One of the most significant developments in the past fifty years of popular music is the idea of using existing recordings as raw material for new musical expression. The remix began as a way to make dance versions of pop songs, but it has evolved into an entire new art medium unto itself.
Category Archives: Composition
Clair de Lune
I struggle with the rhythms of rubato-heavy classical pieces, and no one loves rubato more than the Impressionists. When I started listening in earnest to recordings of Debussy’s “Clair de Lune,” I couldn’t even guess the time signature, much less place notes in the bar. This piece is therefore an excellent use case for aural …
Dear Prudence
John Lennon supposedly thought that “Dear Prudence” was his best song. I agree. I have spent more time playing and remixing it than anything else in the Beatles catalog, and I continue to find new layers.
Rhythmic ambiguity in the Bach E major partita prelude
I have been creating a series of beat-driven remixes of canonical classical works. I have mostly done this for my own enjoyment, because I like hearing the pieces with some groove to them. But I also sense that there might be pedagogical applications for this method as well. I finally found a good example: the …
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Perpetual motion in Bach’s E major Violin Partita Prelude
In this crazy time, learning and analyzing Bach is an obsessive-compulsive activity that feels like an anchor of mental stability. In that spirit, I’m finding it therapeutic to dig into the famous prelude from the E major violin partita. It’s an example of “perpetual motion,” uniform note values played without interruption. Aside from measures 1, …
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Key centers in the Grateful Dead’s China>Rider
My emotions about the Grateful Dead have gone from intense obsession as a teenager, to embarrassment about my former intense obsession in my 20s, to nostalgic re-embracing of my fandom in my 30s. In my 40s, I’ve come to feel about the Dead the way I feel about my extended family: we’ve had our ups …
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I Wish I Knew How It Would Feel To Be Free
In these troubled times, we could all use some uplift. “I Wish I Knew How It Would Feel To Be Free” is one of the most uplifting tunes I know.
Make your chord progressions less boring using secondary dominants
Diatonic harmony is boring. Random dissonance is boring too. How do you make your music less predictable, but in a logical-sounding way? Especially if you want your harmony to sound “jazzy”? One reliable technique is to use secondary dominants. The idea is to treat each chord in a key as the temporary center of its …
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An intro to counterpoint
Counterpoint is a musical technique that combines two or more independent melody lines. It’s one of the characteristic sounds of Western classical music. Bach wrote a ton of it. But counterpoint isn’t always so complicated. Any song that has a vocal melody with a bassline underneath is an example of counterpoint. If you have ever …
Harmonica Meditation
This post is something new for me: an online prose score, in the spirit of Pauline Oliveros. Harmonica Meditation For unaccompanied ten-hole diatonic harmonica, in any key. Exhale completely. Put the harmonica to your mouth and take a deep breath all the way in, as slowly as you can. I recommend starting at the low …