Metronome … Yes or No?

Metronome … Yes or no?

Fifty years ago, this question would probably never have been broached.  The familiar little wooden pyramid was an almost ubiquitous accessory to the piano and the beginning student was introduced to it very quickly.  And equally quickly developed a distaste for it.


After the initial fascination of the little wind-up key mechanism wore off and after a few minutes observing the metal pendulum  swinging rhythmically to and fro,  the relentless clicking beat became distinctly annoying.  Even an enthusiastic teacher’s demonstration of how the tiny metal weight pushed up or down on the pendulum provoked a corresponding change in tempo did little to meliorate the situation.

That metronome was irritating.   Very irritating.

Along with virtually every student, I was subjected to the metronome when I began to learn piano.  I played my scales in concert with it.  I stumbled through Schmitt and Czerny with it.  I counted out loud desperately as I quite obviously couldn’t maintain that inflexible and absolutely non-negotiable beat.  Somewhere I would miss a note or hesitate and then the hateful time piece would ignore my struggles and continue clicking away.

I hated it.

And now years later, I realize that this particular instrument of torture needn’t be inflicted on any student with the mistaken idea that it will encourage smooth playing.  It most definitely will NOT.

And the reason for this is very very simple.  If you are learning an exercise, a scale or a piece of music, you will inevitably make errors.  To correct or avoid them, you will break tempo and the metronome allows for NO breaks whatsoever.  No matter how much you fumble, it will continue with its inexorable tick tick tick.   And the frustration of learning the notes and fingerings is immediately increased to levels which many budding musicians find intolerable.   To this day, I find it intolerable.

The historical facts surrounding the metronome and its original purpose make it quite clear that this device was never intended to be employed as a straitjacket or shackles for the beginning piano student.  It was conceived for quite another  … and very valid … purpose.


 The metronome was invented in 1812 by Dietrich Nikolaus Winkel but the patent was somewhat deviously wrestled away from him by Johann Maezel three years later.   Beethoven was among the first noted composers to use this device and was extremely enthusiastic about it, carefully noting his choice of tempi in many of his later compositions.

But Brahms loathed it.   He commented ….

“I am of the opinion that metronome marks go for nothing. As far as I know, all composers have, as I, retracted their metronome marks in later years.”

This conflict of opinions rages on among musicians up to the present day.   But the basic value of the metronome as an indication of the composer’s own wishes is indisputatable.  Today in most scores, one can find the composer’s own specifications on the left hand side of the page.

But earlier composers such as Bach, Haydn or Mozart didn’t have access to the metronome and merely indicated the style or mood of their composition.   In those cases ( and when the composer hasn’t indicated a metronome value) then the tempo will be printed in brackets, indicating that this choice has been made by the editor.

Here is a fragment of a Mozart composition with “suggested” metronome specs.

Metro marks

The metronome as an indication of tempo is invaluable for all serious musicians.  As a basic method of initially coordinating choirs or musical groups, it also serves its purpose.  And with contemporary recording techniques it can be profitably used to coordinate various sections of a piece of music for smooth splicing.

But as a method of controlling a student’s  evenness of tempo and tone, it is more frequently an impediment than helpful.    Because the student is still learning the notes and fingerings and cannot comfortably accomodate a ruthlessly rigid pulse as they struggle.

BUT    ….. BUT  ….. the student is playing all out of time.   They can’t count the beats properly.   They have to learn to play in time.   They NEED the metronome  …. don’t they?

Now here’s where we have to rethink what a “beat” is  … and what exactly is “rhythm”.  Well a beat  is pretty simple.   Tap Tap Tap Tap …. those are beats.    Bang Bang Bang Bang   …. those are beats too.   So is Clank Clank Clank Clank ….. or anything else which is an evenly repeated sound.   Your heart beats.   A clock beats.

And the metronome is a classic example of a beat.  An even repeated sound.   The key word here is that the sound is EVEN.   There is no stress.  All the beats are equal and indistinguishable from each other.   Tap Tap Tap Tap.

Rhythm is quite another thing.   And it is the heartbeart of all music.

Rhythm is a pattern of stressed and unstressed beats.   TAP tap tap … with an accent on the first note is a rhythm.  TAP tap tap TAP tap tap  …. 1 2 3 1 2 3.    This is 3/4 time in music and is often called “waltz” time.    An even more common rhythm is 4/4 time often appropriately called “common” or “march” time.   This is a rhythm which includes strong, medium and weak  beats.   1 2 3 4 1 2 3 4   ….

