When I teach remixes in music tech class, I like to make the analogy to radical jazz arrangements of standards. Technically, John Coltrane’s version of “My Favorite Things” is not a remix of the version from The Sound of Music, but it occupies the same cultural role as a remix. (In fact, I just accidentally typed it as, John Coltrane’s remix of “My Favorite Things” is not a remix. There you have it.) One of my favorite ever jazz “remixes” is Erroll Garner’s version of “(They Long To Be) Close To You” by Burt Bacharach and Hal David, which the Carpenters had a number one hit with in 1970.
Dilla Time in “Chameleon”
After reading and re-reading Dan Charnas’ Dilla Time, now I’m listening to music with new attention to rhythmic subtleties. I have especially been digging into the relationship between J Dilla and Herbie Hancock–Dilla sampled Herbie on “Get Dis Money” and “Zen Guitar.” That digging made me go back to my favorite Herbie tune with fresh ears.
This might be the funkiest thing in the history of funk. But what makes it so funky? I wanted to investigate the microtiming of that incredible opening groove to find out.
Watermelon Man
As part of my current J Dilla binge, I was excited to find a track where he flips a Herbie Hancock sample (no, not “Come Running To Me“, though that one is great too.) This sent me down a rabbit hole with “Watermelon Man.” This track has had quite a journey, both in its prehistory and in its afterlife.
I love that whenever Herbie tries to do something cynically commercial, it always ends up being an iconic work of art. “Maiden Voyage” was written for a Fabergé ad. “Rockit” was a last-ditch attempt to keep from getting dropped by a label. And “Watermelon Man” was meant to be ear candy to attract more listeners to Herbie’s debut album as a leader.
What the heck is a decibel
If you are a musician or audio engineer, it is very important to know what decibels are. Unfortunately, decibels are extremely confusing. For one thing, there are so many different kinds of decibels! You only care about two of them: the decibels you see on a noise meter, and the decibels you see on a mixer. The decibel scale is meant to reflect the subjective experience of your hearing. A change of one decibel is a just noticeable difference: if you make something one decibel louder, that is just enough for the listener to notice that it’s louder. Makes sense, right? Unfortunately, decibels are logarithmic, which makes it hard to develop an intuition for the actual sound pressure levels that they represent. Let’s dig in.
Get Dis Money
Since reading Dilla Time, I have been listening to J Dilla nonstop. In particular, I keep coming back to “Get Dis Money” by Slum Village.
I first heard it on the Office Space soundtrack. It didn’t really grab me at first. In fairness to me, it’s a pretty weird piece of music! Let’s dig in.
Dilla Time
I recently finished reading Dan Charnas’ book Dilla Time. It’s a good one! If you are interested in how hip-hop works, you should read it. The book’s major musicological insight is elegantly summed up by this image:
“Straight time” means that the rhythms are evenly spaced and metronomic, like a clock ticking. (Think of a Kraftwerk song.) “Swing time” means that the halves of each beat are alternately stretched and shrunk. (Think of a Duke Ellington tune.) “Dilla time” means that there are multiple rhythmic feels simultaneously, some straight, some swung, some on the grid, some ahead of or behind the grid. (Think of, well, a J Dilla track, like the ones discussed below.)
You frequently see Dilla time described as “unquantized” or “drunk.” My favorite description is from the intro to Kendrick Lamar’s song “Momma.” As its heavily Dilla-influenced beat plays, producer Taz Arnold says, “I need that, I need that sloppy, that sloppy, like a Chevy in quicksand, yeah, that sloppy.” Poetic though it is, though, this is not accurate. Dan Charnas makes clear that Dilla was never sloppy in his rhythms, that their deviation from the grid was intended and meticulously executed. Dilla “misaligned” his beats because it sounds good. But why does it sound so good? I am trying to figure that out.
Aural Skills for Audio Engineers
Montclair State University asked me to develop and possibly teach a class on aural skills for audio engineers. It’s a great idea! It isn’t just audio engineers who need to know what frequencies and decibels are. These are concepts that any musician would benefit from knowing.
Here’s my first pass at a course outline. The main problem is that this is five semesters worth of material, so I’m sure some of it (a lot of it) will get cut. But these are the things I would want to cover in an ideal world.
I wrote another rap song to inspire my Pop Practicum students
I’m making my students in the NYU Popular Music Practicum write and perform original rap verses. To encourage them, I wrote one too, like I did last year. The samples are from Erroll Garner’s recording of “Close To You” by the Carpenters.
Continue reading “I wrote another rap song to inspire my Pop Practicum students”
Designing learning experiences with music technology: good for whom, good for what?
In my Technology Trends in Music Education class at NYU, we are asking one main question: how do you know whether a technological tool is helpful for music learning and expression? How do you assess it? To find the answer, you first have to be clear about your pedagogical goals, and that is not easy to do. The first night of class, we got into a discussion of Noteflight, the online music notation editor. The debate we had is not specific to Noteflight; you could have it about any notation software. I use Noteflight a lot to embed music examples in this blog:
Noteflight and programs like it support naive trial-and-error learning by giving you lots of aural feedback. When you enter a note, you hear it. If you change its pitch, you hear the result. You can listen back to everything you write at any time. The software’s playback might sound stiff and awkward, but you will still get a good idea of how your music will sound.
Continue reading “Designing learning experiences with music technology: good for whom, good for what?”
Hidden Place
At the request of Wenatchee the Hatchet, and also following my own long-standing interest, I took a dive into the opening track from Björk’s exquisite album Vespertine:
I love Björk for so many reasons. A big one is her ability to make weird ideas sound approachable, which is closely related to her ability to make conventional ideas sound strange. “Hidden Place” is a perfect example. Is it a pop song? An art song? A dance groove? A work of experimental ambient music? The answer is, yes, all of the above. The basic structure is pop boilerplate: verse-prechorus-chorus form, a looped bassline and ostinato-based groove organized into four or eight bar phrases. But on top of that standard foundation is a lot of weird stuff. Continue reading “Hidden Place”