“It don’t mean a thing if it ain’t got that swing, doo-wah doo-wah doo-wah doo-wah doo-wah doo-wah doo-wah doo-wah” – Duke Ellington Hear a seamless collage of several varieties of swing: Music Theory Songs by Ethan Hein Hear a track where the timefeel gradually changes from straight to swing and back. Here’s an explanation of …
Tag Archives: Grateful Dead
John Oswald said he likes my Stevie Wonder/Laurie Anderson mashup
I got an unexpected email today from the legendary composer/remixer John Oswald, whose Plunderphonics project was a major inspiration for me. (For example, check out “Dab,” “Power,” and the terrifying “Pretender.”) He told me that in the course of researching the connection between the second movement of Dvořák’s Piano Quintet No. 2 and the haunting …
Continue reading “John Oswald said he likes my Stevie Wonder/Laurie Anderson mashup”
Remixing the Grateful Dead
There is no corpus of music I know better than the albums and concert recordings of the Grateful Dead. Some people memorize the works of Shakespeare; I, for better or for worse, spent my youth memorizing the works of Jerry. This puts me in a great position to sample and remix them. However, while I’ve …
My favorite Jerry Garcia riff
Before he wrecked his brain with heroin in the 1980s, Jerry Garcia was my favorite guitarist in the world. I was so saturated in his music during my key guitar-learning years that now everything I play tends to sound like him, up to and including Bach violin partitas. Here’s my single favorite four-bar passage of …
Help on the Way -> Slipknot! -> Franklin’s Tower
In this post, I talk through my favorite Grateful Dead prog epic, the three-song suite of “Help on the Way,” “Slipknot!” and “Franklin’s Tower.” The Dead wrote many of these epic suites, which usually consist of a few short through-composed sections that act as anchor points within long open-ended modal jams. “Help>Slip>Frank” is the most …
Continue reading “Help on the Way -> Slipknot! -> Franklin’s Tower”
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 …
Continue reading “Key centers in the Grateful Dead’s China>Rider”
Real vs hyperreal vs surreal
You can put all recorded music techniques and gestures into three categories: realist, hyperrealist, and surrealist. These categories have soft boundaries that broadly overlap. Nevertheless, I find them to be a useful way to organize my thinking about sonic aesthetics.
Making better citizens through dance
Public-facing note-taking for Philosophy of Music Education with David Elliott This week, I’m taking a look at two chapters from a new book on the red-hot topic of artistic citizenship, the social responsibility of artists and arts educators.
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 its second chapter, “Participatory and Presentational Performance”. We in the United States tend to place a high value on presentational music created by professionals, and a low value on participatory …
Continue reading “Participatory music vs presentational music”
Samples and community
The defining musical experience of my lifetime is hearing familiar samples in unfamiliar contexts. For me, the experience is usually a thrill. For a lot of people, the experience makes them angry. Using recognizable samples necessarily means having an emotional conversation with everyone who already has an attachment to the original recording. Music is about …