Have you heard about the cobra snake that recently escaped from the Bronx Zoo? It recently set up its own Twitter account, and this snake gets around! All over New York. Seeing the sights.
Anyway, the snake charmer song that you always hear whenever snakes, Arabia, or belly dancing is mentioned is actually in no way related to any of those things. You know that tune I'm talking about. In cartoons or movies, there's a guy sitting in front of a basket with a clarinet-like instrument playing the melody while a snake, usually a cobra, pops its head out and dances along.
Two things: 1) The cobra (or any snake, really) is actually more interested in the motion of the instrument than the sound. Snakes "hear" by vibrations, mostly, but they can hear somewhat. The movement is more interesting to them, as it could be potentional prey (FOOOD!!).
2) The song in question was written in the U.S., not the far East. It is, reportedly, written by a member of the House of Representatives (and former showman) named Sol Bloom. He picked it out on the piano for the "Street of Cairo" attraction at the World's Columbian Exposition in 1893. From what I can tell, it wasn't copyrighted, so is Public Domain.
This has been a non-venomous nibble. Can't speak for the cobra though...
Thursday, March 31, 2011
Music soothes the savage beast
The title is a reference to a line from Shakespeare, I think.
It's once again philosophy hour here at Music Zombie.
It's always interesting how music is a present in most of the important milestones of our lives. Musicians are requested for weddings, parties, funerals, celebrations, graduation ceremonies. If not live musicians, there is music in the background. Live music is always best though, and not just because it gives someone a job. Live musicians provide an immediacy and intimacy to the music they are playing. It's part of ritual too, and humans are ritual-driven (mostly).
What song is played depends on lots of things. The circumstance, the people involved, the culture it's occuring in. I read a book called "The World in Six Songs" by Daniel Levitin. According to Levitin, there are six types of songs in the world: friendship, joy, comfort, love, religion, and knowledge. We listen to music to make us feel better (if stressed or just sad), or to show someone how we feel about them (mix-tapes, remember those?) People sing hymns in church to show unification, or repeat back mnemonic songs to remember important facts (the ABC song, for example).
Music is hard-wired into our brains. Because music is a global process (meaning it uses the whole brain, not just a specific part of it) we are able to associate memories and meaning with every melody. It's also why some music can make us cry.
Haven't you ever heard a song from you childhood and have memories come back instantly?
Anyway, something to think about. :)
It's once again philosophy hour here at Music Zombie.
It's always interesting how music is a present in most of the important milestones of our lives. Musicians are requested for weddings, parties, funerals, celebrations, graduation ceremonies. If not live musicians, there is music in the background. Live music is always best though, and not just because it gives someone a job. Live musicians provide an immediacy and intimacy to the music they are playing. It's part of ritual too, and humans are ritual-driven (mostly).
What song is played depends on lots of things. The circumstance, the people involved, the culture it's occuring in. I read a book called "The World in Six Songs" by Daniel Levitin. According to Levitin, there are six types of songs in the world: friendship, joy, comfort, love, religion, and knowledge. We listen to music to make us feel better (if stressed or just sad), or to show someone how we feel about them (mix-tapes, remember those?) People sing hymns in church to show unification, or repeat back mnemonic songs to remember important facts (the ABC song, for example).
Music is hard-wired into our brains. Because music is a global process (meaning it uses the whole brain, not just a specific part of it) we are able to associate memories and meaning with every melody. It's also why some music can make us cry.
Haven't you ever heard a song from you childhood and have memories come back instantly?
Anyway, something to think about. :)
Wednesday, March 30, 2011
Mighty McCartney's mandolin
Paul McCartney's 2007 release, Memory Almost Full, opens with the strumming of a mandolin. The video for this song has Paul receiving a package that contains a mandolin. Paul takes it out of the box and strums out a catchy tune.
The mandolin is a strummed or plucked instrument from the lute family. It has a hollow-body, is round or teardrop shaped, and sometimes has a curly scroll near the neck. The scroll is decorative, but also provides a place to attach a shoulderstrap. Early mandolins used gut strings, but most modern instruments use metal strings. The instrument is tuned to four pitches, with two strings (or courses) per pitch. The intonation is like that of the violin. G, D, A, and E.
Players usually use a plectrum (a pick) to strum the strings or will pluck with their fingers, like a banjo player. The fingerboard is fretted and modern instruments have guide-dots, like guitars, inlaid into the fingerboard.
Incidentally, my favourite song from McCartney's album is "Mr Bellamy." It's a dialogue between Mr. Bellamy and what could be an authority figure or figures. Two voices are used: the normal voice of Mr. Bellomy, apparently in a tree or on a ledge or something, and the low, well-meaning but menacing voice of whoever it is who is trying to get him down. "We'll have you down soon."
The song is also wonderfully scored (Paul is a genius!) with a perky piano coming out of a thickly scored horn-ists' nest (French horns, hehe). A clarinet snakes in and out of the verses.
"I like it up here. Without you!"
The mandolin is a strummed or plucked instrument from the lute family. It has a hollow-body, is round or teardrop shaped, and sometimes has a curly scroll near the neck. The scroll is decorative, but also provides a place to attach a shoulderstrap. Early mandolins used gut strings, but most modern instruments use metal strings. The instrument is tuned to four pitches, with two strings (or courses) per pitch. The intonation is like that of the violin. G, D, A, and E.
Players usually use a plectrum (a pick) to strum the strings or will pluck with their fingers, like a banjo player. The fingerboard is fretted and modern instruments have guide-dots, like guitars, inlaid into the fingerboard.
Incidentally, my favourite song from McCartney's album is "Mr Bellamy." It's a dialogue between Mr. Bellamy and what could be an authority figure or figures. Two voices are used: the normal voice of Mr. Bellomy, apparently in a tree or on a ledge or something, and the low, well-meaning but menacing voice of whoever it is who is trying to get him down. "We'll have you down soon."
The song is also wonderfully scored (Paul is a genius!) with a perky piano coming out of a thickly scored horn-ists' nest (French horns, hehe). A clarinet snakes in and out of the verses.
"I like it up here. Without you!"
Tuesday, March 29, 2011
I happen to like Puccini
I couldn't help but notice some animosity towards Giacomo Puccini this year at grad school. His name always seems to bring some comment from someone (usually a certain instructor) about the "low-brow, pop music" of his that for some reason isn't worth consideration.
I don't see it. His "low-brow, popular music"-ness, I mean. Granted, he may not be in the ranks of Beethoven, Bach, and Brahms (the 3 Big Bs), but he wrote some wonderful melodies.
