Rhythm • Sound • Resonance
Learn more about Rhythm, Sound, and Resonance
Rhythm
This word originates from the Greek term „ῥυθμός“ (Rhythmós) and means „to flow.“ We have been using this term for millennia. Early writings by Greek philosophers like Aristoxenus or Pythagoras provide the first documented explanations of music theory connections.
At the same time, this term has not been defined to this day in such a way that one could say it is clearly classifiable. We find „rhythm“ in music, in the performing arts, in architecture, in language, and in natural phenomena, to name just a few examples. Nevertheless, we all use this term quite naturally and know or feel what it means. This suggests that rhythm is a part of our being, which is increasingly being revealed and constantly proven by many scientific works.
This is where „Rhythm-Sound-Resonance“ Rhythm as a Basis of Our Personality. Naturally, we are primarily here in the musical realm. However, rhythm is not just at home in music, but also appears, for example, in language or in both physical and mental movement.
In my active career as a professional musician and also as a teacher, I experience these connections daily. They cannot be separated when you look at the subject of music openly. I also want to convey this in my courses and in my teaching. I stand by this as a personal example during performances.
The stage and the classroom are two places for me that build on each other and positively influence each other. The following image of the snake biting its tail is meant to illustrate this cycle:
The stage is the place where you communicate with the audience, but also with your fellow musicians (a „Resonance“(builds). This communication is bidirectional. As a musician, you give something of yourself and simultaneously get something back from the audience.
These experiences can be incorporated into lessons, providing a practical and realistic application of the subject matter for the student. Since every person is different and develops in their own way and at their own pace, teachers also strive to meet each student where they are. This, in turn, means that teachers should engage with themselves and their instrument as thoroughly as a mountain guide who knows every tree on their mountain by name. Only then will they have the opportunity to guide the student through the various obstacles that arise in teaching – provided it serves their progress...
The teacher takes this experience back to the stage, where they perform their acts with this expanded focus. Afterward, they can pass this on to their students in a refined way. This way, the circle is complete.
Sound
Sound is individuality. To express oneself artistically means to have one's own voice, one's own sound. Just as every person is different, sounds different, just as every dish has a different character, just as every voice sounds different, music is also a highly individual matter.
Regardless of age, skin color, or origin, every person has their individuality.
I want to support, foster, and further develop this individuality in my teaching and in my own play. Individuality has nothing to do with selfishness, but rather with having one's own voice (Sound), which develops as an expression on a harmonic basis.
It's always been known in musician circles that you can recognize any musician by their sound alone. That's something special, a feeling of „home.“ I remember several instances where I asked another musician to play something on my drum set during sound check so I could hear the sound and projection from the audience's perspective. The band members didn't notice someone else sitting at the drums, but after the first few notes, everyone would always turn around to see the change.
„Rhythm-Sound-Resonance“ stands for the focus on sound, on individuality on a rhythmic, harmonic, flowing basis.
Sound only develops its potential on a rhythmic basis, or in other words, rhythm is an inseparable aspect of sound. Connections regarding this are part of my courses.
Resonance
Resonance, the reverberation, is the connecting element. The connection between inner and outer. This term is very broad. Resonance occurs when a sender and receiver establish a qualitative connection. In this process, the sender and receiver can be living beings. For example, if sympathy arises between people, if you can „stand“ each other, it is resonance. When nature affects us – regardless of the sensory perception – resonance takes place. It also occurs when a receiver is attuned to a sender. There are countless forms of resonance – of energetic interaction. It is „actively“ present at every moment. We notice it particularly when its quality is better. The only question that arises (for me) is how to achieve this „vibrating together“ as well as possible.
Let's stick with music. Most resonance occurs when sender and receiver have the same frequency. In this case, the reaction to each other is strongest. Two waves can overlap and (permanently) double or completely cancel each other out. In both cases, it's primarily about the magnitude of the resonance, or the influence on each other.
The ability to resonate, in my opinion and based on my experience, is one of the fundamental things that are of basic importance in active music-making, teaching, and generally in everyday life.
This means, in simple terms, that you can put yourself in someone else's shoes (musically speaking, also tone). As a musician on stage, this is simply the key to communicating with other musicians on your instrument, as well as with the audience. I'm talking about „music“ here. If you have truly seen, heard, and experienced good craftsmanship, where the musician, instrument, group, and audience are one, then it should be clear what I'm writing about here. You can literally „work magic“ on your instrument. That is resonance.
To pick up a student where they are and support them on their individual path – that is resonance.
Interacting with others in a harmonious („flowing“, „rhythmic“) way is resonance.
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