B.P.M. Practice Tool
Taking your practice routine to the creative realm We can all agree that metronomes are the primary tools for establishing tempo control, but sometimes students can rely a little too much on those clicks. While the “met” can be your best friend (or worst enemy), over using it could lead to a kind of co-dependency that’s hard to break. We find students either 1.) rely too much on it or 2.) way intimidated by it, making it difficult to put it to good use. Both of these situations could be detrimental come performance time.
In addition to the above, we also know that things can get a little monotone after an hour or so of beep… beep… beep. If we as educators can barely stand the sound, how do you think our students respond to it? It’s about time we offer a creative solution that can keep students engaged in their practice, while growing their internal sense of pulse.
That’s why we are thrilled to be teaming up with ATX-based composer and percussionist, Louis Raymond-Kolker, to launch the B.P.M. Practice Tool! Put your metronome on pause and press play on B.P.M. You won’t miss a beat with this practice solution!
B.P.M. is a collection of 12 different playlists grouped by tempo, subdivision (duple vs. triple), and key signature. No matter what you’re working on in the practice room, B.P.M. can offer some sort of jam to accompany you. Run through scale exercises alongside Coldplay’s “Clocks” or prepare your recital piece using Elton John’s “Bennie and the Jets.” With over 140 different songs (and growing!) your students will never run out of practice options!
You can find the full list of tunes grouped by tempo markings or key signatures. Check out a few of them listed below:
For more groupings by tempo and keys, please visit the following Google Spreadsheet.
Here’s a list of other benefits you’ll find when using music to practice:
Like a metronome, but more fun
Guarantees an amount of time on a certain exercise or group of exercises
Helps you identifying different forms (“switch patterns at the chorus”)
Works on your improvisation specified to given key
Addresses guided listening (“listen to the hi-hat for tempo”)
Helps establish a higher sense of internal pulse
Exposes you to a wider range of composers/artists without taking away from programming classical composers