k-metronome

The purpose of this metronome is to eventually eliminate the need for itself. The goal, of course, is to master the exercises without the help of an electronic aid. But until then, this tool might offer some help. Please keep in mind though that the primary function of the k-metronome is to facilitate the application of Karnatic (South-Indian) rhythmic principles to Western music.

# Features

- Tuplets, or pulse divisions (gatis), ranging from 3 to 13
- Tuplet phrasing (tuplet randomisation to finally master the rhythm pyramid …)
- Tuplet groupings or accents applied to tuplets (jathis)
- Jathi fade feature (to practice groupings or advanced polyrhythm chains)
- Nested tuplets
- Flexible user sequence design based on numbers, paving the way for various creative approaches to practicing (jathi bhedam and yati phrases)
- Polyrhythm chains e.g. 4:5 5:3 20:3 (anuloma pratiloma)
- Video tutorials and how-tos
- Keyboard shortcuts

Please note that any parameter changes will only take effect on the next beat. Combined with keyboard shortcuts, this feature offers great flexibility for interactive practicing, distinguishing it from other metronome apps.

Currently, the various talas (metric framework for composition and improvisation) can't be subdivided. However, upon request, I'm open to adding features to mark these tala building blocks (angas). A help section and a series of tutorials are included.

If you find the technical jargon or the interface somewhat intimidating, that's understandable … but I encourage you to experiment with this tool and share your feedback.

This practice tool aims to be helpful for students of the "Applications of Karnatic (South-Indian) Rhythm to Western Music" program at the Conservatorium van Amsterdam. It can also inspire other musicians wanting to explore the intricate world of rhythms and enhance their skills, through a solid methodology laid out in the book by Rafael Reina, Applying Karnatic Rhythmical Techniques to Western Music (Routledge, 2015).

Of course, the primary credit goes to the incredibly rich Carnatic and Hindustani traditions and the genius musicians who have created this unique musical art form. One of his generation's most outstanding mridangam players and Konnakol artists is B.C. Manjunath. He is also well known for his contributions to the jazz (e.g., with Aka Moon) and contemporary music world. I had the honor to meet and work with him in India, together with one of the founders of the International Rhythm Course, flute player and composer, Ned McGowan. Furthermore, I would like to express my gratitude to violin player extraordinaire Sumanth Manjunath.