So we have   …. Strong weak medium weak   Strong weak medium weak  for 4/4 time

It is the rhythm we must make our students aware of.   And this is easily accomplished by making them count out loud as they play.  ONE two three ONE two three.   It takes very little repetition before that pattern of stresses is automatic and when it is, then virtually ALL students will naturally and smoothly access that natural rhythm which all living things possess by the mere physical facts of their respiration and heart beat,

And here is where something quite magical occurs.  If a student COUNTS, it doesn’t matter if he stops to search for a note, misses a note or slows down.  As long as he keeps counting.  Sometimes he may be chanting .. ONE ..twooooooooo … three … (damn where’s the F#) four …”   in what seems terribly uneven rhythm.    But somehow, miraculously that STRESS will still survive as he searches for the right note and finger.  ONE will always be more stressed than two or three … or four.  And because he has control over the counting, all of the frustrations of keeping up with the metronome are vanquished.

In forty years of teaching, I’ve never had a student who didn’t pick up a sense of rhythm naturally and easily with this method.

Remember  …. Music is NOT a steady beat  … it has a pulse or rhythm with enormous variations in tempo  … swelling and slowing sometimes and then an instant later, sparkling with speed and energy.   Emotion is its heart and fuel.   But that PULSE …. the RHYTHM is what holds it together.   And that is the pattern of stresses  … NOT the mere repeated beats.   Counting out loud is the answer.  And then your heart and breath will inform your hands and you will make music.   Not just sounds.

Toss the metronome and begin to count.  Out LOUD  …  your body already has rhythm, you were born with it. And it’s the best metronome in the world.

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26 Responses to Metronome … Yes or No?

  1. ShimonZ says:

    I believe that most musicians would agree with you that there’s no advantage in a strightjacket. However, the use of the metronome by a student could help him learn to understand rhythm; to have a better sense of timing. Still, it shouldn’t be used all the time. It is enough to use it from time to time as an exercise. In any case, when playing with others, we have to be very conscious of the rhythm, or we will create havoc within the music. I enjoyed your post.

    • James says:

      Some thoughts. The metronome is a loud watch. Whaaat. All musician can be in time. which is necessary. This can be old style or digital.
      The accent is extremely important. Swing ..which totally relies on accent ,is not taught in classical..two reasons is extremely subjective.. to digitally reproduce swing is very hard.. Herbie Hancock… Bebop.. depends on the the actual notes on the piano how the fingers move.. by nature.. For example if you do a lick in one key, on the piano .. it could be totally different in another key.. Also every individual will have a little different fel or even style.The quarter beats will match almost perfectly.. almost perfectly.. The accent can not be perfect here it is only subjective.

      I play piano which is considered a percussive instrument. Aso I play base etc. so I have a major part in the timing. any member including the singer can wreck havoc.. let a singer hold a note out longer than standard.. In the real world. I have to skip a couple of notes and make sure the chord still matches.Then just follow their voice.. of course this is not a timing issue.. Regional areas of the country sing things different. Also people will hear things from different singers on the radio.. That’s also why bands or groups work those links.. I’m a perfectionist and I just usually ignore is not perfect.

  2. nikkitytom says:

    The problem with the metronome is that it doesn’t provide rhythm. … It offers only a series of unstressed beats. Even the “bell” metronomes are poor substitutes. The “stressed” notes … … Strong Weak Weak ( 3/4 time) or Strong Weak Medium Weak ( 4/4 time) are far more important than mere regularity. But I do agree that the metronome is useful to ‘set the pace’ for groups … and is a wonderful tool for the composer to keeo his “voice” in the inevitable squabbles over the appropriate tempo. Glenn Gould being particularly recalcitrant about tempi … I suspect he smashed his metronome at a very early age. Or more probably was deliberately defiant.

    But rhythm is the pattern of stressed and non-stressed notes which even a “belled” metronome can’t offer. I literally howl at my students …. ONE two three ONE two three … with a massive clap on my knee for that first beat of each bar. They catch on pretty quickly.

    Newer recording methods have given the metronome a new lease on life … as it provides accuracy for splicing and editing. ( Doesn’t work with Chopin though. I gave up and did the whole recording again when I couldn’t match a ritenuto section … Bach is easier to edit with more regular beats .)

