Co-author of Electronic Music School with Will Kuhn and Orff tunes with Heather Fortune; columnist for
@musicradar
; adjunct prof at NYU and the New School
New on MusicRadar, I try to answer the question, why are dudes still pulling out guitars at parties and playing "Wonderwall" if they weren't even born yet in 1995 when it came out?
This isn’t because “2020 sucks”, it’s because of climate change and the fossil fuel industry, who knew for decades the damage they would cause, but decided to destroy life on earth because it made them rich.
This isn’t a “2020 is a bad year” thing, this will continue to worsen.
Something valuable I learned from hip-hop and dance music producers: put a loop on and let it run, then go about your business while it plays for a few hours. You would be amazed by what you discover.
"Fast Car" is a strange and cool song when you dig in there. The first chord in the loop is D, but Tracy Chapman never sings the note D in the verses, it's strictly A major pentatonic. But then in "remember when we were driving", the "mem" is finally a D, and it's like a firework
Music theory can save you some tedious trial and error but the ear is the first and final judge. Also, don't confuse "theory" with "the stylistic conventions of the 19th century Western European aristocracy"
Man some of you classical music people really do not like the idea that nurture is more important than nature in making a musician. Why is innate talent such an important concept to defend?
We should not be shocked that a guy who studied jazz saxophone should be so wrong about the African origins of the blues. College jazz programs hardly teach the blues at all, and when they do they try to explain it away as modal interchange or some such.
Listening to music tech students' final projects, and there's a recurring theme among the tracks made by the "real musicians": too much variation and disruption, an anxiety about being too repetitive
In songwriting class this morning we talked through structures of some Stevie Wonder classics, and it had the unintended effect of making everyone feel demoralized, because how are you supposed to write songs like those?
Dude "Drive My Car" is a bonkers piece of music! Paul is just pedaling G over a D7 chord that has F-sharp in the bass some of the time, and never resolving it, and then the V chord is A7
#9
#5
. Hip!
Greetings fellow olds! It's okay to prefer the music of your own youth to current pop music. It's natural! You don't have to invent fake musicological reasons why.
While we're issuing spicy takes about music theory: if your "Western music theory" curriculum can't account for the blues, James Brown, or Missy Elliott, (and most of them can't), you have a serious problem.
Hey film composers! If you are trying to evoke alien-ness, stop using decontextualized non-Western music! It's a lazy racist trope to use Middle Eastern/Arabic scales to denote threatening otherworldliness.
A student asked me to explain the difference between analog and digital recording and mixing. I think I did a really cogent job of answering and I wanted to share what I wrote here.
I had a student tell me that while he does not really understand or enjoy jazz, he does adore A Love Supreme. He wanted to know, is there any more jazz that sounds like that, and why does it sound like that?
This is not it. Small children make art all the time. You can't stop them from making up songs and stories and drawing pictures and enacting elaborate theater scenarios with their toys. Making art is not hard. Giving yourself psychological permission to do it as an adult is hard.
At the core of a lot of the anti-AI stuff is an argument no one really wants to say out loud: ‘it should be harder to do things’.
tbh I don’t think this argument is entirely without merit, I think friction is good in some processes. but let’s be upfront about what we’re saying.
Here's something that music schools should be ready to handle: people who want to learn about jazz, not because they want to play jazz, but to support their ability to create hip-hop
Learning music theory can only help your creativity, but having someone teach you the harmonic and formal conventions of 19th century Western European court music as if they are universal laws can absolutely harm your creativity
whenever i see somebody post this meme, i assume they got about as far as sharps and flats, tapped out, and resumed working on their cover of "Free Fallin"
If you want to know how weird it is for a rock/country/jazz musician to take tonal theory classes at the university level in the US, let me give you a hypothetical.
Hey music theory teachers! Stop teaching the diatonic modes as relative scales. You've got all these people thinking that C major and D Dorian are somehow the same thing, or that you're supposed to play D Dorian over the ii chord in C major. This is not helping!
Something I never heard mentioned in any music theory class is the role that repetition plays in creating musical meaning and harmonic function. Absolutely anything will start sounding good and "correct" if you repeat it over a nice groove. Seriously! Anything!
