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.
I hear it all the time from my friends in the rock world, and see it all the time in internet discussions: guitarists are struggling with their music theory, or they’ve given up on it completely. This is not their fault! Music theory is taught pretty badly for the most part, and it rarely addresses the music that rock musicians are playing.
I’ve been working on rectifying that situation. If you play guitar, or any other rock-adjacent instrument, I hope that these posts are useful to you:
Earlier this spring, I subbed for Adam Bell‘s Music Technology 101 class at Montclair State. His sections were populated more exclusively with classical conservatory kids than mine, so for my one-shot lesson, I figured I’d talk them through some items from my illicit collection of multitrack stems, and give them a sense of the history of the recorded art form.
First up was “A Day In The Life” by the Beatles.
The blues is a foundational element of America’s vernacular and art music. It is commonly described as a combination of African rhythms and European harmonies. This characterization is inaccurate. Blues follows harmonic conventions that are quite different from those of European common-practice tonality. Blues does not fit into major or minor tonality, and it makes heavy use of harmonic intervals considered by tonal theory to be dissonant. But blues listeners do not experienced the music as dissonant; rather, they hear an alternative system of consonance. In order to make sense of this system, we need to understand blues as belonging to its own tonality, distinct from major, minor and modal scales. The author argues that blues tonality should be taught as part of the basic music theory curriculum.
Participants in Play With Your Music were recently treated to an in-depth interview with two Peter Gabriel collaborators, engineer Kevin Killen and drummer Jerry Marotta. Both are highly accomplished music pros with a staggering breadth of experience between them. You can watch the interview here:
Kevin Killen engineered So and several subsequent Peter Gabriel albums. His other engineering and mixing credits include Suzanne Vega, Gilbert O’Sullivan, Bobby McFerrin, Elvis Costello, Dar Williams, Sophie B. Hawkins, Ricky Martin, Madeleine Peyroux, U2, Allen Toussaint, Duncan Sheik, Bob Dylan, Ennio Morricone, Tori Amos, Rosanne Cash, Shakira, Talking Heads, John Scofield, Anoushka Shankar, Patti Smith, Laurie Anderson, Stevie Nicks, Los Lobos, Kate Bush, Roy Orbison and Bryan Ferry.
Jerry Marotta played drums on all of Peter Gabriel’s classic solo albums. He has also performed and recorded with a variety of other artists, including Hall & Oates, the Indigo Girls, Ani DiFranco, Sarah McLachlan, Marshall Crenshaw, Suzanne Vega, John Mayer, Iggy Pop, Tears for Fears, Elvis Costello, Cher, Paul McCartney, Carly Simon, and Ron Sexsmith.
You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.
Here’s Alex’s video introduction:
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.
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.
Anna wanted to know what my friends are singing to their kids for lullabies. I posted the question on Facebook and got about fifty times more responses than I was expecting. Since I now have all this (highly unscientific) data about lullaby trends in 2014, I figured I would write it all up. Here’s what I found.
The most interesting commonality is the song “Hush Little Baby.” Many people report singing it, and my mom sang it to me. But it’s more complicated than that. Jonathan C says:
I made up about 50 couplets of “Hush Little Baby” over many consecutive tortured hours in 2006, and somehow we’ve remembered them all and still use them. It was a good rhyming puzzle to keep me sane at night.
As soon as I read that, I tried it out on Milo, and it was super fun. I recommend it.
Rewriting the lyrics is an especially good idea because, as several people pointed out, the original song is quite depressing. “Hush little baby, don’t say a word, Mama’s gonna buy you a series of unsatisfying things that don’t address your basic emotional need.” A number of other traditional kids’ songs are similarly depressing. My mom sang me “You Are My Sunshine” and “My Bonny Lies Over The Ocean” as a kid, and while their melodies are beautiful, their lyrics are full of pain, loss, and disappointment. And don’t even get me started on “Rockabye Baby.” I sang it to Milo exactly once; never again.
Anyway, here are all the other tunes that my Facebook friends use for lullabies.
So, you’ve learned how to listen closely and analytically. The next step is to get your hands on some multitrack stems and do mixes of your own. Participants in PWYM do a “convergent mix” — you’re given a set of separated instrumental and vocal tracks, and you need to mix them so they match the given finished product. PWYM folks work with stems of “Air Traffic Control” by Clara Berry, using our cool in-browser mixing board. The beauty of the browser mixer is that the fader settings get automatically inserted into the URL, so once you’re done, anyone else can hear your mix by opening that URL in their own browser.