It is my duty as a hipster dad to introduce my kids to all the classics of 90s rap, and they have been especially taken with this one.
We’ve been enjoying making up our own lyrics to the hook. First we kicked flava in ya nose, then ya mouth, then ya eye. From there we moved onto kicking all kinds of things into all kinds of places. My four year old daughter especially enjoys kicking boogers in ya face. It’s a truly versatile phrase.
Asaf Peres recently posted on Twitter about the chord progression in “Let Me Love You” by Ariana Grande.
The Wraparound Leading Tone in @ArianaGrande ft. @LilTunechi – "Let Me Love You"
(it's really called a double leading tone, but I like wraparound better)@TBHITS @VictoriaMonet @jeremih #MrFranks pic.twitter.com/qVyY1BP7Nm— Top40 Theory (Asaf Peres) (@Top40Theory) February 17, 2020
When I went to listen to the song, I immediately heard all kinds of weird things in the rhythm: that the chords were falling on weak beats, that the downbeat was displaced, that the drum pattern was misaligned somehow. I wasn’t alone in hearing these things. Asaf was puzzled, since he was confident in his hearing. Finally, I put the tune into Ableton and carefully transcribed it. I was totally wrong! But in fairness to me, the song is a rhythmically unconventional one, especially its opening few bars. Continue reading “What is going on in this Ariana Grande song?”
Glenn Gould thought people should make their own edits of classical recordings.
He explains this idea in greater depth here. I read it and thought, challenge accepted!
My stepfather, Dr Ralph Dell, died peacefully last night at home, in his sleep. He was in the end stage of dementia, and this was a long time coming. Family was around him, we were listening to Paul Simon’s Graceland, and then he just drifted off. It was as good an ending as we could have hoped for.
Ralph had a long and extraordinary life. He was born in a remote Alaskan village; he was one of the youngest full professors in the history of Columbia University’s medical school; he built beautiful custom cabinets using Japanese joinery (no nails!), he programmed computers with punch cards in the 1950s; he was a co-holder of the patent on the electrolyte solution they gave my son in the NICU; the list goes on. He loved nature, science fiction, and the blues. We already miss him.
Classical music is both familiar and strange to me. My parents played classical radio constantly when I was growing up, and I have primal memories of Robert J Lurtsema intoning “This… is Morning… Pro Musica… on National… Public… Radio.” My dad in particular was a huge opera buff, with a floor-to-ceiling collection of tapes and CDs. When I got to grad school, I was able to place out of the music history requirement just by having picked up so much of it by osmosis.
On the other hand, I don’t ever remember feeling like the music was “mine.” It sounded remote and arcane, a maze of formalities in languages I didn’t understand. Sometimes I liked it, sometimes (often) I didn’t, but mostly it just washed over me.
Continue reading “Classical music as ancient alien power source”
Build A Fort is the drums/saxophone duo of Gareth Dylan Smith and Zack Moir, two of the leading lights in progressive music education. The title of their new album, Ignorant Populists, is presumably a play on their role in advancing popular music pedagogy. The album was mostly recorded while Gareth was in New York and Zack was in Edinburgh, but that is no big obstacle in the age of the internet.
Western music notation is a graph of pitch (on the vertical axis) and time (on the horizontal axis.) It’s mostly self-explanatory on the pitch axis, but it’s harder to understand on the time axis. It helps if you visualize your rhythms on a circle, like the Groove Pizza does. Everything I talk about in this post will assume that we’re in 4/4 time, because it’s the default rhythmic setting for Western music, and all note values are determined in reference to it. Also, 4/4 is the time signature of most of the music that you probably like.
While investigating the Bach Chaconne, I found this beautiful lute performance by Hopkinson Smith.
It’s enlightening to compare Smith’s performance to Moran Wasser playing the Chaconne on 11-string guitar. The lute is less bright and resonant than guitar, but I like Smith’s playing better, he’s not as melodramatic. I couldn’t find any video of him playing lute, but you can see him playing a Renaissance guitar. Meanwhile, I did find a video of this gentleman explaining how the lute works.
This week I begin another iteration of my NYU class, a music technology crash course for future music teachers. Given the vastness of the subject matter and the constraints of a one-semester course, the challenge is always to figure out what to put in and what to leave out. I continue to take a project-based approach, where students produce an original track for each module. I don’t expect students to absorb all the details of the technical material around audio recording and such, I am mostly just giving them things to bookmark for future use. We do a recording studio project that isn’t listed here because it’s all hands-on during class time. If you want to use this syllabus for something, please do, and please let me know!
Continue reading “NYU Music Education Technology Practicum syllabus”
If you want to understand Western music theory, the circle of fifths is an invaluable tool. For one thing, it can help you understand how key signatures work. But it also helps explain how the major scale and diatonic modes relate to each other, and gives a possible explanation for why they sound good.
Here’s the C major scale on the circle of fifths:
The purple notes are the ones that form “perfect” intervals above the root C: unison, octave, fourth and fifth. The green notes form major or “natural” intervals above the root. The numbers refer to the scale degrees.
Continue reading “Scales, keys and modes on the circle of fifths”
