Hear J Dilla flip a Gary Burton sample three different ways

While I await my copy of Dan Charnas’ book Dilla Time, I’m listening to lots and lots of James Dewitt Yancey. As I was poking around WhoSampled.com, I noticed that Dilla used a sample of Gary Burton in three different tracks in three consecutive years. It’s five seconds into Burton’s 1967 recording of Carla Bley’s tune “Sing Me Softly of the Blues.”

Here’s my transcription:

Presumably Dilla was drawn to this sample due to a combination of its harmony, rhythm and timbre. The sample’s basic harmony is a V-I cadence, B7 resolving to E. However, the B7 is really a bar each of B7b9 and F7(#11). These chords contain the not-very-E-major-ish notes C and F, respectively. Meanwhile, the E chord is actually E9sus4. That adds up to a lot of abstraction and ambiguity. The rhythm in the first bar of the sample is complex, too, a polyrhythmic-sounding half note triplet. The last note of the triplet extends into the rest of the bar, further blurring its metrical function. The timbre is pillowy and indistinct, thanks to the vibraphone’s inharmonics and the soft attack of the mallets.

Let’s dig into the sample flips!

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The diminished scale

When I want my music to sound mysterious, the diminished scale is a reliable tool in the harmonic toolkit. It worked for John Coltrane and Thelonious Monk, and it can work for you!

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Relative minor, relative major

Every major key has a relative minor key. Think of it as an evil twin sibling. Relative minors are very widely used but not so widely understood. In particular, there’s a lot of confusion around the fact that major keys and their relative minors share the same key signatures and (mostly) the same pitches. But they sound and feel completely different. How can this be? Let’s dig in.

Here’s the C major scale. Click the image to play it on the aQWERTYon.

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We Don’t Talk About Bruno

Lin-Manuel Miranda certainly can write an infectious earworm. His songs from Moana were in constant rotation in my apartment (and in my head) for years, and as much as I tried to resist Hamilton, I fell pretty hard for those tunes too. But nothing by LMM has gripped me or my kids harder than this:

It isn’t even my favorite song in the movie; that distinction goes to “Surface Pressure.” But “We Don’t Talk About Bruno” is the one that’s burning up the pop charts.

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Theory Hacks with Ableton

I’m happy to announce the release of my first project for the good folks at Ableton, a Classroom Project called Theory Hacks. It’s a set of free resources for educators who want to teach music theory and songwriting/composition to beginners using Live.

In this post, I explain the pedagogical motivations for the project.

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Technology Trends in Music Education

This semester, I am teaching Technology Trends in Music Education at NYU Steinhardt for the first time. The class was originally developed by my doctoral advisor, Alex Ruthmann. I took it as a masters student, and the experience was critical to the eventual development of the Groove Pizza. So you can understand why I am excited to be teaching it. My syllabus is below. I expect it to evolve a bit as the course goes on, especially toward the end of the semester as I adapt it to the needs and interests of the students. The reading list draws extensively on the same body of research and practice that informed Will Kuhn’s and my book Electronic Music School: a Contemporary Approach to Teaching Musical Creativity.

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The whole tone scale

Like diminished chords, the whole tone scale is not very widely used, but when you need that specific vibe, nothing else will do. Whole tone scales are easy to understand, because there are only two of them total. Whichever key you are in, there is a whole tone scale that includes the tonic, and another one that doesn’t. I have never seen a useful naming system for these two scales, so I call them yin and yang.

Notice that the notes not found in yin are all the notes in yang, and vice versa. Another fun thing is that when you write the whole tone scales on the circle of fifths, they look exactly the same as they do on the chromatic circle – all the yang scale tones just switch places with their counterparts a tritone away. Symmetry! Continue reading “The whole tone scale”

My current Intro to Music Technology syllabus

There is no required text for this class; all of the readings are online. However, if you are a music education major or you plan to teach music technology, I recommend buying Electronic Music School: a Contemporary Approach to Teaching Musical Creativity by Will Kuhn and myself.

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Things I wrote this year

I wrote a tremendous amount this year, due to a combination of pandemic-induced academic underemployment and pandemic-induced confinement to quarters. The big headlines are that I published a book with Will Kuhn, and completed a draft of my doctoral dissertation. The book we really wrote in prior years and just did the final revisions and copyedits this year, but even the end stage of the editorial process was an epic journey unto itself. The dissertation has been coming together even longer than that, and I hope to defend it in the next month or two.

Related to the above, I also wrote a syllabus for teaching songwriting to music education majors, and a rap verse.

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Living for the City

This Stevie Wonder classic is an iconic blues-based groove combined with some very non-blues-based harmony.

Stevie sang all the parts and played all the instruments, including the sumptuous analog synth sounds designed with Malcolm Cecil and Robert Margouleff. Stevie’s brother Calvin Hardaway is the main character in the spoken interlude. Ira Tucker Jr of the Dixie Hummingbirds is the drug dealer, Stevie’s lawyer plays the judge, and a studio janitor is the corrections officer. 

Here’s a live version:

There’s plenty of commentary out there about the lyrics. This essay by Rowan Ricardo Phillips is an especially good read on the line “New York, just like I pictured it, skyscrapers and everything.” But there isn’t much out there about the music.

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