  3. John F. says:

    Out damn metronomes, out!
    The metronome has destroyed the sensitive musician a long time ago.

    Here are some interesting view’s on the metronome (be sure to scroll down to the criticism section):

  4. Junai says:

    I have a love/hate relationship with my metronome. If I tried to use it when I was just learning a song it would drive me nuts, but I like it for when I’m having a difficult time keeping a consistent tempo throughout a piece. My metronome was vital when I was working on Juba for a recital, and I was very frustrated with it for about 3 weeks until I finally got in time with it. But it was able to give me the consistency I needed. Sometimes I also use it for simple sight reading. I am glad that I have my metronome, but I don’t use it all the time.

  5. Groove On says:

    Thank you, I loved this article/post, a bunch of light bulbs went off in my head. Metronomes are one of those things I would have never have thought to read up on.

    Your description of rhythm clears up something I was told by an Afro-Cuban / Latin musician. He kept saying to use the clave as a way to keep time, but to not use it like a metronome. He kept stressing that it was more useful to think of it as an organizing principle for the music / notes. Your description of Rhythm vs. Beats falls in line with that thinking, and made it more clear for me how to use rhythm while playing.

    Funny thing is I went to my digital metronome app and lo and behold, not only does it have options for stressing particular beats, it has a setting for a clave rhythm. So that was kinda confusing, ha ha ha … Any thoughts on that?

    • nikkitytom says:

      Thanks. I ran across a metronome featuring the individual note stressing features a short while before writing this piece. I considered mentioning it but then rationalized that it is still not commonly used. And that it poses nearly the same problem as the ordinary unstressed metronome … it doesn’t allow for a pause or an error and still doesn’t develop the natural “heart beat” rhythm. We don’t NEED a metronome as anything more than as check on the composer’s original tempo suggestion … if the compowser indicated one. And to check “acceleration” which does afflict some students.

      I am convinced that the whole process of learning the piano has been artificially embellished to make it more confusing and difficult than it already is. If there is a shortcut or an easier way to learn, then why not use it. My students learn quickly and enjoy the process and that’s my main aim in teaching.

  6. David Aubke says:

    I think this article is full of good points and reasonable assertions. But I still love my metronome. I alternate back and forth between playing with and without.

    1. Although I don’t use it as a tool to help me learn to play in time, I do consider it a helpful crutch in this regard. I feel that the metronome actually lightens the load on my brain, relieving it of the need to keep time and freeing up more energy that can be devoted to other aspects of playing. I try to limit the extent to which I use one for this purpose because I don’t want to become reliant but it’s something I appreciate nonetheless.

    2. I love using it as a standard when I’m in the middle of learning a piece. After the basic notes have been learned but well before I’m ready to consider a piece ‘finished’, as the learning curve begins to flatten out, it becomes increasingly difficult to recognize progress. This can be discouraging and it’s then that I deploy the ticker to give me a benchmark that I can quantify.

    3. It’s very useful in identifying trouble spots. It can be too easy to flub a few notes and rationalize to yourself “I’ll get it next time.” It’s hard to remember exactly which errors were truly flukes and which are indicative of a real lapse that needs to be addressed. The metronome allows no rationalizations and shows me exactly which sections still require work.

    • nikkitytom says:

      I’d say you’re using the metronome in the best possible way. My worries are that too many teachers foist it on beginners when they’re still struggling with the notes and fingerings. As a tool to check timings and smooth out passages … it’s a great littel device! But I wouldn’t have one glaring at the student from the top of his piano for the first year or two. LOL

  7. SNguyen says:

    Thank you, thank you and thank you for this post. I’ve just started learning piano for about 4 months and I’ve started to use metronome from the beginning. My teacher said that my dynamic contrast is really great, I can memorize notes fast, BUT my rhythm is really horrible. I speed up and slow down all over the place. So my teacher asked me to use metronome more and no matter how hard I’ve tried I cannot focus and follow the metronome. I hate it with passion. It drives me crazy. I’ve tried to use drum-track-metronome on my smartphone. It’s better but still not pleasant and I still cannot focus. The more I use it, my rhythm is getting worst. I thought there was something wrong with me. I love music and finally decide to start learning (a little late, but better than not). I’ve read around the net and it seems like you cannot learn music if you don’t use the metronome. I didn’t even let my teacher know (i was being ignorance) because I was afraid. But after reading this post, I admitted with my teacher. Surprisingly, my teacher hates it too. Now I count out loud, then silently, then skip it all together when learning a piece. I can enjoy music more, my rhythm actually improve significantly. I can learn piece faster now. I know everyone is different. But it’s a relief to find some other point of view that different from the rest. Thank you and excuse my spelling/grammar.

