I’m currently working with the Ed Sullivan Fellows program, an initiative of the NYU MusEDLab where we mentor up and coming rappers and producers. Many of them are working with beats they got from YouTube or SoundCloud. That’s fine for working out ideas, but to get to the next level, the Fellows need to be making their own beats. Partially this is for intellectual property reasons, and partially it’s because the quality of mp3s you get from YouTube is not so good. Here’s a collection of resources and ideas I collected for them, and that you might find useful too.
I’m pleased to announce the second installment of Theory For Producers, jointly produced by Soundfly and the MusEDLab. The first part discussed the scales you can play on the black keys of the piano. This one talks about three of the scales you get from the white keys. The next segment will deal with four additional white-key scales. Go try it!
If you’re a music educator or theory nerd, and would like to read more about the motivation behind the course design, read on. Continue reading
Väkevä, L. (2010). “Garage band or GarageBand®? Remixing musical futures.” British Journal of Music Education, 27(01), 59.
I believe that music education should engage with the music that’s meaningful to students. The field is coming to agree with me. School music programs have been gradually embracing rock, for example via Modern Band. Which is great! Unfortunately, rock stopped being the driver of our musical culture sometime in the early 1990s. The kids currently in school are more about computer-generated dance music: hip-hop, techno, and their various pop derivatives. We live in an Afrofuturist world.
One of the challenges in creating Theory for Producers (or any online learning experience) is to build community. When you’re in a classroom with people, community emerges naturally, but on the web it’s harder. We’re using email to remind students to stay engaged over time, but we don’t want to end up in their spam folders. To make our emails welcome rather than intrusive, we decided to do Weekly Challenges, one-line prompts for music creation. Participants post their challenges in our SoundCloud group.
I’ve been doing something similar with guitar students for a long time, in person rather than via email, for example with the one-note groove. In coming up with more prompts, I’ve been drawing on my recent foray into prose scores, inspired by the example of Pauline Oliveros.
Really, you could think of my collection of prompts as very short and simple prose scores. Please feel free to use these, for yourself, for students, or for any other purpose. All I ask is that you drop me a line to tell me how you used them. Continue reading
The book has buttons along the side which you can press to hear little audio samples. They include each orchestra instrument playing a short Beethoven riff. All of the string instruments play the same “bum-bum-bum-BUMMM” so you can compare the sounds easily. All the winds play a different little phrase, and the brass another. The book itself is fine and all, but the thing that really hooked Milo is triggering the riffs one after another, Ableton-style, and singing merrily along.
The first song on Kanye West’s Life Of Pablo album, and my favorite so far, is the beautiful, gospel-saturated “Ultralight Beam.” Say what you want about Kanye as a public figure, but as a musician, he is in complete control of his craft. See a live performance on SNL.
The song uses only four chords, but they’re an interesting four: C minor, E-flat major, A-flat major, and G7. To find out why they sound so good together, let’s do a little music theory.
The MusEDLab and Soundfly just launched Theory For Producers, an interactive music theory course. The centerpiece of the interactive component is a MusEDLab tool called the aQWERTYon. You can try it by clicking the image below. (You need to use Chrome.)
In this post, I’ll talk about why and how we developed the aQWERTYon.
I’m delighted to announce the launch of a new interactive online music course called Theory for Producers: The Black Keys. 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.
I was asked by Alison Armstrong to comment on this Time magazine op-ed by Todd Stoll, the vice president of education at Jazz at Lincoln Center. Before I do, let me give some context: Todd Stoll is a friend and colleague of Wynton Marsalis, and he shares some of Wynton’s beliefs about music.
Wynton Marsalis advocates for jazz as “America’s classical music,” the highest achievement of our culture, and the sonic embodiment of our best democratic ideals. The man himself is a brilliant practitioner of the art form. I’ve had the pleasure of hearing him play live several times, and he’s always a riveting improvisor. However, Wynton’s definition of the word “jazz” is a narrow one. He thinks that jazz history ended in about 1965, right before Herbie Hancock traded in his grand piano for a Fender Rhodes. All the developments after that–the introduction of funk, rock, pop, electronic music, and hip-hop– have bastardizations of the music.
Wynton Marsalis’ public stature has given his philosophy enormous weight. His effect on jazz culture has thus been profound, but problematic. On the one hand, he’s been a key force in getting jazz the institutional recognition that it was denied for too many years. On the other hand, the form of jazz that Wynton advocates for is a museum piece, a time capsule of the middle part of the twentieth century. When jazz gained the legitimacy of “classical music,” it also got burdened with classical music’s stuffiness, pedantry, and disconnection from the broader culture. As the more innovative jazz artists try to keep pace with the rest of the culture, they can find themselves more hindered by Wynton than helped.