Groove challenges with the Groove Pizza

One of our key design principles at the NYU MusEDLab is not to confront beginners with a blank canvas. We want to introduce people to our tools by giving them specific, real-world music to play around with. That was the motivation behind creating presets for the aQWERTYon, and a similar impulse informs Ableton’s approach to their online music tutorials. The Groove Pizza comes with some preset patterns (specials), but there aren’t direct prompts for creative beatmaking. This post introduces some prototype prompts.

Groove Pizza logo

Continue reading

Teaching myself the Bach chaconne with Ableton Live

Recently someone posted this performance of the chaconne from Bach’s violin partita in D minor on an eleven-string guitar.

My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward approach, without all the romantic schmaltz.

I also enjoy the version from Morimur, and I’m not alone. This is one of the most popular classical albums of all time:

Continue reading

It’s Alright Ma (I’m Only Blogging)

My favorite Bob Dylan song is “It’s Alright Ma (I’m Only Bleeding.)” It’s not the one I listen to the most, and it’s not the one I’ve given the most effort to singing or playing. But it’s the one that sounds the most “Bob Dylan-y,” the one that combines all of his many influences into the most singular whole. A close runner up would be “A Hard Rain’s A-Gonna Fall,” but while that song has remarkable lyrics, it’s melodically pretty conventional. “It’s Alright Ma” is rivetingly strange on every level.

Steven Rings wrote this epic study of the song’s evolution over the past 45 years, and if you’re at all interested in Bob’s music, it’s a must-read. It’s the closest musical analysis of Bob I’ve ever seen. Reading Rings’ paper and doing listening with fresh ears has made me realize that “It’s Alright Ma” is stronger musically than lyrically. This is true of a lot of Bob’s songs, his literary reputation notwithstanding. On the page, he can have a dated Holden Caulfield quality. But when you hear his words sung, or better yet, when you sing them yourself, they’re as fresh as they ever were. Continue reading

Freedom ’90

Since George Michael died, I’ve been enjoying all of his hits, but none of them more than this one. Listening to it now, it’s painfully obvious how much it’s about George Michael’s struggles with his sexual orientation. I wonder whether he was being deliberately coy in the lyrics, or if he just wasn’t yet fully in touch with his identity. Being gay in the eighties must have been a nightmare.

This is the funkiest song that George Michael ever wrote, which is saying something. Was he the funkiest white British guy in history? Quite possibly.  Continue reading

Seeing classic beats with the Groove Pizza

We created the Groove Pizza to make it easier to both see and hear rhythms. The next step is to create learning experiences around it. In this post, I’ll use the Pizza to explain the structure of some quintessential funk and hip-hop beats. You can click each one in the Groove Pizza, where you can customize or alter it as you see fit. I’ve also included Noteflight transcriptions of the beats.

The Backbeat Cross

View in Noteflight

This simple pattern is the basis of just about all rock and roll: kicks on beats one and three (north and south), and snares on beats two and four (east and west.) It’s boring, but it’s a solid foundation that you can build more musical-sounding grooves on top of.

The Big Beat

View in Noteflight

This Billy Squier classic is Number nine on WhoSampled’s list of Top Ten Most Sampled Breakbeats. There are only two embellishments to the backbeat cross: the snare drum hit to the east is anticipated by a kick a sixteenth note (one slice) earlier, and the kick drum to the south is anticipated by a kick an eighth note (two slices) earlier. It isn’t much, but together with some light swing, it’s enough to make for a compelling rhythm. The groove is interestingly close to being symmetrical on the right side of the circle, and there’s an antisymmetry with the kick-free left side. That balance between symmetry and asymmetry is what makes for satisfying music. Continue reading

The Great Cut-Time Shift

I’ve been transcribing a lot of beats for the MusEDLab‘s forthcoming music theory learning tool. Many of those beats require swing, and that has been giving me a headache. In trying to figure out why, I stumbled on a pretty interesting shift in America’s grooves over the past sixty or so years. To understand what I’m talking about, you first need to know what swing is. Here’s a piece of music that does not use swing:

Here’s a piece of music that uses a lot of swing:

Continue reading