I’m developing some groove pedagogy for an instrumental method book I’m working on with Heather Fortune. The goal is to help people understand and create Black American vernacular rhythms, specifically blues, rock, funk, dance, and hip-hop. As we started collecting and transcribing grooves, we quickly ran into a problem: all the really good ones use …
Tag Archives: James Brown
There Was A Time (I Got To Move)
Being a fan of James Brown can be a challenge, because his classic songs have all been recorded multiple times in different versions with different names on different labels. “I Got To Move” is a case in point. It was first released on In The Jungle Groove in 1986, but was recorded back in 1970. …
Why are there so many minor scales
I wrote this explainer for my New School students; maybe you will find it useful too. The white keys on the piano don’t just have to play C major. If you play the white keys over a droning or repeated A, you get a very different-sounding scale. It has a few different names: the A …
Repetition legitimizes, funk beautifies
David Bruce made a delightful video about the role of repetition in Stravinsky’s The Rite of Spring. While this piece is hair-raisingly dissonant, it’s also remarkably popular (by classical music standards, anyway.) David explains this fact by showing how repetition makes the previously inexplicable seem more meaningful and less threatening. A crunchy chord might be …
Songs vs Grooves
Anne Danielsen’s book Presence and Pleasure: The Funk Grooves of James Brown and Parliament is one of my favorite works of musicology. In the book, Danielsen distinguishes between songs and grooves. “Yesterday” by the Beatles is a song. “The Payback” by James Brown is a groove. In structural terms, a groove is a small musical …
So What
If you have never listened to jazz before, Miles Davis’ Kind Of Blue is a great place to start. If you’re an obsessive jazz fan like me, it never gets old. The heart of the album is its first track, “So What.” Even before you press play, there’s a world of meaning in that title. …
Glenn Gould wanted me to make this remix
Glenn Gould thought people should make their own edits of classical recordings. He explains this idea in greater depth here. I read it and thought, challenge accepted!
Teaching dynamics and loudness
When I cover dynamics and loudness in music theory class, I only spend a small part of the time talking about forte/piano, crescendo/diminuendo and so on. Once you have the Italian translations, those terms are self-explanatory. They are also frustratingly subjective, and they refer only to unamplified acoustic music. To understand dynamics in the present …
Learning Debussy’s “Clair de Lune” with Ableton Live
This video recently made the rounds on Facebook: I was thinking about “Clair de Lune” and how strange and complicated the rhythm is. I was humming it to myself and couldn’t figure out where the downbeats were. I have previously used Ableton Live to help me learn a classical piece aurally, so I figured I …
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Hip-hop as a tool for hip-hop ethnography
I believe in using music as a tool for analyzing and discussing music. To that end, I wanted to try interviewing a musician about a song of theirs, and then do a remix of the song that incorporates the interview. A rapper named Anna Diorio a.k.a. Happy Accident volunteered to participate. We discussed the writing and production …
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