-Rhythem spoils my voice!
Metronome chokes my choice
-Take your time, feel more free,
be romantic, rob the beat!
- But if you start to overplay
Maestro puts you in the jail!
Musicianship for Singers: Metronomic VS RUBATO singing by Freya Casey
...To me rubato is always the equivalent of a bad actor overacting...
...Is that guy playing with rubato, or is he just poor at keeping time?...
...Rubato, like everything else in life, should be enjoyed in moderation...
....Rubato is in concordance of romantic ideals of emotionality....
...Rubato means "to rob" ("to borrow"). If a metronome was set at the beginning of a phrase, it would actually end on time at the end of the phrase...
https://www.talkclassical.com/11594-i-hate-rubato.html
- But if you start to overplay
Maestro puts you in the jail!
Musicianship for Singers: Metronomic VS RUBATO singing by Freya Casey
...To me rubato is always the equivalent of a bad actor overacting...
...Is that guy playing with rubato, or is he just poor at keeping time?...
...Rubato, like everything else in life, should be enjoyed in moderation...
....Rubato is in concordance of romantic ideals of emotionality....
...Rubato means "to rob" ("to borrow"). If a metronome was set at the beginning of a phrase, it would actually end on time at the end of the phrase...
https://www.talkclassical.com/11594-i-hate-rubato.html
Spend any time with a group of piano afficionados and chances are somebody will introduce the word 'rubato'. It's one of those specialist terms that's usually pronounced with a certain emphasis: a tone of voice suggesting the speaker has priviliged access to a rarefied and exclusive domain of thought. Implication: if you know what rubato is, you're a true connoisseur; and if you don't...
...To make matters worse, the meaning of Rubato appears to have shifted. For Chopin in the early 19th century, and perhaps also for Mozart half a century earlier, the effect wasn't so much tempo 'robbed' as 'skewed'.....Evidence suggests that it was Liszt who brought us closer to the modern concept of rubato....
http://www.classical-music.com/article/discovering-music-%E2%80%93-rubato ← There, Adam Howling's illustration for BBC Music Magazine ) Numbered Face + Musical Clepsydra https://www.reddit.com/r/funny/comments/11u1z1/cool_face_made_using_numbers/ https://www.dreamstime.com/stock-illustration-time-music-illustration-musical-clock-as-symbol-image76253773
Good voice but can't count? Go into opera. You'll be in good company! :-0
Some instrumentalists claim that singers have lousy rhythm. Some say that singers are sloppy musicians and don’t pay attention to details. Why do they say that? Are singers really deficient when it comes to observing accurate rhythm?...How can I have played advanced repertoire on piano, flute, and double bass, and then suddenly lose ground in my rhythmic abilities when I sing?...
All musical pieces are composed with at least one tempo, sometimes with more than one. Part of a singer’s (or any musician’s) talent and skill deals specifically with how he treats the tempo he is singing. That is, whether he sings “right on the beat”—for example, remaining true to the song’s typical tempo, or instead becomes rhythmically flexible with the tempo and plays with the beat and sings a little before it—hurrying the beat, so to speak, or after it—slowing the tempo down. This variation of the tempo of a song on the part of performers is called tempo rubato or simply rubato. The exact Italian translation is stolen time. The artistic challenge of singing rubato is to be able to vary tempo without losing the natural rhythm of the musical piece, and to do so in a charming fashion. If a singer steals—hurries or slows—time with respect to a particular beat, he has to return the time somewhere else in the musical phrase in order to keep the rhythm of the phrase, and that of the song as a whole, aesthetically balanced (in time).
Rubato is an important artistic device for singers because, if done well, it adds heightened feeling and meaning to a performance. Without employing at least some degree of rubato, performances could sound stiff, mechanical, unemotional—without visceral impact; they could be in a word—boring. In an ideal case—and with the greatest artists—a tasteful and distinctive use of rubato becomes an integral aspect of a singer’s style. This idea, of course, brings to mind Maestro Rubato himself—Frank Sinatra.
Sinatra sometimes referred to himself humbly as “just” a “saloon singer.” Why such an apparently disingenuous remark from the great artist?
http://www.garycatona.com/single-post/2013/02/14/Frank-Sinatra-The-Master-of-Rubato
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