After a few years of honing and balancing my various social media profiles and blogs, here’s how I have the information flowing. This doesn’t represent every last thing I put on the web, but it does cover the tools I use regularly.
Continue reading “My social media setup”
One for the treble, two for the bass
I’ve been hearing this line in a lot of hip-hop songs: “One for the treble, two for the time” or “One for the treble, two for the bass” or some variation. I wanted to find out what everybody’s quoting. After some internet detective work, here’s what I’ve got.
The phrase is a play on the opening of Carl Perkins’ Blue Suede Shoes, as made famous by Elvis:
One for the money, two for the show
Three to get ready, now go, cat, go
For the hip-hop world, the main reference point seems to be Spoonie G’s “Spoonin’ Rap” from 1979. Old school! Spoonie’s line is enigmatic in its meaning.
You say one for the treble, two for the time
Come on y’all, let’s rock the [whistle]
Tommy The Cat
Tommy
[audio:http://www.ethanhein.com/music/Revival_Revival_Tommy.mp3]mp3 download, ipod format download
Vocals by Barbara Singer. Samples and programming by me. The guitar licks were originally played by Alex Torovic but have been chopped up pretty dramatically. This is part of our ongoing strategy, learned from hip-hop, of taking a familiar chorus and coming up with new verses.
Music theory for beginner guitarists
Most beginner guitarists start by learning the same fifteen chords, usually called the “standard fifteen.” I’ve also heard them called the open chords because they make use of open strings and are thus easy to play.
| Major | Seventh | Minor |
| A | A7 | Am |
| — | B7 | — |
| C | C7 | — |
| D | D7 | Dm |
| E | E7 | Em |
| F | — | — |
| G | G7 | — |
For fingerings, have a look at Wikipedia or any book on beginner guitar. You can also see this handy web site, which plays audio of each chord along with the fingerings.
It’s not much good to just memorize the standard fifteen chords without musical context. It’s better to learn them grouped together into keys, so you can hear how they relate to each other. Here are the standard fifteen grouped into various useful major, blues and minor keys. Pick a row and try the chords within it. They’ll sound good together in any order and in any combination. The first chord in each row is the tonic chord, which feels like “home base”.
Major keys
| I | ii | iii | IV | V7 | vi | V7/V | V7/ii | V7/vi | |
| C major: | C | Dm | Em | F | G7 | Am | D7 | A7 | E7 |
| G major: | G | Am | — | C | D7 | Em | A7 | E7 | B7 |
| D major: | D | Em | — | G | A7 | — | E7 | B7 | — |
| A major: | A | — | — | D | E7 | — | B7 | B7 | — |
| E major: | E | — | — | A | B7 | — | — | — | — |
Blues keys
| I7 | bIII | IV7 | V7 | bVII | |
| C blues: | C7 | — | — | G7 | — |
| G blues: | G7 | — | C7 | D7 | F |
| D blues: | D7 | F | G7 | A7 | C |
| A blues: | A7 | C | D7 | E7 | G |
| E blues: | E7 | G | A7 | B7 | D |
Minor keys
| I | V7/V | bIII | iv | IV7 | v | V7 | bVI | bVI7 | bVII | |
| D minor: | Dm | E7 | F | — | G7 | Am | A7 | — | — | C |
| A minor: | Am | B7 | C | Dm | D7 | Em | E7 | F | — | G |
| E minor: | Em | — | G | Am | A7 | — | B7 | C | C7 | D |
For more adventurous sounds, try mixing chords from different keys together. Trust your ears and have fun! And once you’ve mastered these chords, maybe you’d like to tackle the pentatonic scale.
Dig the big bang
In Annie Hall, young Woody Allen explains to his doctor that he won’t do his homework because the universe is expanding, so what’s the point? His mother exasperatedly tells him, “You’re here in Brooklyn. Brooklyn is not expanding!”
I post this because I’ve been reading Coming Of Age In The Milky Way by Tim Ferris, as good a summary of the state of cosmology between two covers as a person could ask for. Thinking about the horrifying enormousness and ancientness of the universe might have depressed Woody Allen, but it has a paradoxically calming effect on me. Reading books like Ferris’ is my favorite form of meditation.
Muppet Silly Songs
For my 35th birthday, my sister gave me a CD of Muppet Silly Songs, a favorite of ours when we were kids. It’s been out of print for years and last time I checked wasn’t even available on the web, legally or not. We unearthed the vinyl at our mom and stepfather’s place when we were there over Mother’s Day, and Molly converted it to digital with the help of our friend Leo.
Hey! Wait!
Let Us In
[audio:http://ethanhein.com/music/revival_revival_let_us_in.mp3]mp3 download, ipod format download
Vocals and guitar by Barbara. Additional guitar, controller synth, 808 programming and sampling by me. Contains some salty language.
This continues our recent push into mostly original rock material about Barbara’s complex romantic life. The sample comes from one of my favorite Nirvana songs.
WordPress is why I love the internet
If anyone comes to me wanting a personal web site, I try to convince them they should have a blog, specifically, a WordPress blog. I’m doing several web sites for clients that use WordPress. The more I work with this platform, the more I come to love it. WordPress is free, hacker-friendly and supported by an enthusiastic community. It represents everything good about the web right now.
Drum machine programming
This post has been superseded by my giant collection of rhythm patterns, which you can see here.
I wrote a general post about what makes a hot beat hot. As a followup, here’s how to program some generic patterns and a few famous breakbeats. The basic unit of dance music is a sequence of sixteen eighth notes, two measures of four-four time. Drum machines like the Roland TR-808 represent the sixteen eighth notes as an ice cube tray with sixteen slots, with a row for each percussion sound. Software like Reason and Fruityloops have drum machine emulators that follow the look and feel of the 808. The loop cycles from slot number one across to the right. When it gets to slot sixteen it jumps back to one.
Here’s how you’d count the basic loop. Above is the standard music notation method of counting two bars of four-four time. Below is the drum machine representation, with the eighth notes numbered one through sixteen.
| 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + | | 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 |
Blue notes and other microtones
Update: here’s a deeper and better-informed explanation of blue notes.
Blue notes are a big part of what makes the blues sound like the blues. Most other American vernacular music uses blue notes too: jazz, funk, rock, country, gospel, folk and so on. In the video below, John Lee Hooker hits a blue note in just about every single guitar phrase.
For such a foundational element of America’s music, there’s a surprising amount of confusion as to what a blue note is exactly. So allow me to clear it up: a blue note is a microtonal pitch in between a note from the blues scale and a neighboring note from the major scale.