Internet blues

Recently, WNYC’s great music show Soundcheck held a contest to see who could do the best version of the 100 year old song “Yellow Dog Blues” by WC Handy.

Marc Weidenbaum had the members of the Disquiet Junto enter the contest en masse. I did my track, put it on SoundCloud, and promptly forgot all about it.

https://soundcloud.com/ethanhein/green-dog-disquiet0125-junto360blues

A month later, I was surprised and delighted to learn from Marc’s blog that the contest winner was Junto stalwart Westy Reflector.

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Making rhythm tutorial videos

I’m continuing to crank out educational videos for Play With Your Music. Part of the process involves remaking old videos as both my chops and the facilities in NYU’s Blended Learning Lab improve. Here’s my series on the basics of rhythm:

We’ve made several improvements, some technical, some creative. The most immediately noticeable one is multiple camera angles. NYU’s Blended Learning Lab now has three cameras instead of just one. We can now cut back and forth between various angles, rather than showing a continuous talking head shot. It doesn’t seem like it would make such a big difference, but it does.

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Reflections on teaching Ableton Live, part two

In my first post in this series, I briefly touched on the problem of option paralysis facing all electronic musicians, especially the ones who are just getting started. In this post, I’ll talk more about pedagogical strategies for keeping beginners from being overwhelmed by the infinite possibilities of sampling and synthesis.

Building a pop song structure

This is part of a larger argument why Ableton Live and software like it really needs a pedagogy specifically devoted to it. The folks at Ableton document their software extremely well, but their materials presume familiarity with their own musical culture. Most people aren’t already experimental techno producers. They need to be taught the musical values, conventions and creative approaches that Ableton Live is designed around. They also need some help in selecting raw musical materials. We music teachers can help, by putting tools like Ableton into musical context, and by curating finitely bounded sets of sounds to work with. Doing so will lower barriers to entry, which means happier users (and better sales for Ableton.) Continue reading “Reflections on teaching Ableton Live, part two”

Reflections on teaching Ableton Live: part one

My music-making life has revolved heavily around Ableton Live for the past few years, and now the same thing is happening to my music-teaching life. I’m teaching Live at NYU’s IMPACT program this summer, and am going to find ways to work it into my future classes as well. My larger ambition is to develop an all-around electronic music composition/improvisation/performance curriculum centered around Live.

Ableton in action

While the people at Ableton have done a wonderful job documenting their software, they mostly presume that users know what they want to accomplish, they just don’t know how to get there. But my experience of beginner Ableton users (and newbie producers generally) is that they don’t even know what the possibilities are, what the workflow looks like, or how to get a foothold. My goal is to fill that vacuum, and I’ll be documenting the process extensively here on the blog.

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What is groove?

You hear musicians talk all the time about groove. You might wonder what they mean by that. A lot of musicians couldn’t explain exactly, beyond “the thing that makes music sound good.” The etymology of the term comes from vinyl records. Musicians ride the groove the way a phonograph needle physically rides the groove in the vinyl.

The original groove

But what is groove, exactly? It isn’t just a matter of everyone playing with accurate rhythm. When a classical musician executes a passage flawlessly, you don’t usually talk about their groove. Meanwhile, it’s possible for loosely executed music to have a groove to it. Most of my musician friends talk about groove as a feeling, a vibe, an ineffable emotional quality, and they’re right. But groove is something tangible, too, and even quantifiable.

Using digital audio production software, you can learn to understand the most mystical aspects of music in concrete terms. I’ve written previously about how electronic music quantifies the elusive concept of swing. Music software can similarly help you understand the even more elusive concept of groove. In music software, “groove” means something specific and technical: the degree to which a rhythm deviates from the straight metronomic grid. Continue reading “What is groove?”

What’s up with Ethan

Here’s a quick update on what is going on in my life. First, most importantly: Milo is walking but not yet talking; he’s waving, but not yet high-fiving; he’s eating with a spoon, but only getting the food into his mouth two thirds of the time. He’s totally delightful.

Milo in the playground

Since I graduated from the NYU Music Technology program in January, I’ve been mainly working as a researcher for the NYU Music Experience Design Lab, under the leadership of Alex Ruthmann. The major project we’ve been doing has been an online audio production course focusing on the music of Peter Gabriel. It launches May 16th, and it’s going to be a wildly futuristic experience for everyone involved. Click the image below to learn more and sign up. Did I mention it was free?

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Remixing Verdi with Ableton Live

Later this week I’m doing a teaching demo for a music technology professor job. The students are classical music types who don’t have a lot of music tech background, and the task is to blow their minds. I’m told that a lot of them are singers working on Verdi’s Requiem. My plan, then, is to walk the class through the process of remixing a section of the Requiem with Ableton Live. This post is basically the script for my lecture.

Verdi remixed

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Why is “Let It Go” such a big deal?

Anna posed this question, and I think it’s an excellent one: What is up with “Let It Go” and little girls? Why is this song such a blockbuster among the pre-K set? How did it jump the gap from presentational to participatory music? Is it the movie, or the song itself? In case you never interact with pop culture or little kids, this is the tune in question:

I posted the question on Facebook, and my friends have so many good responses that I’m going to just paste them all in more or less verbatim below.

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Announcing the Peter Gabriel edition of Play With Your Music

You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.

Play With Your Music - Peter Gabriel edition

Here’s Alex’s video introduction:

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Participatory music vs presentational music

In this post, I’ll be doing some public-facing note-taking on Music As Social Life: The Politics Of Participation by Thomas Turino. I’m especially interested in chapter two: Participatory and Presentational Performance. We in America tend to place a high value on presentational music created by professionals, and a low value on participatory music made by amateurs. It’s useful to know that there are people in the world who take a different view.

Turino divides music into four big categories:

  1. Participatory music. Everyone present is actively doing something: playing an instrument, singing or chanting, and/or dancing. For example: a bluegrass jam, campfire singing, a hip-hop cypher.
  2. Presentational music. There’s a clear divide between the performers and the audience. Audience members might dance or sing along, but they are not the focus. For example: a classical, rock or jazz concert.
  3. High-fidelity recording. A document of a live performance (or a convincing illusion of such.) For example: a classical or jazz album.
  4. Studio sound art. A recording that was constructed in the studio using techniques other than (or in addition to) people performing in real time. For example: a late Beatles album, or any pop song since 1980.

Turino devotes a lot of his attention to three examples of participatory music cultures:

Aymara ceremony

Shona witch doctor

Contra dancers in New Hampshire

This last group might strike you as the odd one out. Turino sees more commonalities between the musical experience of American contra dancers and participants in Shona rituals than he does between the contra dancers and audiences at, say, a jazz concert.

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