Puccini (pronounced Poo-chee-nee) was born December 22, 1858 in Lucca, Tuscany, Italy, to a family with a long history in music. He died November 29, 1924. Best known for his operas, the most famous of these are La Boheme, Turandot (mentioned in a previous post; where the aria Nessun Dorma comes from), Madame Butterfly, and Tosca. A Broadway musical, Miss Saigon, is based on Madame Butterfly, and Rent (hugely popular Broadway show and, hugely popular movie based on the Broadway show) is based on La Boheme.
One of his arias I really enjoy (and persistantly try to play the piano) is O mio babbino caro (Oh My Dear Papa) is a soprano aria from the opera Gianni Schicchi. It is a beautiful melody sung by Lauretta to her father. In it, she is trying to tell him that, even though their marriage is forbidden (sort of a Romeo and Juliet thing) because the man she wants to marry (Rinnucio) is now poor (because no money was left for him from a recently deceased relative's will), she will marry him anyway, or will kill herself.
Want to know what happens after the aria? Well, Lauretta's father, G. Schicchi, impersonates the dead relative (because only a few know that he's dead) from behind a screen. He impersonates him so well that he persaudes the attending doctor to return later with a notary public to dictate a (new) will. When this is done, Schicchi re-allocates the relative's wealth to the rest of the family and many valuable items to himself. These valuable items can be his daughter's dowry and she is now free to marry Rinnucio.
A man named Gianni Schicchi also appears in Dante's Inferno. Virgil and Dante find him in the Circle of Impersonators, in the Eighth Circle of Hell. It's a good chance that this is where Puccini got his idea for the opera.
I would like to talk about the Rent/La Boheme relationship too, but that would be more than a nibble. Maybe another time!
I don't see it. His "low-brow, popular music"-ness, I mean. Granted, he may not be in the ranks of Beethoven, Bach, and Brahms (the 3 Big Bs), but he wrote some wonderful melodies.
Puccini (pronounced Poo-chee-nee) was born December 22, 1858 in Lucca, Tuscany, Italy, to a family with a long history in music. He died November 29, 1924. Best known for his operas, the most famous of these are La Boheme, Turandot (mentioned in a previous post; where the aria Nessun Dorma comes from), Madame Butterfly, and Tosca. A Broadway musical, Miss Saigon, is based on Madame Butterfly, and Rent (hugely popular Broadway show and, hugely popular movie based on the Broadway show) is based on La Boheme.
One of his arias I really enjoy (and persistantly try to play the piano) is O mio babbino caro (Oh My Dear Papa) is a soprano aria from the opera Gianni Schicchi. It is a beautiful melody sung by Lauretta to her father. In it, she is trying to tell him that, even though their marriage is forbidden (sort of a Romeo and Juliet thing) because the man she wants to marry (Rinnucio) is now poor (because no money was left for him from a recently deceased relative's will), she will marry him anyway, or will kill herself.
Want to know what happens after the aria? Well, Lauretta's father, G. Schicchi, impersonates the dead relative (because only a few know that he's dead) from behind a screen. He impersonates him so well that he persaudes the attending doctor to return later with a notary public to dictate a (new) will. When this is done, Schicchi re-allocates the relative's wealth to the rest of the family and many valuable items to himself. These valuable items can be his daughter's dowry and she is now free to marry Rinnucio.
A man named Gianni Schicchi also appears in Dante's Inferno. Virgil and Dante find him in the Circle of Impersonators, in the Eighth Circle of Hell. It's a good chance that this is where Puccini got his idea for the opera.
I would like to talk about the Rent/La Boheme relationship too, but that would be more than a nibble. Maybe another time!
Monday, March 28, 2011
Fame Zombie...errr, Monster
Today is Lady Gaga's birthday. She is now 25 years old. And a highly successful songwriter/performer. If you haven't heard of Gaga by now, you just aren't paying attention.
I usually just give a cursory glance to whoever the pop music flavour of the month is, but Gaga caught my attention. I saw her first on Saturday Night Live, performing "Paparazzi." Her fashion choices were a big factor in my initial interest in her. One day, though, I ran across a video of her as Stefani Germanotta (her real name) and she impressed me.
The pre-Gaga performance showed me that she really has chops. A good pianist who writes her own songs and sings well. This is in contrast to certain other pop music stars, who just sing what others write for them. This isn't neccessarily a bad thing, because it's not the worst thing to be a hired voice. After all, you still need talent to sing well, but it's just a tiny bit more impressive to be able to write your own stuff.
Gaga got her name by a texting accident (if you believe some sources) and a commentary on her singing and performance style (if you believe other sources).
Happy birthday Fame Monster!
I usually just give a cursory glance to whoever the pop music flavour of the month is, but Gaga caught my attention. I saw her first on Saturday Night Live, performing "Paparazzi." Her fashion choices were a big factor in my initial interest in her. One day, though, I ran across a video of her as Stefani Germanotta (her real name) and she impressed me.
The pre-Gaga performance showed me that she really has chops. A good pianist who writes her own songs and sings well. This is in contrast to certain other pop music stars, who just sing what others write for them. This isn't neccessarily a bad thing, because it's not the worst thing to be a hired voice. After all, you still need talent to sing well, but it's just a tiny bit more impressive to be able to write your own stuff.
Gaga got her name by a texting accident (if you believe some sources) and a commentary on her singing and performance style (if you believe other sources).
Happy birthday Fame Monster!
Sunday, March 27, 2011
Rahman (not the noodle)
Indian food is yummy. So yummy that I've found quasi-Indian food from the store when I can't get to a restaurant. One kind of Indian food I've gotten a couple of times is currently offering CDs of Indian music with the foods. The second CD I've gotten (it's all random) features music of A.R. Rahman. Rahman has been dubbed the "Mozart of the Madras," and his music has been featured in over 100 Bollywood films.
Rahman's music uses traditional tonalities of Indian music, but modernizes it by adding electronic dance beats, sampling and overdubbing, and other European and Western elements. It's always interesting when things I stumble on come full circle. His music is also heard in Slumdog Millionaire (great movie, by the way) a couple of years ago and in the recent 127 Hours. I did not know that. : )
Bollywood has always interested me. I guess enchanted is a better word. It's so hypnotic. The music and the dancing is hard to turn away from. Repetitious, rhythmic, charming, and very high-energy. In college I ran across an Indian movie on TV. I tried to get the title, but with no grasp of Hindi, that didn't work. Then, I tried to search for it later, figuring that there couldn't be that many...WRONG! Bollywood turns out more movies per year than Hollywood (and is actually only a part of Indian cinema). It is based out of Mumbai, Maharashtra, India, and produces mostly musicals, and that is where A. R. Rahman fits in.