    • nikkitytom says:

      My entire goal is to get my students to LOVE music and to actually play the piano. Far too many teachers get hung up on technical exercises, the metronome, posture and many details which do NOT encourage the student and which are for the most part unnecessary. And which strip the joy right out of learning to play the piano.

      I operate on the idea that music is part of our souls. That everyone has music inside themselves and the trick is to get it out. Quickly and as painlessly as possible. The first and most important thing is to learn those notes. I have no tricks or gimmicks here. You just have to learn the NOTES. Then you can begin to make music.

      Fumbling for the notes with the metronome ticking away is torture. You want to get those notes correctly … then your natural sense of regular beats will take over. SImply counting out loud as you play ( once you know those notes) is natural and easy. If you stop to find a note … well just find it and continue.

      So glad you have a teacher who understands. I really find it hard to believe so many people stay with teachers who don’t encourage or inspire them.

      Thanks for your kind comments

      • Son Nguyen says:

        First, welcome back. It has been more than a year since my last post. I’d like to provide some update. After counting for a while and practicing rhythm with clapping, my internal rhythm has improved a lot. Strangely, I’ve tried to go back and use the metronome (just for fun), and to my surprise, it’s not as bad anymore. Now my rhythm is in-sync with the metronome, so it’s actually more pleasant. I don’t mind the sound anymore. I think back then because my rhythm was bad, it seemed like the metronome was trying to fight me back. But now, it likes my friend. I use it more often now on hard rhythm section. Wow, what a year can do.

  8. Belinda Butler says:

    I grew up absolutely hating the metronome. It has its ups lace but often misapplied. There is a great app out there called SpeakBeat. It gives you a voice who is actually counting the beats and not just the dreaded “tick tock.” I have used it in certain situations and love it.

  9. Amy Thompson says:

    I’m teaching beginner piano to my twins (13 yrs). My daughter is a natural, while my son seems to struggle with basic rhythm. That “natural” rhythm inside of us that you talk about is either quite inaccessible or is absent. He understands the math of note value and counts perfectly, but never holds dotted quarter notes near long enough, for instance. When playing scales and doing technical exercises, I require him to use the metronome so he can “discover” his internal rhythm. It has been weeks (with 30 min daily practice), but he is finally able to play quarter notes with each beat of the metronome consistently. However, once we started eighth notes, playing 2 notes to each metronome beat (down – up – down – up), we are back to the the beginning. If you don’t use a metronome, what do you do with a kid like this? If I don’t correct the timing early on, his poor timing will become ingrained. Am I forcing something that he just isn’t capable of? Will all this effort and work with the metronome be worth it?

  10. Wendy roebuck says:

    Beginning piano. Want to learn tempo properly and instinctively. Not clear on what you mean one to do with metronome and counting out loud. Do you have video ahi we invite this?

  11. nikkitytom says:

    If you want to learn “instinctively” you’re on the right track. I am dismayed by the trend in education which makes everything so complicated … with diagrams and videos and endless blather.

    Now here’s what ‘instinct’ is. Did you ever hear anyone sing a familiar song with the wrong rhythm … like “Deck the Halls” for instance? Nope. Even a small child sings it correctlly … otherwise the melody would be distorted and unrecognizable. Sing “Deck the Halls” … just the first line. Now substitute “counts” for words .. It will be ( long beats in brackets)
    1 (2) + 3 4 1 2 3 4 1 + 2+ 3 (4)+ 1 2 3 (4) It’s automatic.

    BUT it’s automatic because everyone learns this song by ear and by MELODY. Now when you have a new piece of music you have to locate the correct beat. SInce you’re just learning the notes, the metronome will merely be frustrating. As long as you SAY the correct beat … when you can finally play the notes without fumbling, then it will fall into place.

