I’m delighted to announce the launch of a new interactive online music course called Theory for Producers. It’s a joint effort by Soundfly and the NYU MusEDLab, representing the culmination of several years worth of design and programming. We’re super proud of it.
The course makes the abstractions of music theory concrete by presenting them in the form of actual songs you’re likely to already know. You can play and improvise along with the examples right in the web browser using the aQWERTYon, which turns your computer keyboard into an easily playable instrument. You can also bring the examples into programs like Ableton Live or Logic for further hands-on experimentation. We’ve spiced up the content with videos and animations, along with some entertaining digressions into the Stone Age and the auditory processing abilities of frogs.
So what does it mean that this is music theory for producers? We’re organizing the material in a way that’s easiest and most relevant to people using computers to create the dance music of the African diaspora: techno, hip-hop, and their various pop derivatives. This music carries most of its creative content outside of harmony: in rhythm, timbre, and repetitive structure. The harmony is usually static, sitting on a loop of a few chords or just a single mode. Alongside the standard (Western) major and minor scales, you’re just as likely to encounter more “exotic” (non-Western) sounds.
Music theory classes and textbooks typically begin with the C major scale, because it’s the easiest scale to represent and read in music notation. However, C major is not necessarily the most “basic” or fundamental scale for our intended audience. Instead, we start with E-flat minor pentatonic, otherwise known as the black keys on the piano. The piano metaphor is ubiquitous both in electronic music hardware and software, and pentatonics are even easier to play on piano than diatonic scales. E-flat minor pentatonic is more daunting in notated form than C major, but since dance and hip-hop producers tend not to be able to read music anyway, that’s no obstacle. And if producers want to use keys other than E-flat minor (or G-flat major), they can keep playing the black keys and then transpose the MIDI later.
The Black Keys is just the first installment in Theory For Producers. Next, we’ll do the white keys, otherwise known as the modes of C major. The first part deals with Mixolydian, Lydian and major; next comes Aeolian, Dorian, Phrygian, and Locrian. In the future, we’ll do a course about chords, and one about rhythm. We hope you sign up!
Update: oh hey, we’re on Lifehacker
Further update: hear music made by students in the class