Rahman's music uses traditional tonalities of Indian music, but modernizes it by adding electronic dance beats, sampling and overdubbing, and other European and Western elements. It's always interesting when things I stumble on come full circle. His music is also heard in Slumdog Millionaire (great movie, by the way) a couple of years ago and in the recent 127 Hours. I did not know that. : )
Bollywood has always interested me. I guess enchanted is a better word. It's so hypnotic. The music and the dancing is hard to turn away from. Repetitious, rhythmic, charming, and very high-energy. In college I ran across an Indian movie on TV. I tried to get the title, but with no grasp of Hindi, that didn't work. Then, I tried to search for it later, figuring that there couldn't be that many...WRONG! Bollywood turns out more movies per year than Hollywood (and is actually only a part of Indian cinema). It is based out of Mumbai, Maharashtra, India, and produces mostly musicals, and that is where A. R. Rahman fits in.
Saturday, March 26, 2011
What's the name of that song?!
There have been a few occasions where I've heard snippets of a piece of music and it won't leave my head until I track down the title and artist/composer. This may have happened to you, too.
The first occasion of this that I can remember was when I was watching an episode of "House." Dr. House is trying to come up with a diagnosis for his patient-of-the-week with his team by listening to the sounds of the patient's heart. They are in a locker room because the acoustics are better. Before and after the team comes in to hear the heart sounds, House is listening to an aria sung by a tenor. Only a small part of the aria was played, but it was the best part and I really liked it. Then I had that part stuck in my head for days.
Do you know how frustrating it is to have an unknown tune stuck in your head?!
I asked a few singers (well, sung the melody to them) who didn't know for sure, but somewhere along the line I figured out that it was sung by Luciano Pavarotti, the famous tenor. I don't speak Italian so I couldn't look up the lyrics. So, in desperation, I went to the book store and got a CD of Pavarotti's "Greatest Hits." I was fully prepared to listen to the whole damn thing to find this melody.
Turns out it was the first track (huzzah!) and it was an aria from Puccini's Turandot (an opera) called Nessun dorma. This piece is worth listening to. A few times. Or more. It starts off simply, but swells at the end to a divine combination of an emotionally-charged high note from the tenor and full, rich chords from the orchestra. Even though it was written before 1926, it sounds like something that could have been written ten years ago. It's now one of my favourite pieces.
Another song I just had to get out of my head (and into the CD player of my car. Hahaha) was first heard while browsing around a neat, Indie shop in Iowa City. The music they were playing featured a woman's voice accompanied by harp. To me, she sounded odd, vocally. A bit like a cross between Mae Questal and Lisa Simpson. Another customer was in the store at the same time and started commenting on the song with the clerk. All I managed to catch from the conversation was the name Newsom.
Yay for the Interwebs! To track this one down I went to Google and searched "harp Newsom" and the results came back with Joanna Newsom. But then I wanted to find the song that caught my attention while in the store. So, YouTube to the rescue, I searched her and, because it was one of her more popular tunes, was able to hear Cosmia, from her "Ys" album. Her music is interesting. She uses lots of polyrhythms (more than one rhythm at a time) and has an unusual way of phrasing her lyrics, which read like epic poems. Plus, she accompanies herself on a pedal harp, which can be a refreshing sound after hearing nothing but guitars everywhere else.
With some resourcefulness (and an open ear), it's possible to find good music from nowhere!
The first occasion of this that I can remember was when I was watching an episode of "House." Dr. House is trying to come up with a diagnosis for his patient-of-the-week with his team by listening to the sounds of the patient's heart. They are in a locker room because the acoustics are better. Before and after the team comes in to hear the heart sounds, House is listening to an aria sung by a tenor. Only a small part of the aria was played, but it was the best part and I really liked it. Then I had that part stuck in my head for days.
Do you know how frustrating it is to have an unknown tune stuck in your head?!
I asked a few singers (well, sung the melody to them) who didn't know for sure, but somewhere along the line I figured out that it was sung by Luciano Pavarotti, the famous tenor. I don't speak Italian so I couldn't look up the lyrics. So, in desperation, I went to the book store and got a CD of Pavarotti's "Greatest Hits." I was fully prepared to listen to the whole damn thing to find this melody.
Turns out it was the first track (huzzah!) and it was an aria from Puccini's Turandot (an opera) called Nessun dorma. This piece is worth listening to. A few times. Or more. It starts off simply, but swells at the end to a divine combination of an emotionally-charged high note from the tenor and full, rich chords from the orchestra. Even though it was written before 1926, it sounds like something that could have been written ten years ago. It's now one of my favourite pieces.
Another song I just had to get out of my head (and into the CD player of my car. Hahaha) was first heard while browsing around a neat, Indie shop in Iowa City. The music they were playing featured a woman's voice accompanied by harp. To me, she sounded odd, vocally. A bit like a cross between Mae Questal and Lisa Simpson. Another customer was in the store at the same time and started commenting on the song with the clerk. All I managed to catch from the conversation was the name Newsom.
Yay for the Interwebs! To track this one down I went to Google and searched "harp Newsom" and the results came back with Joanna Newsom. But then I wanted to find the song that caught my attention while in the store. So, YouTube to the rescue, I searched her and, because it was one of her more popular tunes, was able to hear Cosmia, from her "Ys" album. Her music is interesting. She uses lots of polyrhythms (more than one rhythm at a time) and has an unusual way of phrasing her lyrics, which read like epic poems. Plus, she accompanies herself on a pedal harp, which can be a refreshing sound after hearing nothing but guitars everywhere else.
With some resourcefulness (and an open ear), it's possible to find good music from nowhere!
Friday, March 25, 2011
"Go away"
Philosophy hour here at Music Zombie. Is it really possible to separate the music from the musician? Are you endorsing an artist's off-stage, down-time activities and opinions just by listening to their music or buying their CDs? (or is it downloading MP3s now? I'm afraid I might be a bit behind the times.)
Take Richard Wagner. I really enjoy his music, but he was a bit of a jerk (to say the least). Before I was made aware of his personal traits, I didn't really give it much thought. I just enjoyed listening to the "Tannhauser" or "Lohengrin." I still enjoy his music, incidentally, even after learning about his discretions. You like what you like.
Similarly, the allegations against Michael Jackson put those who like and appreciate his musical contributions into a delicate spot. Am I endorsing his wacky-ness just by dancing like a zombie everytime I hear "Thriller"? I don't think so. I think it is possible to separate the producer from the product. I guess the litmus test would be: If you knew nothing about the artist in question, would you still listen to their music? And do you still honestly enjoy the music even after you learn something about that artist?
For my current research project I've been reading a lot about Artie Shaw (including his unusual, highly philosophical autobiography, The Trouble With Cinderella: An Outline of Identity,) which is why I started thinking about this to begin with. Shaw was, self-admittedly, difficult.