    It may sound like this to you …. “One ..Two ( Oh damn what’s the next note? You pause to think about it.) But when you find it, if you say “Three” it will fix itself in your mind as the third beat. Then when you smooth out the notes, it will be there waiting to be used.
    (Because the metronome doesn’t allow for any fumbles or note-searching … it is a major frustration for most students. But you can count evenly … You are a natural metronome)

    Use the metronome for scales. Use it for Hanon … Use it for anything which your are NOT reading notes at the same time. Then it has a purpose. But never use it while learning those notse. At that stage be sure to SAY the correct beat as you play each note. Try it … It works.

  12. Michael says:

    There seems to be varied opinions about the usefulness of a metronome. Many accomplished teachers and performers swear by them, and others say absolutely not. Recently I looked at a piano technique book by Ruth Slencznska, who was an amazing child prodigy in the 30’s (still going strong at ninety). She’s very pro-metronome, and says that Rachmaninoff, one of her teachers, was also a strong believer. Since I don’t play at all well, after thirty years of sincere effort, I thought I should see if the metronome would help: I’ve made some rather feeble attempts to use one in the past, which came to nothing, because that clicking was an awful distraction from actually playing and nearly drove me insane.

    I have some advantages now that I didn’t have before, in that I know where the notes are, and have more confidence in reading music. Another thing is that my piano, a Roland HP207 Digital, has a built-in metronome which is a little less threatening and irritating: I can adjust the volume to a whisper and choose the sound it makes. One of the sounds is an actual voice that counts in whatever rhythm you select. I just started using this metronome a few days ago and am finding it possible to play along, at a very slow tempo, some of the pieces I’ve already practiced to exhaustion. It does seem to highlight problem areas; and I find that certain passages I thought were okay, I was playing unevenly or unconsciously rushing the tempo. My understanding is that one of the main advantages of a metronome is to gradually bring music up to tempo, but I haven’t got to that point yet.

    In trying to find out how to best use a metronome, I stumbled on your website – obviously not very keen about this device, and you may be right. But I enjoyed reading what you had to say, and the comments of those who responded, pro or con.

    • nikkitytom says:

      Sorry for a really long delay. I’ve been “out of action” for a few months but now my propellers are working and I’m aloft again. I just recently purchased a lovely Kawai CN35 with that onboard metronome. You are quite correct, its volume can be adjusted quite nicely. Originally as I noted in my article, the metronome was used mainly to indicate the composer’s choice of tempo, certainly NOT to be used while learning the notes. But you are correct in using when you feel you are playing unevenly. I occasionally drag it out to force myself to “match” sections in complicated works where the composer switches from Andante to Presto and back again. More as a “check-up” than anything else.

      A hint to help push yourself to a new level is to practice in “sections”. I know the temptation to play through a piece, enjoying the whole process as you go … I did it for most of my early years. But to “jump-start” the learning process, mark off the “difficult bits” and no matter how disasteful the task may be, practice JUST those portions. Ten times each. Only allow yourself the luxury of enjoying the entire piece, when you’ve done your “penance”. I now complete a piece in a week which even years ago at JUilliard, would have taken me three months. Try it. It works. ( You’ve inspired me to add this topic to my blog in the next few weeks … 🙂 )

      • Michael McCarty says:

        My experiment using the metronome lasted for a few weeks and was largely successful. I found that, after some effort, I developed a tolerance for the infernal ticking and was able to play along. The metronome helped me to identify places in the music which I played awkwardly that weren’t obviously difficult; also, I was able to increase the tempo incrementally. Unfortunately, there was a downside: I wandered away to some other pieces I’d been working on which weren’t quite ready for the metronome treatment, and never got back to the earlier ones. The truth is, that I feel a kind of aversion to those pieces I worked on using a metronome, which seems unrelated to the quality of the music. I think I’ll eventually go back to those pieces (I’ve been telling myself this for months), but the use of a metronome seems to have a cost as well as a benefit.

        Thanks for the practice suggestions – it’s taken me many years to fully appreciate the truth of what you say.

  13. Alan Duncan says:

    If the metronome is used with students – particularly early students – one must be attentive to an anxiety over it. As a young student I had tremendous anxiety about metronome – a constant feeling of pressure to stay with it. You touch on the frustration factor in your post. Eventually, as an older student and active chamber musician I’ve come to use it as needed. I’ve come to peace with it, you might say. But I’ve noticed the same anxiety with my daughter now, a violinist. I really like the idea of making counting out-loud the main focus.

