In this post, I talk through my favorite Grateful Dead prog epic, the three-song suite of “Help on the Way,” “Slipknot!” and “Franklin’s Tower.” The Dead wrote many of these epic suites, which usually consist of a few short through-composed sections that act as anchor points within long open-ended modal jams. “Help>Slip>Frank” is the most …
Continue reading “Help on the Way -> Slipknot! -> Franklin’s Tower”
Aside from Bach, Chopin is my favorite dead white European male composer. He isn’t as overtly “jazzy” as Debussy or Ravel, but his music shares many of the qualities of jazz that I like: miniature-scale forms densely packed with rhythmic and harmonic excitement, in the service of organic-sounding melodies. Chopin’s Nocture Op 9 No 1 …
Continue reading “Jazzy harmony and crazy tuplets in Chopin’s Nocturne Op 9 No 1”
First, some niche Twitter comedy: Twelve-tone equal temperament is socialism, Make Intonation Just Again — ethanhein.bsky.social (@ethanhein) June 26, 2020 The Well-Tempered Clavier is a book of JS Bach compositions for keyboard instruments in each of the twelve major and twelve minor keys. The name refers to Bach’s preferred tuning system, which made it possible …
Continue reading “What does the Well-Tempered Clavier sound like in actual well temperament?”
Diatonic chords from the C major scale:
Beethoven is famous for writing huge epic structures. But he could write memorable tunes, too, and the second movement of the “Pathétique Sonata” contains a particularly good one. It’s best to known to my age cohort from Schroder’s performance: Here’s my Ableton Live visualization:
Improvisation is a core musical skill across a variety of styles and genres. Being able to make up music on the fly is obviously useful in and of itself, but improvisation is also an excellent tool for songwriting, composition, production, and teaching. The best way to learn how to improvise is to do it along …
Continue reading “Learn to improvise on the white piano keys”
Here’s a question from the always insightful Debbie Chachra: @ethanhein I just realized you are the right person to ask this–are there great analyses that make the connection between Bach's Art of Fugue and sampling in hip-hop? — Deb Chachra is mostly not here (@debcha) June 12, 2020 @ethanhein [Query prompted by hearing DJ Dahi …
Here’s an exciting thing that happened recently. https://twitter.com/olabscott/status/1270192351215005697 I didn’t have an explicitly anti-racist motivation when I started making the remixes, but if they’re being received that way, I’m delighted. In this post, I’m going to do some thinking out loud about what it all means.
Let’s get the name out of the way first. Chopin didn’t title the piece “Raindrop,” nor did he give catchy nicknames to any of his other preludes. The names were given later by a fan named Hans von Bülow. Chopin’s actual title of this piece is “12 Préludes, Opus 28 Number 15 in D-Flat Major.” …
Béla Bartók’s Mikrokosmos (not the BTS song) is a six-volume collection of short pedagogical piano pieces. The early volumes are beginner-level exercises, and the later ones are professional-level challenges. They’re all pretty strange. My favorite is number 86, “Two Major Pentachords,” a counterpoint exercise where the right hand plays in C major and the left …
Continue reading “Remixing Bartók’s Mikrokosmos No 133 – Syncopation”