When he was in his 90s, Shaw declared his epitaph (at the request of editors at Who's Who in America) to be: "He did the best he could with the material at hand." Later, at a college campus lecture to music students, he is reported to have said that he had shortened the epitaph down to two words: "Go away."
Not exactly warm and fuzzy. But he sure could swing.
Take Richard Wagner. I really enjoy his music, but he was a bit of a jerk (to say the least). Before I was made aware of his personal traits, I didn't really give it much thought. I just enjoyed listening to the "Tannhauser" or "Lohengrin." I still enjoy his music, incidentally, even after learning about his discretions. You like what you like.
Similarly, the allegations against Michael Jackson put those who like and appreciate his musical contributions into a delicate spot. Am I endorsing his wacky-ness just by dancing like a zombie everytime I hear "Thriller"? I don't think so. I think it is possible to separate the producer from the product. I guess the litmus test would be: If you knew nothing about the artist in question, would you still listen to their music? And do you still honestly enjoy the music even after you learn something about that artist?
For my current research project I've been reading a lot about Artie Shaw (including his unusual, highly philosophical autobiography, The Trouble With Cinderella: An Outline of Identity,) which is why I started thinking about this to begin with. Shaw was, self-admittedly, difficult.
When he was in his 90s, Shaw declared his epitaph (at the request of editors at Who's Who in America) to be: "He did the best he could with the material at hand." Later, at a college campus lecture to music students, he is reported to have said that he had shortened the epitaph down to two words: "Go away."
Not exactly warm and fuzzy. But he sure could swing.
Thursday, March 24, 2011
A day in my life
Drove to Iowa City this morning thinking about "A Day in the Life" by The Beatles. Not really sure what prompted this, but it really is an amazing song.
I've actually thought about this song a lot before now. It's one of a few songs that gets me a bit emotional just thinking about it. If you're not sure which song I'm referring to, it's the last track on the "Sgt Pepper's Lonely Hearts Club Band" (1967) album, and the song is still given plenty of radio play on classic rock stations.
The song is actually a smash up of two songs written independantly by John Lennon and Paul McCartney. The beginning of the song, "I heard the news today, oh boy", is from Lennon's reference to a news story about the death of a close friend of his. The second, faster section comes from McCartney's memories of his youth. There are some speculation of drug references with the line "I'd love to turn you on", and this line actually resulted in the song being banned by the BBC.
The parts that really get me, though, are the orchestral additions. These parts were added after the two parts were written and they form a perfect bridge between them. The massive crescendo happens twice, first as a bridge between Lennon's and McCartney's contributions. I've listened to this first crescendo carefully, trying to figure out how it happens. Yes, it is a real crescendo, where it starts softly and gets louder and louder, but there is a rhythmic element too. Part of the strings are playing slow rhythm patterns, while the upper voices add to it, playing patterns that are twice as fast. While all of this is happening the music ascends chromatically (by half steps), stair-stepping its way up until...Paul's part jumps in with an alarm clock. "Woke up, fell out of bed."
Paul's part is more narrative, describing his morning routine (it is a bit disjointed though). After he "went into a dream" there is a reference again to the opening section's vocalisation. The crescendo returns....
Originally envisioning a 90-piece orchestra (this is massive), The Beatles finally settled on extensive overdubbing with the musicians they had to work with. The crescendo comes back to finish the song, and ends with one of the most amazing final chords in pop music history (in my humble opinion). It's like the world explodes into (to borrow a line from Carlos Castaneda) "a thousand views of the world."
This chord is produced by five players pounding E major chords simultaneously on pianos. The effect is most impressive after the beat of silence given after the final crescendo from the strings. This moment, where you think the piece is over, provides a brilliant contrast to the piano chord that crashes everything back down to earth, while, at the same time, exploding the universe open into a glittering fireworks display.
Well, this is what happens in my mind's eye. And, to me, it's one of the most beautiful things I've ever seen.
I've actually thought about this song a lot before now. It's one of a few songs that gets me a bit emotional just thinking about it. If you're not sure which song I'm referring to, it's the last track on the "Sgt Pepper's Lonely Hearts Club Band" (1967) album, and the song is still given plenty of radio play on classic rock stations.
The song is actually a smash up of two songs written independantly by John Lennon and Paul McCartney. The beginning of the song, "I heard the news today, oh boy", is from Lennon's reference to a news story about the death of a close friend of his. The second, faster section comes from McCartney's memories of his youth. There are some speculation of drug references with the line "I'd love to turn you on", and this line actually resulted in the song being banned by the BBC.
The parts that really get me, though, are the orchestral additions. These parts were added after the two parts were written and they form a perfect bridge between them. The massive crescendo happens twice, first as a bridge between Lennon's and McCartney's contributions. I've listened to this first crescendo carefully, trying to figure out how it happens. Yes, it is a real crescendo, where it starts softly and gets louder and louder, but there is a rhythmic element too. Part of the strings are playing slow rhythm patterns, while the upper voices add to it, playing patterns that are twice as fast. While all of this is happening the music ascends chromatically (by half steps), stair-stepping its way up until...Paul's part jumps in with an alarm clock. "Woke up, fell out of bed."
Paul's part is more narrative, describing his morning routine (it is a bit disjointed though). After he "went into a dream" there is a reference again to the opening section's vocalisation. The crescendo returns....
Originally envisioning a 90-piece orchestra (this is massive), The Beatles finally settled on extensive overdubbing with the musicians they had to work with. The crescendo comes back to finish the song, and ends with one of the most amazing final chords in pop music history (in my humble opinion). It's like the world explodes into (to borrow a line from Carlos Castaneda) "a thousand views of the world."
This chord is produced by five players pounding E major chords simultaneously on pianos. The effect is most impressive after the beat of silence given after the final crescendo from the strings. This moment, where you think the piece is over, provides a brilliant contrast to the piano chord that crashes everything back down to earth, while, at the same time, exploding the universe open into a glittering fireworks display.
Well, this is what happens in my mind's eye. And, to me, it's one of the most beautiful things I've ever seen.
Wednesday, March 23, 2011
By any other name...
Lots of musicians change their name for the biz...
Arthur Jacob Arshawsky = Artie Shaw
Joannes Chrysostomus Wolfgangus Theophilus Mozart = Wolfgang Amadeus Mozart (who, incidentally, never actually went by the name of Wolfgang Amadeus Mozart)
Frances Ethel Gumm = Judy Garland
Woodrow Charles Thomas Herman = Woody Herman
Reginald Dwight = Elton John
Gordon Sumner = Sting
Marvin Aday = Meat Loaf
Robert Zimmerman = Bob Dylan
Virginia Hensley = Patsy Cline
Stefani Germanotta = Lady Gaga
Arthur Jacob Arshawsky = Artie Shaw
Joannes Chrysostomus Wolfgangus Theophilus Mozart = Wolfgang Amadeus Mozart (who, incidentally, never actually went by the name of Wolfgang Amadeus Mozart)
Frances Ethel Gumm = Judy Garland
Woodrow Charles Thomas Herman = Woody Herman
Reginald Dwight = Elton John
Gordon Sumner = Sting
Marvin Aday = Meat Loaf
Robert Zimmerman = Bob Dylan
Virginia Hensley = Patsy Cline
Stefani Germanotta = Lady Gaga
Tuesday, March 22, 2011
I get doubler's pay, right?!
