome on a section of the Rachmaninoff Suite Op 17 and it is getting better by degrees. It always does when I work this way. There is no magic to getting a good result at the piano. It is one of the most highly disciplined mental activities on the planet. So, I will reitterate, if concert-pianists have no trouble using them daily(and not only in scales and Hanon), why should we?
Obviously if you are playing non-technical passages there is less need for a metronome. John, your point is well taken. I have used a metronome with pieces when I really need it. What I'm saying is that for the most part I find that I don't need it. And I don't get complaints about my tempi much from my teacher; who certainly lets me know when I have problems. I have personally derived the most benefit from the metronome with the scales and all that as well as in that Bach Invention #8. But YMMV!
Close only counts in horseshoes, hand grenades, and nuclear weapons.
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Joined: Jan 2003
Posts: 19,862
Yikes! 10000 Post Club Member
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It's got a soul-satisfying deep "thock thock" sound well said Monica! i like the thock.. my digital is way tooo loud and irritating - i have to wrap it in a towel.
accompanist/organist.. a non-MTNA teacher to a few
love and peace, Õun (apple in Estonian)
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Joined: May 2007
Posts: 1,278
1000 Post Club Member
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Posts: 1,278 |
Yes ladies, the electronics can be annoying, but that's why I recommended the one with a volume control (Matrix MR 600). I guarantee that its "thock" is very much what we had become accustomed to with the mechanicals. I have two students, one with a Seiko and one a smaller Matrix. Both have small speakers mounted on the front and both openings have been closed as well as possible with masking tape. I don't know if manufacturers never focus group these products or what, but I hate them and my students do as well because the tone is so annoying. The masking tape looks ugly, but the metronomes are now more pleasing to(not)listen to. This is why I prefer to buy the metronomes for my students. I get what is best for them, and there is no adversity to the sound and they acclimate quickly. Likewise, there are some models with too many bells and whistles. Then it gets relegated to the toy category and there are too many distractions, and it doesn't get used in its basic mode. The difference in price between the annoyingly loud models and the MR600 is no more than $12 plus or minus. The metronomes that beep are not as functional as they should be mainly because of the basic sound. It is far too easy to tune it out (mentally) and not pay attention to it. In addition, most that beep also have to be adjusted by holding down a switch to get to the proper tempo. That is just plain annoying. The MR 600 has a dial and access is immediate. The MR 600 also will double as a great tool for kids in band and orchestra because it has a chromatic tuner. For myself, I use it when restringing a piano to chip it up to pitch quickly and semi-accurately.
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Joined: Aug 2016
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Junior Member
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Joined: May 2001
Posts: 26,906
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tempibrand:
Since you are directing your post to the original poster of this thread, be aware that you have revivde a thread that is seven years old, that LBE is undoubtedly no longer "just starting out" and that s/he hasn't posted here in almost two years.
Nevertheless, welcome to Piano World.
Regards,
BruceD
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Estonia 190
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