What is groove?

You hear musicians talk all the time about groove. You might wonder what they mean by that. A lot of musicians couldn’t explain exactly, beyond “the thing that makes music sound good.” The etymology of the term comes from vinyl records. Musicians ride the groove the way a phonograph needle physically rides the groove in the vinyl.

The original groove

But what is groove, exactly? It isn’t just a matter of everyone playing with accurate rhythm. When a classical musician executes a passage flawlessly, you don’t usually talk about their groove. Meanwhile, it’s possible for loosely executed music to have a groove to it. Most of my musician friends talk about groove as a feeling, a vibe, an ineffable emotional quality, and they’re right. But groove is something tangible, too, and even quantifiable.

Using digital audio production software, you can learn to understand the most mystical aspects of music in concrete terms. I’ve written previously about how electronic music quantifies the elusive concept of swing. Music software can similarly help you understand the even more elusive concept of groove. In music software, “groove” means something specific and technical: the degree to which a rhythm deviates from the straight metronomic grid. Continue reading

Participatory music vs presentational music

In this post, I’ll be doing some public-facing note-taking on Music As Social Life: The Politics Of Participation by Thomas Turino. I’m especially interested in chapter two: Participatory and Presentational Performance. We in America tend to place a high value on presentational music created by professionals, and a low value on participatory music made by amateurs. It’s useful to know that there are people in the world who take a different view.

Turino divides music into four big categories:

  1. Participatory music. Everyone present is actively doing something: playing an instrument, singing or chanting, and/or dancing. For example: a bluegrass jam, campfire singing, a hip-hop cypher.
  2. Presentational music. There’s a clear divide between the performers and the audience. Audience members might dance or sing along, but they are not the focus. For example: a classical, rock or jazz concert.
  3. High-fidelity recording. A document of a live performance (or a convincing illusion of such.) For example: a classical or jazz album.
  4. Studio sound art. A recording that was constructed in the studio using techniques other than (or in addition to) people performing in real time. For example: a late Beatles album, or any pop song since 1980.

Turino devotes a lot of his attention to three examples of participatory music cultures:

Aymara ceremony

Shona witch doctor

Contra dancers in New Hampshire

This last group might strike you as the odd one out, but Turino sees more commonalities between the musical experience of American contra dancers and participants in Shona rituals than he does between the contra dancers and audiences at, say, a bluegrass concert.

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Some contemporary classical music that I actually like

I have been very vocal in my criticism of contemporary classical music on this blog. But there is some new music out there that I do like, very much. Most of it falls under the minimalist category, made by Steve Reich and his followers. The coolest new thing I’ve heard in this idiom is “Timber” by Michael Gordon.

The piece is played by six people on wooden planks, using mallets and fingertips. I thought at first it was a conceptual thing — “look what we can do with ordinary lumber” — but in fact this is an actual instrument called a simantra, used by Eastern Orthodox monks and, later, Iannis Xenakis. You can take a look at part of the score.

A performance of Michael Gordon's

So why do I consider this to be good?  Continue reading

Composing improvisationally with Ableton Live

I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks.

I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians to get hip to it. Continue reading

Recording Peter Gabriel’s Security

This post was originally written for the Play With Your Music blog. Also be sure to check out our interview with engineer Kevin Killen and drummer Jerry Marotta.

Peter Gabriel’s songwriting and recording process in the early 1980s was unusual for its technological sophistication, playfulness and reliance on improvisation. While Peter was considered avant-garde back then, now that music technology is a lot cheaper and more accessible, his practices have become the baseline standard for pop, dance and hip-hop.

Peter Gabriel's Security

The South Bank Show’s long 1983 documentary on the making of Peter Gabriel’s fourth solo album Security follows the production of the album from its earliest conception to its release and critical reception. It’s an invaluable record both of Peter’s creative process and the technology behind it.

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Why is son clave so awesome?

One of the best discoveries I made while researching my thesis is the mathematician Godfried Toussaint. While the bookshelves groan with mathematical analyses of western harmony, Toussaint is the rare scholar who uses the same tools to understand Afro-Cuban rhythms. He’s especially interested in the rhythm known to Latin musicians as 3-2 son clave, to Ghanaians as the kpanlogo bell pattern, and to rock musicians as the Bo Diddley beat. Toussaint calls it “The Rhythm that Conquered the World” in his paper of the same name. Here are eight different representations of it as rendered by Toussaint:

Toussaint - visualizing son clave

And here it is in my preferred circular notation:

circular son clave

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Teaching math with the Drum Loop

I’ve undergone some evolution in my thinking about the intended audience for my thesis app. My original idea was to aim it at the general public. But the general public is maybe not quite so obsessed with breakbeats as I am. Then I started working with Alex Ruthmann, and he got me thinking about the education market. There certainly a lot of kids in the schools with iPads, so that’s an attractive idea. But hip-hop and techno are a tough sell for traditionally-minded music teachers. I realized that I’d find a much more receptive audience in math teachers. I’ve been thinking about the relationship between music and math for a long time, and it would be cool to put some of those ideas into practice.

The design I’ve been using for the Drum Loop UI poses some problems for math usage. Since early on, I’ve had it so that the centers of the cells line up with the cardinal angles. However, if you’re going to measure angles and things, the grid lines really need to be on the cardinal angles instead. Here’s the math-friendly design:

math-friendly Funky Drummer lesson

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