For a piece in band at school, the clarinet section is directed to play an Irish melody on tinwhistles. After some noodling around, I've figured out how to play the part. They are surprisingly intuitive. After establishing where the scale was (these whistles are diatonic {based on a single scale}), I was able to pick out the melody starting on the right pitch.
A bit about these little whistles:
According to the Clarke Tinwhistle Company website, a man named Robert Clarke, in Coney Weston, England, designed and developed a whistle made of a new material known as "tinplate." Clarke met visiting Irish laborers who bought his instruments and took them home. It soon gained popularity among Irish people and found a way into the country's music.
Generally speaking though, penny whistles are even older, and are descended from whistles called fipple flutes. I think fipple refers to the type of mouthpiece. These instruments date back as far as Neanderthal times (32,000-33,000 years ago).
I think I'll try to learn some other tunes, too. Doot do doot do doooo!
A bit about these little whistles:
According to the Clarke Tinwhistle Company website, a man named Robert Clarke, in Coney Weston, England, designed and developed a whistle made of a new material known as "tinplate." Clarke met visiting Irish laborers who bought his instruments and took them home. It soon gained popularity among Irish people and found a way into the country's music.
Generally speaking though, penny whistles are even older, and are descended from whistles called fipple flutes. I think fipple refers to the type of mouthpiece. These instruments date back as far as Neanderthal times (32,000-33,000 years ago).
I think I'll try to learn some other tunes, too. Doot do doot do doooo!
Monday, March 21, 2011
The Zombie post
I like zombies. I like watching movies about them. I like reading about them. I like playing video games about plants fighting off zombies. They are funny to me. On one occasion, I watched a zombie movie before bedtime and had zombie-filled dreams. Anyway.
The reason I bring this up is because I use zombies in my teaching.
The zombies come in when we are playing along in a duet or the student is playing something out of their lesson book or an etude. Because we are all fallible human people, with not-so-perfect brains (braaaaaaains!) a student will sometimes play in a rest.
My high school band director had a habit of telling us to "not step in a hole", by which he meant: don't play in the rest (a 'rest' is the musical symbol that means "don't make sound here"). I tell my students the same thing, but add that there are zombies living (un-living?) in the rests and by stepping in them, they will have their brains eaten out.
This silliness does a couple of things. First, it keeps the lesson from becoming too dreary or serious and (usually) makes the student smile or laugh. Second, it makes their braaaaaaaaains associate the rests with something novel and unique. Something that they need to remember to do.
My zombie trick seems to work for me, and now I just need to say "zombie" to a knowing student who accidentally plays in a rest and they know exactly what happened and how they can fix the mistake. Pavlovian zombies?
The reason I bring this up is because I use zombies in my teaching.
My high school band director had a habit of telling us to "not step in a hole", by which he meant: don't play in the rest (a 'rest' is the musical symbol that means "don't make sound here"). I tell my students the same thing, but add that there are zombies living (un-living?) in the rests and by stepping in them, they will have their brains eaten out.
This silliness does a couple of things. First, it keeps the lesson from becoming too dreary or serious and (usually) makes the student smile or laugh. Second, it makes their braaaaaaaaains associate the rests with something novel and unique. Something that they need to remember to do.
My zombie trick seems to work for me, and now I just need to say "zombie" to a knowing student who accidentally plays in a rest and they know exactly what happened and how they can fix the mistake. Pavlovian zombies?
What do all of those symbols mean? Part 1
Music notation can look intimidating to many people. To the uninitiated, it appears to be a cross between code and a foreign language. In a way, it's both of these things.
The noteheads are the black dots. They are placed on the staff (the five stacked and spaced lines). Each line and space are given pitch denotions. For example, the lowest line in treble clef is called the E line and the lowest space is called F.
The symbols to the far left of a line of music are called clefs. They tell the musician what range of the pitch spectrum the music will be in. The bass clef, for example, will mostly be below middle C on the piano. Low to very low stuff. Treble clef is for notes in the higher range. There is also a C, or moveable, clef that can be positioned at different places on the staff. Wherever the pointer of the moveable clef is pointed to is where "C" is, and the other note names are repositioned in relation to C.
The noteheads are the black dots. They are placed on the staff (the five stacked and spaced lines). Each line and space are given pitch denotions. For example, the lowest line in treble clef is called the E line and the lowest space is called F.
The symbols to the far left of a line of music are called clefs. They tell the musician what range of the pitch spectrum the music will be in. The bass clef, for example, will mostly be below middle C on the piano. Low to very low stuff. Treble clef is for notes in the higher range. There is also a C, or moveable, clef that can be positioned at different places on the staff. Wherever the pointer of the moveable clef is pointed to is where "C" is, and the other note names are repositioned in relation to C.
The clefs themselves are kind of neat. The Treble clef started out as a loopy-looking G (it's still referred to as the G clef). Over time, it evolved to what it is today, but if you look closely the bottom loop swirls around the G line (remember that each line and space refers to a note name/pitch).
The Bass clef is sometimes referred to as the F clef. If you use your imagination, and connect the two dots to the c-shape, it kind of takes on the shape of an F. The two dots are above and below the F line in bass clef.
Saturday, March 19, 2011
Dark Side of the SuperMoon
In honor of tonight's "supermoon" (the moon will be at its closest to the Earth) I was thinking about songs about the moon. Lots of good ones: "Blue Moon", "Moon River", "Blue Moon of Kentucky", "Fly Me to the Moon", "Shine On Harvest Moon." But the one I particularly like is Pink Floyd's "Dark Side of the Moon" (okay, not really a song, but a whole album.)
This album is incredible. The songs sort of melt into one another, but each one is unique. "Brain Damage" always catches my ear. The lyrics, particularly. It talks about "the lunatic" on the grass, in the hall, in "my head" (where the singer chuckles, the lunatic laughing?). One line goes: "You raise the blade, you make the change, you rearrange me till I'm sane." Lobotomy, perhaps? Another great line: "There's someone in my head, but it's not me." At the end of the song the lunatic is chuckling again. Laughing at us, I suppose.
