I love SoundCloud. I love it for being an exceptionally easy way to share my music with people all over the world. I love the community aspect, especially the Disquiet Junto. I have all of my students host their portfolios there. But like a lot of the electronic musicians who form the heart of the SoundCloud userbase, I’m running into some problems with copyright.
Recently, I needed to unwind from a stressful morning, so I fired up Ableton, put in some Super Mario Bros mp3s and James Brown breaks, and went to town. I uploaded the results to my SoundCloud page, as usual, but got one of their increasingly frequent copyright notices.
I’ve uploaded a lot of material to SoundCloud that violates copyright law in various ways, and for the most part, no one has made any objection. I’ve occasionally used some long intact samples that triggered takedown notices, but my remixes and mashups are usually transformative enough to slip through the filter. Lately, however, I’m finding that SoundCloud has dramatically stepped up its copyright enforcement. A few months ago, I could have posted my Super Mario Bros/James Brown mashup without any trouble. Not any more.
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:
The simplest and most effective optical illusion ever is the Necker cube. Which side is in front? The answer is both and neither. Very Zen.
In the process of gathering musical simples, I found a P-Funk loop with a similar effect. It’s a keyboard lick from “Do That Stuff” from The Clones Of Dr Funkenstein.
In the service of teaching theory using real music, I’ve been gathering musical simples: little phrases and loops that are small enough to be easily learned, and substantial enough to have expressive value. See some representative melodic simples, more melodic simples, and compound simples. This post showcases some representative rhythmic simples, more commonly known as beats, grooves, or drum patterns. They’re listed in increasing order of syncopation, also known as hipness. Click each image to hear the interactive Noteflight score.
Boots N Cats
The basis of “Billie Jean” and many other great beats. Continue reading
I was asked on Quora to give a list of my favorite hip-hop songs, because what better source is there than a forty-year-old white dad? (I am literally a mountain climber who plays the electric guitar.) I did grow up in New York City in the 80s, and I do love the music. But ultimately, I’m a tourist in this culture. For a more definitive survey, ask Questlove or someone. These are just songs that I like.
My computer dictionary says that a melody is “a sequence of single notes that is musically satisfying.” There are a lot of people out there who think that rap isn’t music because it lacks melody. My heart broke when I found out that Jerry Garcia was one of these people. If anyone could be trusted to be open-minded, you’d think it would be Jerry, but no.
I’ve always instinctively believed this position to be wrong, and I finally decided to test it empirically. I took some rap acapellas and put them into Melodyne. What I found is that rap vocals use plenty of melody. The pitches rise and fall in specific and patterned ways. The pitches aren’t usually confined to the piano keys, but they are nevertheless real and non-arbitrary. (If you say a rap line with the wrong pitches, it sounds terrible.) Go ahead, look and listen for yourself. Click each image to hear the song section in question. Continue reading
Daniel Jacobson, a musician in Ireland, was inspired by this post to give the following speech:
One of the great privileges of working at NYU is having access to the state-of-the-art Dolan Studio. Listening to music on top-end Lipinskis through an SSL console in a control room designed by Philippe Starck is the most exquisite audio experience I’ve ever had, and likely will ever have. Unfortunately, it’s also very far removed from the circumstances in which I listen to music in my normal life. It isn’t even an issue of the speakers or amps, though of course mine are nowhere near as good as the ones in Dolan. It’s more about the listening environment.
When we talk about Auto-Tune, we’re talking about two different things. There’s the intended use, which is to subtly correct pitch problems (and not just with vocalists; it’s extremely useful for horns and strings.) The ubiquity of pitch correction in the studio should be no great mystery; it’s a tremendous time-saver.
But usually when we talk about Auto-Tune, we’re talking about the “Cher Effect,” the sound you get when you set the Retune Speed setting to zero. The Cher Effect is used so often in pop music because it’s richly expressive of our emotional experience of the world: technology-saturated, alienated, unreal. My experience with Auto-Tune as a musician has felt like stepping out the door of a spaceship to explore a whole new sonic planet. Auto-Tune turns the voice into a keyboard synth, and we are only just beginning to understand its creative possibilities. (Warning: explicit lyrics throughout.)
I recently began my second semester of teaching Music Technology 101 at Montclair State University. In a perfect world, I’d follow Mike Medvinsky’s lead and dive straight into creative music-making on day one. However, there are logistical reasons to save that for day two. Instead, I started the class with a listening party, a kind of electronic popular music tasting menu. I kicked things off with “Umbrella” by Rihanna.
I chose this song because of its main drum loop, which is a factory sound that comes with GarageBand called Vintage Funk Kit 03–slow it down to 90 bpm and you’ll hear it. The first several class projects use GarageBand, and I like the students to feel like they’re being empowered to create real music in the class, not just performing academic exercises.