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, 2, 134 and 135, Bach’s prelude is an unbroken string of sixteenth notes. This kind of composition became a genre unto itself for 19th century composers. However, when Paganini does it, I mostly just find it exhausting. Bach uses unpredictable phrasing and emphasis, so even when his note values are all uniform, his rhythms still feel syncopated and fresh.

My favorite recording of the prelude is by Viktoria Mullova. Her straightforward exactness suits this music better than the sloppy exuberance of more famous virtuosos like Itzhak Perlman.

I hear Bach’s complex rhythmic phrasing better when the tempo is steady and there are some beats underneath, so I made this remix.

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Is it okay to post tracks with unlicensed samples?

I am not a lawyer, just a guy who studies hip-hop academically. But I’m married to a lawyer, and have spoken to various music industry people and done a lot of reading on this. My advice is to go ahead and post tracks with uncleared samples, even though doing so is technically illegal.

Flute in Simpler

Understand that you are not allowed to use samples without permission, even if you are giving away the track for free, and even if you give credit and say you aren’t intending to infringe anyone’s copyrights. But posting tracks with uncleared samples is “illegal” the way jaywalking is illegal. It is very unlikely that doing it will get you into any trouble. Entertainment lawyers cost money, and the copyright holders have better things to do than go after indie artists who aren’t profiting off their samples. The chief copyright attorney for a major publisher told me that they don’t go after random people on the internet, because there’s no upside, and it attracts negative publicity.

If your track does blow up, and you want to release it on a major label, or license it for a TV show or movie, or otherwise make real money from it, then the situation changes. At that point, you will absolutely have to negotiate a sample clearance, both with the songwriter(s) and the owner(s) of the master recording (usually not the same people). You or your label can use a sample clearance service, or hire an entertainment lawyer. I do not recommend trying to do this on your own. The clearance might take the form of a one-time fee, a percentage of royalties/publishing, or both. Depending on who you sampled and how well-resourced they are, this might be a big up-front payment or a major percentage of your publishing. So you or your label might decide that it doesn’t make sense to go through with the clearance. At that point, you will have to replace the sample or withdraw the track from circulation.

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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 and downs, but they’ve always been there, they’ll always be there, we’re inseparably entangled.

Now that I’m teaching music theory, I’m finding a new angle for Dead appreciation: as a source of pedagogical examples. Here’s a pair of Dead tunes, an original called “China Cat Sunflower” and an arrangement of a folk song, “I Know You Rider.” The Dead performed them together, seamlessly joined by a modal jam, so they’re known as a single unit, “China>Rider.”  Here’s my favorite version.

I was listening to this recording recently, and I noticed that during the transitional jam, there’s a peculiar moment at about 3:34 where I sense the key center changing, even though there’s no change in chord or mode. The band is playing a drawn-out groove on D7. At first, it feels like the V7 chord in G major, but after a certain span of time, I start hearing it as the I chord in D Mixolydian instead. It’s like a musical Necker cube.

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Brian Eno and the role of the producer

The meaning of the word “producer” has changed significantly over the history of recorded music. Before the 1960s, most record producers were businesspeople, responsible for signing checks and making sure the musicians and engineers did their jobs. Some producers took a creative role in choosing repertoire, arrangements and takes, but others were hands-off. As recording technologies and processes became more complex and further removed from documenting real-time performances, producers started to take on more creative importance. Consider George Martin’s role with the Beatles. For the first few albums, he simply supervised the recording process, but as time went on, he began to write and conduct orchestral arrangements, play instruments, and carry out technical experiments with the band and engineers.

In the 1970s, more artists started to think of the recording studio itself as an instrument, assembling tracks into collages that sometimes bore little resemblance to the original live performances. An album like Pink Floyd’s Dark Side of the Moon was as much a creation of the producers and engineers as the songwriters and musicians. As they started “playing the studio,” album producers became less like film producers and more like film directors. (Meanwhile, recorded music became less like filmed stage plays and more like Pixar or Star Wars movies.)

Brian Eno is a crucial figure in this evolution. It’s significant that his background is in visual art, not music. (Many British rock and pop musicians got started in art school.) Eno has described himself as a “non-musician.” He initially thought of himself as a conceptual artist more than anything. As a student, he experimented with electronic music under the influence of John Cage and Karlheinz Stockhausen, but he approached these projects as sound art, not as “music” necessarily.

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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.

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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 own key, and precede it with its own V7 chord. This diagram shows all twelve possible key centers on the inner ring, and each one’s V7 chord on the outer ring:

The idea here is that if you pick any dominant chord on the outer ring, it will sound good to resolve it to its neighbor on the inner ring.

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Let’s listen to some extremely slowed down Bach

In this stressful time, we all need some help attaining inner peace. I’ve been enjoying listening to and thinking about the prelude to Bach’s Violin Partita Number 3 in E major as played by Hopkinson Smith.

Beautiful though this is, it’s also a lot of information packed into a small space. I thought it might be more relaxing if it was slower. And that it might be a lot more relaxing if it was a lot slower. So I used Ableton Live to stretch it out as slow as I possibly could.

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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 sung “row row row your boat” in a round, that is also counterpoint.

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The Chord Dictionary

I made a big spreadsheet with all the chords in it. It’s not all the possible chords, but it’s the ones you most commonly encounter in Western classical, jazz, rock and pop.

I also made some videos explaining how chords work, with handy aQWERTYon visualization. Enjoy!