This song is sometimes mistakenly called "The Dark Side of the Moon" due to this line returning in the lyrics. It goes directly into the next song on the album, "Eclipse," even on radio play, so it is sometimes believed that the two are acutally one song. (Queen's "We Will Rock You" and "We Are the Champions" are also two separate songs, but are often played together.)
"Money" is in 7/4 time (each measure has 7 beats), later going into 4/4 for the guitar solo. And it was made before digital assistance. So the artist had to clip and paste every single cash register sound together just right to get the rhythm correct. Amazing.
This album is incredible. The songs sort of melt into one another, but each one is unique. "Brain Damage" always catches my ear. The lyrics, particularly. It talks about "the lunatic" on the grass, in the hall, in "my head" (where the singer chuckles, the lunatic laughing?). One line goes: "You raise the blade, you make the change, you rearrange me till I'm sane." Lobotomy, perhaps? Another great line: "There's someone in my head, but it's not me." At the end of the song the lunatic is chuckling again. Laughing at us, I suppose.
This song is sometimes mistakenly called "The Dark Side of the Moon" due to this line returning in the lyrics. It goes directly into the next song on the album, "Eclipse," even on radio play, so it is sometimes believed that the two are acutally one song. (Queen's "We Will Rock You" and "We Are the Champions" are also two separate songs, but are often played together.)
"Money" is in 7/4 time (each measure has 7 beats), later going into 4/4 for the guitar solo. And it was made before digital assistance. So the artist had to clip and paste every single cash register sound together just right to get the rhythm correct. Amazing.
Guitar done
Guitars. You see them everywhere. Even I have a mini-Martin acoustic (that doesn't get played as much as it should...)
Because you see them so often, maybe you don't realize what's going on when someone plays one. Acoustic guitars are the guitars you see at campfires or college campuses (or anywhere electricity is not, really). They are hollow, have six strings, a fretted fingerboard, and some type of sound hole. The hole can be just a round hole (most common) between the fingerboard and the bridge (where the ends of the strings are attached) or several smaller holes arranged around the fingerboard. They can even be shaped like the f-holes like you see on violins and cellos. The hollow body of the guitar acts as a resonator and helps to make the sounds of the vibrating strings (because sound is made by vibrations!) louder.
Electric guitars use electricity (of course) to power the pickups (that usually consist of some kind of magnet wrapped in copper wires) which, in turn, transform the signal into another kind of signal that can be amplified or recorded. Basically, the pickups take the sound vibrations and turn them into an alternating current that can be sent through a cable. Once the current is past the pickups it can be sent through amplifiers, distortion pedals, tuners, recorders, and in some cases, a preamplifier, that strengthens a low-level signal.
There are also guitars known as acoustic-electric guitars. These guitars are made like acoustic guitars but have pickups and electronics installed to allow the player to send the sound through pedals or amps. Sort of a hybrid.
The standard tuning of guitars, from low to high, is E A D G B E. I remember this with this mnemonic: Every Ant Did Good But Ernie. Some guitars players retune their guitars to help with chord fingerings or to change the sound.
Because you see them so often, maybe you don't realize what's going on when someone plays one. Acoustic guitars are the guitars you see at campfires or college campuses (or anywhere electricity is not, really). They are hollow, have six strings, a fretted fingerboard, and some type of sound hole. The hole can be just a round hole (most common) between the fingerboard and the bridge (where the ends of the strings are attached) or several smaller holes arranged around the fingerboard. They can even be shaped like the f-holes like you see on violins and cellos. The hollow body of the guitar acts as a resonator and helps to make the sounds of the vibrating strings (because sound is made by vibrations!) louder.
Electric guitars use electricity (of course) to power the pickups (that usually consist of some kind of magnet wrapped in copper wires) which, in turn, transform the signal into another kind of signal that can be amplified or recorded. Basically, the pickups take the sound vibrations and turn them into an alternating current that can be sent through a cable. Once the current is past the pickups it can be sent through amplifiers, distortion pedals, tuners, recorders, and in some cases, a preamplifier, that strengthens a low-level signal.
There are also guitars known as acoustic-electric guitars. These guitars are made like acoustic guitars but have pickups and electronics installed to allow the player to send the sound through pedals or amps. Sort of a hybrid.
The standard tuning of guitars, from low to high, is E A D G B E. I remember this with this mnemonic: Every Ant Did Good But Ernie. Some guitars players retune their guitars to help with chord fingerings or to change the sound.
Friday, March 18, 2011
Harps on my mind
Thinking about harps today. I've been tuning the new pedal harps at the store where I work. Not too bad of a job, once you get used to it. Pedal harps (all harps really) are interesting.
Surprisingly simple in construction, too. Well, relatively speaking. They are simple compared to a flute or clarinet, but pedal harps are mechanically very straight-forward. With a lever harp, the strings are tuned diatonically and the sharping levers can raise the pitch of its corresponding string by a half step. So, if your harp is tuned to C major, raising all of the levers over the F strings will give you a harp in the key of G major. To get flat keys will take some creativity and sometimes some re-tuning of the strings.
A pedal harp basically does the same thing, but the foot pedals are linked to discs at the top of the harp that turn to raise the pitch of the strings. Pedals are much faster at changing key or pitch, and mechanically very different than lever harps. Each pedal changes the pitch of all octaves of a particular pitch. For example, the F pedal will change the pitch of all of the F strings (all at once too, a definite advantage over levers, which need to be flipped manually by the player, sometimes while playing.)
Depending on the highness or lowness of the string (its pitch) they are made of steel wound wires, natural gut, or nylon. A unique harper's knot is tied at one end and a spline (a short piece of heavy gauge string, usually) is inserted into the knot to keep it from being pulled through the soundboard.
Tuning of the harp isn't especially complicated, but it can be time-consuming. A tuning key, designed to turn the pins at the top of the harp, is used to tighten or loosen the strings. Similar to guitar or orchestra instruments, turning the string to a tighter tension will raise the pitch and loosening it will lower the pitch.
Surprisingly simple in construction, too. Well, relatively speaking. They are simple compared to a flute or clarinet, but pedal harps are mechanically very straight-forward. With a lever harp, the strings are tuned diatonically and the sharping levers can raise the pitch of its corresponding string by a half step. So, if your harp is tuned to C major, raising all of the levers over the F strings will give you a harp in the key of G major. To get flat keys will take some creativity and sometimes some re-tuning of the strings.
A pedal harp basically does the same thing, but the foot pedals are linked to discs at the top of the harp that turn to raise the pitch of the strings. Pedals are much faster at changing key or pitch, and mechanically very different than lever harps. Each pedal changes the pitch of all octaves of a particular pitch. For example, the F pedal will change the pitch of all of the F strings (all at once too, a definite advantage over levers, which need to be flipped manually by the player, sometimes while playing.)