Actually my only worthwhile contribution to the “should scores be in C” discourse is that somebody with little experience understanding that as “scores should be in C major” and getting confused is a pretty understandable mistake
Thelonious Monk performing “Blue Monk” with Charlie Rouse on tenor saxophone, Larry Gales on bass and Ben Riley on drums live at the University Aula in Oslo, Noway, 1966.
I get it! The kids don't want their music to be boring, so they jam it with information. But in loop-based music, interest doesn't come from novelty and variation in a linear sequence, it comes from a sustained mood, a pleasurable state of mind.
This kind of thing is epidemic among music theory beginners. And non-beginners! "I have heard a million rock songs that use G chords in the key of A major but now I learn that G chords are not part of the key of A major?"
In the interests of science I asked ChatGPT some questions about things I know a lot about. As other people observed, it is exactly like talking to a very intelligent student who hasn't done any of the reading. Lots of smooth and plausible phrases, wrong most of the time.
There are many trance-inducing musical experiences but there's something unique about listening to a short loop repeated infinitely and identically. Brian Eno talks about how the recording doesn't change, but your experience of it does, constantly.
As a guy who studied music education at the doctoral level, I have some THOUGHTS about notation discourse. I can speak with the most authority about my own experience, which has been a bit idiosyncratic but also shows some more general trends.
Hey music teachers, stop squandering your effort on recreating ensemble rehearsals and performances over Zoom, and start embracing bedroom producing, songwriting, composition, and other musical activities that make actual sense in the current moment.
I love NYU students. I ask, "So why do they never mention swing in music theory class?" and raise my hands like a conductor, and the class replies as one, "RACISM"
Wait til the AI bros find out that 99% of the satisfaction of art making is the process itself. The product is to the process as pictures of your kids are to raising your kids.
Music theorists, I am begging you to cover Mixolydian and Dorian as intro-level concepts. Every time you go on r/musictheory there are half a dozen rock guitarists who are like, this song is in D, how can there be a C chord, or this song is in E minor, how can there be an A chord
Here's Wolfgang Saus singing the bass and soprano lines of Pachelbel's canon... simultaneously.
Overtone singing is a technique that involves manipulating your vocal tract to isolate certain overtones and give the impression that you're singing two notes at the same time.
There's a guy on r/musictheory who absolutely despises me and today he accused me of being a grifter and that is the funniest thing anyone has ever called me. Yeah, I'm on that sweet adjunct professor gravy train baby
If you are following this discourse from outside the music academy, you should be aware that the word "pop" means something different in a university music department than it does elsewhere.
Now NYU gives music students the option to do pop-oriented music theory and aural skills core classes, and there has been some predictable grumbling about it.
There are not that many chord combinations that sound good together, especially within the narrow conventions of mainstream pop. Like, wait til you find out about the 12-bar blues
Now NYU gives music students the option to do pop-oriented music theory and aural skills core classes, and there has been some predictable grumbling about it.
@Legalbeagle2016
@Jordanfabian
@JenniferJJacobs
Hello, I'm Jewish and have deep misgivings about the Occupation, not all critics of Israel are anti-Semites, and not all defenders of Israel have the best interests of the Jews at heart
The first time I heard that someone literally just listened to a two-bar breakbeat for several hours while doing things around the house, I thought it was nutty. But I tried it, and you very quickly pass through boredom into a wonderful meditative state.
I was looking at a "progressive" music theory book aimed at rock musicians. It has no theory of the blues, dismisses the existence of the blues scale, and chooses not to talk about blue notes. People, don't do this.
Every time I raise a question about how conventional musical meanings came to arise in Western culture, I find out that a lot of people are deeply committed to the idea that Western peoples' musical meanings are biologically innate, in the face of tons of evidence to the contrary
After a month of J Dilla immersion, I can not abide these young Berklee guys' idea of "wonky" "Dilla grooves." These kids are prioritizing "wonky" over "groove" and it is not working.
I'm reading John Kratus on amateurism in music ed. A hundred years ago, school music was trying to prepare people for their musical lives outside of school. We have wind bands because America used to be full of wind bands.
