Blues for the Jews

December is always a complex month for half-Jewish mutts like me. When pressured to self-identify, I usually just go with “Jewish” for the sake of simplicity, but this is in spite of not having being bar mitzvahed, not knowing any Hebrew, having only the vaguest idea what all the holidays and rituals mean, and having no relationship whatsoever with God.

My mom is Jewish, so that’s enough for the tribe to have welcomed me as one of their own, but it’s a complex question as to what that membership means. Wikipedia has two separate articles for Judaism and Jews, to distinguish the religion from the ethnicity, and I definitely belong to the ethnicity more than the religion.

My most significant personal connection to the tribe, aside from family Passover seders and Seinfeld appreciation, has come through music, specifically klezmer music. I may not know my way around the Torah, but I know my harmonic minor modes inside and out.

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The pentatonic box

Once you’ve mastered the basic guitar chords, you might want to tackle some scales. The pentatonic is a good scale to start with. It’s easy to play, easy to memorize and sounds good in an astonishing variety of musical situations. Here’s how to play it:

The pentatonic box

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In praise of copying

We conventionally place a high value on originality in music. But it’s been my experience that the desire for originality gets in the way of making music that’s actually good. The closer you are to your influences, the more definite and truthful your work is. The key to quality music is to blend together an interesting set of influences that you understand inside and out.

Music evolves in much the same way life does. DNA gets copied when cells divide and replicate. Music gets copied from mind to mind when people hear it and want to reproduce it. All musical learning begins with imitation of other musicians. I’d go so far as to say that all learning boils down to imitation. Primates and other smarter animals learn by imitation too.

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Hawaii, part five

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First stop yesterday was Kipuka Puaulu, a rainforest bird park on the lower slopes of Mauna Loa. We heard more birds than we saw, aside from the many pheasants crisscrossing the trail. Hawaii is absolutely infested with pheasants. There’s a phrase I don’t find myself typing very often.

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Hawaii, part four

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After the better part of a day taking care of urgent internet business, and the not-so-urgent business of finding me something to read on the plane home, we finally made it outside to do something Hawaii-y: a trip to Kaloko-Honokohau National Historical Park, on Snorkel Bob’s list of recommended snorkeling locations. While it’s a beautiful place, it’s not so ideal for snorkeling, due to a combination of high surf and jagged rocks. I wore my sneakers instead of fins and braced against the bottom in kind of a football center crouch, watching the fish get swept to and fro by the current.

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Hawaii, part three

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We took our first trip off the Kona coast and went to check out the more rugged and rural north coast of the Big Island. A lot of the drive took us up the seemingly endless lava plain that makes up the northwest quarter of the island. It looks a lot like Iceland, except it’s sunnier and there’s more shrubbery. There aren’t any big flat surfaces for graffiti, so instead the Hawaiians write their roadside messages by arranging white coral on the black lava.

Once we got up off the coast, the landscape got greener, hillier and a lot more agricultural. We saw cows, sheep, horses, chickens, and even some goats. If not for the tropical plants and occasional sweeping ocean views, we could have been in Vermont.

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Hawaii, part two

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Lovely as it is here in Kona, it does have kind of a Disneyland quality. Anna did a great job of getting us out of the tourist rut for our second day here. She was poking around food web sites looking for interesting places to eat. That led her to a discussion of sustainably-sourced fish, and from there she started reading about aquaculture. It turns out there’s some interesting stuff going on with fish farming right nearby, so being the colossal science dorks that we are, we thought we’d go check it out.

Kona Airport is on a big lava plain sticking out into the ocean. It’s surrounded on three sides by an industrial park owned and run by the awkwardly named Natural Energy Laboratory of Hawaii Authority. It’s the site of a former alternative energy project that now is home to all kinds of aquaculture and related ocean science. While an industrial park next to the airport might seem like an odd place to visit during a tropical vacation, know that it’s still Hawaii, so there are the same incredible black rock beaches and palm trees and exotic foliage as everywhere else.

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Hawaii, part one

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First of all, what are we even doing here? Anna’s dad had been sitting on a timeshare for years, and he finally concluded that he was never going to use it. So he offered it to us, and we thought, great, Hawaii. Anna’s been before, but I haven’t been anywhere remotely tropical, much less here. So we decided to use up the last of Anna’s frequent flier miles from her former life working for international NGOs, and here we are.

We flew out of Boston because there weren’t any mileage flights available from NYC. Besides, it was a chance to see my cousin Jen and meet her new baby. We spent a jolly night, and the next morning Jen took us to Logan. We landed in Kona after our twelve hours of plane and airport time. Kona doesn’t have jetways; we walked down stairs to the tarmac. It’s been a while since I did that, it made me feel like one of the Beatles. Kona’s airport is open-air, with a roof but no walls. It was nice waiting for our luggage at the baggage claim in a gentle tropical breeze.

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The mystical tritone

I’ve picked up some new guitar students lately, so I’m once again doing a lot of explaining what a tritone is and why people should care. Whenever I find myself explaining something a lot, I like to encapsulate it as a blog post. So here we go.

A tritone is the interval between the notes C and F-sharp. It’s also known as the flat fifth or sharp fourth. It’s two minor thirds, three whole steps, six half steps, or half an octave. On the piano, count six keys up or down. On guitar, count six frets.

The tritone is the heart of the entire western tonal system. The clearest way to define the key center of a piece of music is to look at how tritones create tension and resolve it. Tritones are also central to the sound of the blues and blues tonality, which form the basis of most of the music I like.

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Capturing sound

I was doing a frivolous Google search for the Simpsons episode where Bart, Nelson, Milhouse and Ralph form a boy band. They’re in the studio singing, and they sound terrible, until the producer pushes a huge button labeled “studio magic.” Then suddenly they sound like the Backstreet Boys. While I was digging through the Google results, I came across a book called Capturing Sound: How Technology Has Changed Music by Mark Katz. He references the Simpsons gag as an example of how recording technology has undermined our notions of authenticity in music. There are a couple of chapters of the book online, and it’s great stuff.

It’s hard for us now to imagine a time when recorded sound was a wondrous technological novelty.

Those gathered around the phonograph were experiencing music in ways unimaginable not so many years before. They were hearing performers they could not see and music they could not normally bring into their homes. They could listen to the same pieces over and again without change. And they ultimately decided what they were to hear, and when, where, and with whom.

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