Dies irae

This fall I’m teaching Musical Borrowing from Plainchant to Sampling at the New School. For the plainchant part of that, my example is the Dies irae sequence, which is to Western European classical music what the Funky Drummer break is to hip-hop. Dies irae (Latin for “the day of wrath”) is a medieval poem describing the Last Judgment from the Book of Revelation. Its first musical setting was a Gregorian chant in Dorian mode from the 13th century.

Fun fact! In Monty Python and the Holy Grail, the self-flagellating monks are chanting the last few lines of the Dies irae sequence.

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Tuning is hard

I am committed to teaching my New School music theory students something about the history of tuning in Western European music. I don’t expect them to retain any details or do any math, I just want them to know that the history exists. In preparation, I continue to refine my explanation of this history to myself.

Before the year 1400 or so, Western Europeans mainly tuned their instruments in three-limit just intonation, which they called Pythagorean tuning. (Don’t be fooled by the name; this system was in use in Mesopotamia centuries before the Greeks described it.) Three-limit just intonation is based on the first three harmonics of a vibrating string. Western Europeans really like the pitch ratios produced by these harmonics, as do people from many other cultures (though not all of them). In this post, I will explain why Europeans liked three-limit just intonation, why they nevertheless eventually abandoned it, and what came after.

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The first day of Contemporary Music Theories at the New School

Here are the tracks we listened to on the first day of Contemporary Music Theories at the New School. The class is a requirement for music majors, and as its name suggests, it is intended to give a broad-based understanding of music theory, not just Western tonal theory. We started things off with excerpts of the Chaconne from the Violin Partita No. 2 in D minor by Johann Sebastian Bach, composed in or near 1720, performed by the guitarist Christopher Parkening.

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Bach’s mysterious Sarabande

While learning and learning about the Prelude to Bach’s G minor Lute Suite, I also came into contact with the suite’s Sarabande. This piece is famous among music theorists, because while it’s only forty measures long, those forty measures are action-packed, harmonically speaking. Here’s a performance by Evangelina Mascardi.

I appreciate that Mascardi doesn’t play it with too much melodrama or rubato. Note that, like most lutenists, she’s using Baroque tuning, so it sounds like she’s playing in F-sharp minor.

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Bach’s Lute Suite in G minor

I don’t get a lot of music-related correspondence on LinkedIn, so I was surprised when a stranger wrote me a very nice message there about my deep dive into the Bach Chaconne. He mentioned that he was learning the prelude to the Lute Suite in G Minor, BWV 995, and that he liked Göran Söllscher’s recording of it. He pointed out that the piece shares some DNA with the Chaconne. That made me want to learn it too.

Regardless of what this album cover art might suggest, Göran Söllscher is playing the guitar. If you want to hear the piece played on an actual lute, I recommend Stephen Stubbs‘ recording. Stubbs is using Baroque tuning, which is quite a bit lower than the standard tuning reference pitch we use today.

Here’s Thomas Dunford playing the suite on an archlute. He’s too free with his time for my taste, but it’s cool to see what he’s doing.

I like non-guitar fretted instruments, and over the years I have learned to play the mandolin, mandola, banjo, and ukulele. So I naturally got curious about learning the lute. However, I got discouraged quickly, because there are uncountably many configurations of lute strings tuned in uncountably many different ways. It seems like you would either have to pick one at random and commit to it, or be able to adapt to whatever instrument setup you happen to encounter. So I’ll stick to playing Bach on the guitar for now.

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Bach Anxiety

Someday I want to write something long about Bach. (Maybe I’ll call it Bach to the Future, ha ha.) I have been slowly building toward it by doing a lot of Bach analysis here on the blog. My pandemic project has been learning movements from the D minor, G minor and E major violin partitas and sonatas on guitar. I can play these pieces slowly and badly, but I’m having a great time doing it. And I have learned a ton from remixing them:

I want to write about why Bach is so much more appealing to me than the other composers of his time and place. This story is as much about Bach’s reception history as it is about the notes on the page. Michael Markham has a good summary of that reception history in his essay, “Bach Anxiety: A Meditation on the Future of the Past”, from the 2021 book Rethinking Bach. If you don’t have university library access, Markham explores the same themes in this Los Angeles Review of Books essay, and also in this one. Let’s dig in! Continue reading

Groove: an aesthetic of measured time

As I work toward my future book on the theory of groove-based music, I’m reading up on the existing literature. There is not a whole lot of it! Most of the scholarly work about groove is about the social side rather than the music side. That’s why I was excited to find Mark Abel’s book, Groove: an Aesthetic of Measured Time. But then I was disappointed to discover that it’s a work of critical theory more than musicology, and I gave up on my first attempt to read it. Now I’m trying again.

Abel makes a book-length rebuttal of Theodor Adorno’s polemics against dance music. But Abel does not want to abandon Adorno’s Marxist critical framework; instead, he hopes to use that framework to come to a different conclusion about dance music than Adorno did.

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Warp factor

In this post, I dig into a profound and under-appreciated expressive feature of Ableton Live: warp markers, the “handles” that enable you to grab hold of audio and stretch it precisely. Warp markers have practical applications for getting your grooves sounding the way you want, but they also open up unexpected windows into the nature of musical time itself.

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Isaac Schankler remixes Beethoven

My kid is learning the Moonlight Sonata. It’s lovely and all, but for a truly fresh take on this piece, you need to hear Isaac Schankler’s version. You can think of the first movement as having three parts: the bassline, the arpeggios, and the melody. Isaac shifted the bassline a bar later and the melody a bar earlier. The result has the same somber vibe as the original, but it’s… off.

I don’t think Isaac meant this as a joke, and I don’t take it as one. I genuinely love how it sounds. It’s still recognizably tonal, but with less predictable and stable harmony. Beyond the outcome of this specific experiment, I also admire the larger cultural significance of Isaac’s willingness to tamper with a canonical masterpiece. YouTube is full of remixes of the Moonlight Sonata, but none of them are as musical or as inventive as Isaac’s.

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