Yes, that is what dance music does, and the idea that there is something wrong with it is a fallacy that I would like music schools to stop promulgating
Is there a historical reference for the cliche that major is happy and minor is sad in Western tradition? I have the Cambridge History of Western Music Theory and the answer is not in there.
My analogy for analog signal degradation is a xerox of a xerox but today a student asked what a xerox is, and it turns out no one in the room had ever heard of it
If I achieve nothing else as a music educator, I want to obliterate the idea that rap songs "don't have melodies." Every emcee uses pitch expressively and specifically. It's an essential aspect of the music.
Do you think the outrage at this AI vomit is culture shock, like the riot Stravinsky’s The Rite Of Spring caused? Or do you think it offends us on a deeper level and that it will never be accepted as art?
For the final day of pop aural skills, I plan to do my crash course in the history of Western tuning systems, better known as "why it's impossible to get a guitar in tune"
One of my aural skills pain points is the idea that students should have to transcribe things after a limited number of hearings. What is the pedagogical value of adding artificial stress to this task?
Last night my NYU music ed students presented their rap verses. Check out this bar: "in this plane i’m the pilate, call that pontius-ness, stay awake in econ, call that class consciousness." This from a jazz saxophonist who had never written rap before!
Something that came up in class this week: classical and musical theater musicians do not necessarily know how jazz works. Like, they might have heard it and enjoyed it, but they don't necessarily know what is involved in improvisation.
Every semester I have to help a new bunch of classically trained musicians understand why they should avoid using functional Western tonal harmony in electronic dance or ambient music. I need the music theory teachers out there to help with this.
Today in music tech we were listening to some Beatles multitracks and as always, the class was surprised by how "human" everything sounds, how imperfect and even sloppy by current standards. They wanted to know if technology is the reason we expect so much perfection now.
If you think that the blues is just Mixolydian mode on I, IV and V, as it is presently being taught in at least one place I'm familiar with, then sure, it's easy to say, this is just Western European tradition with a mild twist.
My suggestion for Finale users is to open all your files and save them all as Music XML, which you will be able to open from any other notation editor you may want to use in the future
The only reason Deerhoof can afford to continue is bare-bones touring, one crew, tiny equipment, self-produced records, and we didn't have kids. Even so, our income hovers near the poverty line every year. I don't understand how newer artists do it.
I know Robert is kidding but the idea that a love of repetition is "dumb" is one of the most toxic hangovers from Western European classical music fandom
Music made more sense to me when I realized my dumb monkey brain likes patterns and I will almost always enjoy music that features some element of repetition more than music that does not
One reason every music major should get familiar with synthesis: you can't learn music theory properly without considering timbre. There are no neutral sounds.
Guess what, the Beatles multitracks are on the Internet Archive now! Note that these are very illegal, but also of incalculable pedagogical value. They are MOGG files, which you can open and convert using Audacity.
I know music theory is hard and students are lazy, but in my experience, a huge obstacle to successful learning is when teachers present the conventions of 18th century Austria as if they are rules.
I have a dumb question: what makes Hedwig's Theme 3/8 and not 3/4? Other than "John Williams wrote it in 3/8"? Is it the tempo? The feel? I have never been able to distinguish.
The jazz theory class I took as an undergrad was by a wide margin the best music class I ever took period, because you would pick a solo, transcribe it, perform it; learn some form or concept, write a tune with it, perform it and play a solo on it.
I think there is probably something missing here, because a lot of students struggle to apply aural skills to other aspects of music making. Probably more could be done to connect aural skills to performance
Their tracks tend to be full of good ideas, but... too full. A loop will enter, play twice, and then exit. Or a groove will get set up, run for four bars, and then be replaced by some new idea.
For her lyric-writing assignment, a student wrote a response to Radiohead's "Creep" from the point of view of the girl being stalked, and it is long overdue
Music theory richly deserves its bad reputation in universities, because the thing that music departments pass off as "intro music theory" is really "intro to a bunch of historical harmonic conventions that do not apply to the music you are interested in"
Had a music theory/aural skills/history department meeting this morning. On the one hand, NYU's program has become marvelously progressive, with pop and non-Western music woven into the core, with a history class on protest music, other good stuff.