    There is another issue with the metronome which is unwanted stresses on the beat. In an effort to stay with the metronome I hear students playing legato passages with a big marcato on the metronome’s beat.

    Finally some of the trickiest issues with rhythm are in the subdivisions of the beat – students compressing the rhythm in ways that working with the metronome doesn’t reveal.

    • nikkitytom says:

      That anxiety is simply not worth the risk in my opinion. It can so easily make learning a misery for the younger student. But if you must acquire one of these devices, make sure it’s NOT used with the pulse or stress beat. I have one on my digital piano and I sampled it once out of curiosity and after a few moments, my blood pressure rose to startling levels and I resisted an impulse to smash my nice new Kawai digital.

      For the subdivisons of the beat. “One and” for the simple duplet. “One-a-half-a” for the quadruplet. “One-a-a-” for the triplet. See “Those Pesky Dotted Notes” for a detailed explanation of how to cope with .. well … those pesky dotted notes.

  14. Megan says:

    Hi I was wondering if you have worked with students that have had learning difficulties and has made counting out loud very tough for them. My son has speech apraxia and has been taking piano for a year now. He does fairly well but has a difficult time counting the music out. His teacher and I are both trying to explore some options that might help him. Would you have any suggestions? Thank you!

    • nikkitytom says:

      Aloha … Since I’m unfamiliar with speech apraxia, I had to look it up and view a few YouTube clips. From what I understand, the child has to learn to form the word physically with his mouth and tongue and that it requires a lot of concentration. Not an easy task. So you wouldn’t want to add that stress to the difficulties already inherent in learning the notes.
      Since I believe rhythm or at least “beats” are a part of our natural consciousness, probably because of our heart beat … my suggestion would be for him to either tap his foot in a constant beat … or do what I encourage some of my students to do, which is to slap his thigh rhythmically with the left hand as they play the treble or melody part with the right. He doesn’t have to actually “say” the counts. If you or the teacher say them as he plays, it will very quickly become imprinted on his brain. I would not suggest the metronome and certainly never one with the stressed beats … which is an instrument of torture. There is a natural pulse with the accent on the first note of each bar … ONE two three four … for 4/4 time or ONE two three for 3/4 time. You can encourage a little firmer tap or slap on that first note of each bar.
      I don’t know your child’s age … learning the piano is probably one of the most complex of all mental processes. So I encourage using as much “natural” inclination as possible. Counting … or tapping or clapping … is one of them. Hope this helps 🙂

  15. James says:

    I grew up playing instruments. Took lessons.. My teacher was celebrity on radio in the forties. She also was a graduate of Juliard conservatory.. She brought the metronome a few times and then it was not there. She would just work on verbal then quiet timing with me. I play the piano in church.. At times other instruments.. guitar, base, etc. All I have to know is where are the accents.. Strong and week beat. I can start at some beat and minute later be exactly on time.. this may be associated with the heart; idk. I absolutely hate a metronome. I see their value, as you say here. Working on jazz these days..Very sophisticated music. Not just scale but chord scales.. Modes of Melodic and harmonic minor etc.. Most of the great jazz pianist were very skilled in theory etc. and I doubt they saw the metronome as the only way to practice. You ain’t got a thing if you ain’t got no swing. Duke Ellington. Lol.

  16. nikkitytom says:

    You’ve nailed it right there. “All I have to know is where are the accents”. Too many people don’t trust this natural pulse which I believe we’re all born with. I never heard a child sing “Happy Birthday” without that natural beat. But oh I’ve struggled with opera singers who fly off into outer space with wild distortions as the accompanist struggles to keep pace.

    • James says:

      Some thoughts. The metronome is a loud watch. Whaaat. All musician can be in time. which is necessary. This can be old style or digital.
      The accent is extremely important. Swing ..which totally relies on accent ,is not taught in classical..two reasons is extremely subjective.. to digitally reproduce swing is very hard.. Herbie Hancock… Bebop.. depends on the the actual notes on the piano how the fingers move.. by nature.. For example if you do a lick in one key, on the piano .. it could be totally different in another key.. Also every individual will have a little different fel or even style.The quarter beats will match almost perfectly.. almost perfectly.. The accent can not be perfect here it is only subjective.

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