Depending on the highness or lowness of the string (its pitch) they are made of steel wound wires, natural gut, or nylon. A unique harper's knot is tied at one end and a spline (a short piece of heavy gauge string, usually) is inserted into the knot to keep it from being pulled through the soundboard.
Tuning of the harp isn't especially complicated, but it can be time-consuming. A tuning key, designed to turn the pins at the top of the harp, is used to tighten or loosen the strings. Similar to guitar or orchestra instruments, turning the string to a tighter tension will raise the pitch and loosening it will lower the pitch.
Thursday, March 17, 2011
Woody's Thundering Herds
I'm working on a project for a research methods class at grad school. My chosen topic is to compare and contrast the playing and performance styles of Benny Goodman, Artie Shaw, and Woody Herman. I know least about Herman, so I've been brushing up my knowledge.
Born Woodrow Charles Thomas Herrmann, May 16, 1913. Died October 29, 1987. He was a clarinet player, but got started in big bands as an alto saxophonist. He was encouraged by an early teacher to learn clarinet as well (YAY FOR DOUBLERS!!) In 1934 he joined a group led by Isham Jones, reported to be one of the best dance bands in the country. Eventually Jones gave up the bandleader gig and Woody took over the music. The first Herd ran from 1936-1946. A Second, Third and a Swinging Herd followed.
Herman's Thundering Herds remained popular and relevant for many years and Woody continued to play well into his older years. Some of his most well-known tunes include "At the Woodchopper's Ball", "Four Brothers" (a saxophone feature), and "Apple Honey."
Woody grew up in and around Milwaukee, WI, somewhere I plan to visit for a few days this summer. I'll have to search for some Herman points of interest.
Born Woodrow Charles Thomas Herrmann, May 16, 1913. Died October 29, 1987. He was a clarinet player, but got started in big bands as an alto saxophonist. He was encouraged by an early teacher to learn clarinet as well (YAY FOR DOUBLERS!!) In 1934 he joined a group led by Isham Jones, reported to be one of the best dance bands in the country. Eventually Jones gave up the bandleader gig and Woody took over the music. The first Herd ran from 1936-1946. A Second, Third and a Swinging Herd followed.
Herman's Thundering Herds remained popular and relevant for many years and Woody continued to play well into his older years. Some of his most well-known tunes include "At the Woodchopper's Ball", "Four Brothers" (a saxophone feature), and "Apple Honey."
Woody grew up in and around Milwaukee, WI, somewhere I plan to visit for a few days this summer. I'll have to search for some Herman points of interest.
Tuesday, March 15, 2011
Trombones hurt my brain
Trombones are non-transposing. But they are Bb instruments. But they read in C. Errrrmmmm....
Let me explain my confusion. Bb instruments need to transpose their music up a step to be able to match pitch with non-transposing instruments. For example, the Bb trumpet (or clarinet, or tenor saxophone) produces the absolute pitch of Bb when playing (their) C. So, for these instruments to sound in the correct pitch, their music is written up by step, so that the sound coming out of the instrument matches the absolute (concert) pitch. In other words, when these instruments play C the actual note that comes out of the horn is a Bb. And so on.
Trombones, as I understand it, read bass clef and their music is written in concert (absolute) pitch. But they are considered Bb instruments. The mind boggles.
Also, the people who play trombones really should not be referred to as "tromboners." I think they prefer to be called trombonists or trombone players.
Let me explain my confusion. Bb instruments need to transpose their music up a step to be able to match pitch with non-transposing instruments. For example, the Bb trumpet (or clarinet, or tenor saxophone) produces the absolute pitch of Bb when playing (their) C. So, for these instruments to sound in the correct pitch, their music is written up by step, so that the sound coming out of the instrument matches the absolute (concert) pitch. In other words, when these instruments play C the actual note that comes out of the horn is a Bb. And so on.
Trombones, as I understand it, read bass clef and their music is written in concert (absolute) pitch. But they are considered Bb instruments. The mind boggles.
Also, the people who play trombones really should not be referred to as "tromboners." I think they prefer to be called trombonists or trombone players.
Monday, March 14, 2011
Adventures in instrument naming
The French horn is not French. It's German. (And, most horn players will refer to their instruments as simply the horn.)
The English horn is not a horn and it is actually French. The name comes from a corruption of the original name of cor anglais. Cor anglais actually is French for English horn (to further confuse matters) but the shape of the instrument reminded people of the "angelic horns" in religious paintings of the Middle Ages. Engellisches Horn gave way to English horn and, for lack of a better alternative, the name stuck. Well, they probably could have come up with a more original name, but I suppose they had other things to do.
The clarinet is named for the range it plays in (the clarion register) of a trumpet at the time of its development.
"Oboe" comes from the French hautbois, which means "high wood."
In French, paperclips are called "trombones" (but that, admittedly, has nothing to do with how the instrument was named. I just find that funny. :) "Trombone" comes from the Italian tromba, meaning trumpet and -one, which means large. => Large trumpet.
Saxophones are named after their inventor, Belgian instrument designer Adolphe Sax.
Sousaphones are named for John Phillip Sousa (the March King) who helped with the design of a marching tuba.
String basses aren't just big violins. They actually come from a different family of instruments known as gambas. They are also tuned differently, in fourths instead of fifths like the violin, viola, and cello.
The English horn is not a horn and it is actually French. The name comes from a corruption of the original name of cor anglais. Cor anglais actually is French for English horn (to further confuse matters) but the shape of the instrument reminded people of the "angelic horns" in religious paintings of the Middle Ages. Engellisches Horn gave way to English horn and, for lack of a better alternative, the name stuck. Well, they probably could have come up with a more original name, but I suppose they had other things to do.
The clarinet is named for the range it plays in (the clarion register) of a trumpet at the time of its development.
"Oboe" comes from the French hautbois, which means "high wood."
In French, paperclips are called "trombones" (but that, admittedly, has nothing to do with how the instrument was named. I just find that funny. :) "Trombone" comes from the Italian tromba, meaning trumpet and -one, which means large. => Large trumpet.
Saxophones are named after their inventor, Belgian instrument designer Adolphe Sax.
Sousaphones are named for John Phillip Sousa (the March King) who helped with the design of a marching tuba.
String basses aren't just big violins. They actually come from a different family of instruments known as gambas. They are also tuned differently, in fourths instead of fifths like the violin, viola, and cello.
Berlioz, oh Berlioz
Symphonie Fantastique:Episode de la vie d'un Artiste...en cinq parties (1830)
Hector Berlioz (1803-1869) wrote this piece as a semi-autobiographical work about a young artist who is madly in love with a woman he can not have. The woman, the object of his desire, is represented throughout the work by a idee fixe. An idee fixe is a small musical idea, usually a phrase or just a sketch of an idea, that is used to represent people, objects or an emotion. Throughout the Fantastique's five movements the woman makes an appearance.
