I use a project-based approach to teaching music technology. Technical concepts stick with you better if you learn them in the course of making actual music. Here’s the list of projects I assign to my college classes and private students. I’ve arranged them from easiest to hardest. The first five projects are suitable for a beginner-level class using any DAW–my beginners use GarageBand. The last two projects are more advanced and require a DAW with sophisticated editing tools and effects, like Ableton Live. If you’re a teacher, feel free to use these (and let me know if you do). Same goes for all you bedroom producers and self-teachers.
The projects are agnostic as to musical content, style or genre. However, the computer is best suited to making electronic music, and most of these projects work best in the pop/hip-hop/techno sphere. Experimental, ambient or film music approaches also work well. Many of them draw on the Disquiet Junto. Enjoy.
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.
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.
I’m delighted to announce the launch of a new interactive online music course called Theory for Producers. 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.
If you’ve ever wondered what it is that a music producer does exactly, David Bowie’s “Space Oddity” is a crystal clear example. To put it in a nutshell, a producer turns this:
Ethan’s Trax is an iTunes playlist I maintain that includes all of the music I’ve ever recorded. Well, more accurately, it’s all of the music that I care to be reminded of. I haven’t included every draft and dead end. But if a track has any artistic or sentimental value whatsoever to me, it’s in Ethan’s Trax.
As of this writing, the playlist contains 477 “songs.” That’s a cumulative one day, thirteen hours, forty-seven minutes and fifty-three seconds worth of music. My self-described genres include: Blues, Classical (General), Electronic, Experimental, Folk, Funk, Hip-Hop, Jazz (Vocal), Mashup, Pop, R&B/Soul, Rock, Showtunes, and Soundtracks/Scores. The Electronic category is substantially bigger than all of the others combined. The recent high points are here:
The question is, how much of this music is actually “mine”?
The most appalling song that appears on Mad Men is over the closing credits of the fifth season episode “Mystery Date.” It is not Carole King and Gerry Goffin’s finest work.
It’s easy to cluck your tongue at 1962. They were so primitive back then! Surely we’re doing better now. Right? Well…
My newest music student is a gentleman named Rob Precht. As is increasingly the case with people I teach privately, Rob lives many time zones away, and he and I have never met face to face. Instead, we’ve been conducting lessons via a combination of Skype and Splice. It’s the first really practical remote music teaching method I’ve used, and I can’t recommend it highly enough.
Rob came to me via this very blog. He’s a semi-retired lawyer who took some piano lessons as a kid but doesn’t have much other music training or experience. He approached me because he wanted to compose original music, and he thought (correctly) that computer-based production would be the best way to go about it. He had made a few tracks with GarageBand, but quickly switched over to Ableton Live after hearing me rave about it. We decided that the best approach would be to have him just continue to stumble through making original tracks, and I would help him refine and develop them.