The fourth movement, Marche au Supplice (March to the Scaffold) describes a dream brought on by the artist's ingestion of a dose of opium. In his dream (a nightmare, really) the artist is accused of murdering his beloved and his sentenced to death by guillotine. The music marches him along, through the cheering crowd, to his death. Just before the blade comes down, the artist sees his beloved (here played by a clarinet). The clarinet's solo plaintively sings out to the artist, calling to him--and is cut short by the drop of the blade! The resulting pizzicato (plucked) sounds we hear is the artist's head dropping down the steps. After a beat, the audience is heard cheering enthusiastically. What brilliant composing!
Hector Berlioz (1803-1869) wrote this piece as a semi-autobiographical work about a young artist who is madly in love with a woman he can not have. The woman, the object of his desire, is represented throughout the work by a idee fixe. An idee fixe is a small musical idea, usually a phrase or just a sketch of an idea, that is used to represent people, objects or an emotion. Throughout the Fantastique's five movements the woman makes an appearance.
The fourth movement, Marche au Supplice (March to the Scaffold) describes a dream brought on by the artist's ingestion of a dose of opium. In his dream (a nightmare, really) the artist is accused of murdering his beloved and his sentenced to death by guillotine. The music marches him along, through the cheering crowd, to his death. Just before the blade comes down, the artist sees his beloved (here played by a clarinet). The clarinet's solo plaintively sings out to the artist, calling to him--and is cut short by the drop of the blade! The resulting pizzicato (plucked) sounds we hear is the artist's head dropping down the steps. After a beat, the audience is heard cheering enthusiastically. What brilliant composing!
Saturday, March 12, 2011
The DMB post Part 2
I realized that in the first Dave Matthews Band post I didn't offer much in the way of musical information. So....
1. Dave Matthews is originally from South Africa, he met the rest of the guys while bartending at a bar called Millers in Charlottesville, VA.
2. The original members are: Boyd Tinsley (violin), Stefan Lessard (bass), Carter Beauford (drums), LeRoi Moore (saxophone/flute), Dave Matthews (guitar and vocals).
3. Their success is unique because they gained most of their audience by touring and word of mouth before being signed on by a major label. By the time they did sign on with RCA, they already had a huge fan base.
4. When Moore was injured in the summer of 2008, Jeff Coffin of Bela Fleck and the Flecktones filled in while Moore recovered. Sadly, Moore died as a result of his injuries and Coffin has become a permanent member of the band.
5. The band tours tirelessly, only just this year taking a year off. It has become one of the top earning touring groups of the past decade, but still donates a large portion of its earnings to worthy causes and charities.
1. Dave Matthews is originally from South Africa, he met the rest of the guys while bartending at a bar called Millers in Charlottesville, VA.
2. The original members are: Boyd Tinsley (violin), Stefan Lessard (bass), Carter Beauford (drums), LeRoi Moore (saxophone/flute), Dave Matthews (guitar and vocals).
3. Their success is unique because they gained most of their audience by touring and word of mouth before being signed on by a major label. By the time they did sign on with RCA, they already had a huge fan base.
4. When Moore was injured in the summer of 2008, Jeff Coffin of Bela Fleck and the Flecktones filled in while Moore recovered. Sadly, Moore died as a result of his injuries and Coffin has become a permanent member of the band.
5. The band tours tirelessly, only just this year taking a year off. It has become one of the top earning touring groups of the past decade, but still donates a large portion of its earnings to worthy causes and charities.
Friday, March 11, 2011
Voyager's Golden Record
Last night I had a tragic dream about the Space Shuttle (it blew up), so I've had the space program on my mind all morning. Which got me thinking about the Voyager 1 space probe that was launched into outer space in the summer of 1977. The record is made of copper and plated in gold and contains a lot of information. Much of it is technical and scientific in nature, but the record also includes sounds of ocean waves, birdsong, and whales singing. It also has lots of music.
The music on the Golden Record was intended to show the diversity of our planet's humanity. There is music from India, China, Zaire, and Australia. Bach' Brandenburg Concerto No. 2 Mvmt 1 and Beethoven's Fifth Symphony are featured, and representing the U.S. is Chuck Berry's Johnny B. Goode and Melancholy Blues from Louis Armstrong and his Hot Seven. Stravinsky's Rite of Spring represents Russia and France, and an aria from Mozart's Die Zauberflote appears from Austria/Germany. Russian folk music and radio broadcasts are also included.
The music on the Golden Record was intended to show the diversity of our planet's humanity. There is music from India, China, Zaire, and Australia. Bach' Brandenburg Concerto No. 2 Mvmt 1 and Beethoven's Fifth Symphony are featured, and representing the U.S. is Chuck Berry's Johnny B. Goode and Melancholy Blues from Louis Armstrong and his Hot Seven. Stravinsky's Rite of Spring represents Russia and France, and an aria from Mozart's Die Zauberflote appears from Austria/Germany. Russian folk music and radio broadcasts are also included.
Thursday, March 10, 2011
The Obligatory Dave Matthews Band post
I love the Dave Matthews Band. I've been a casual fan since about 1999, but a serious fan since about 2002-ish. Not sure why the rabid-ness started. I guess one day I woke up and decided that the Band was the Man.
I found the first of my now large DMB CD collection in a thrift shop. Still not sure why I picked it up. I didn't know the band particuarly well. I didn't like it much that first listen. I didn't hate it, but I didn't love it either. After hearing more on the radio (they were getting a lot of radio play during this time) I finally started to pay more attention. Well, then I was hooked.
Now, I have a whole section of my CD collection dedicated to DMB stuff. Live releases, bonus discs from the Warehouse (fan club), studio releases, Dave's solo disc (very good, BTW), and the Dave and Tim collaboration CDs. Love them all. I even picked up an empty jewel case from the Under the Table and Dreaming album from a thrift store (the disc had been stolen) just because it was the older printed version of the cover art that had a picture of Dave's sister.
When LeRoi died in August of 2008, I sincerely felt a loss. Yes, weird; I'd never met the guy. But I appreciated his musical output and his contribution to the sound of a band that had become such a big part of my life. I suppose only other DMB fans would understand, but that's okay.
Music affects everyone in different ways. Whatever your opinion of this band, I'm sure you feel passionately about some other band or kind of music.
Now, I have a whole section of my CD collection dedicated to DMB stuff. Live releases, bonus discs from the Warehouse (fan club), studio releases, Dave's solo disc (very good, BTW), and the Dave and Tim collaboration CDs. Love them all. I even picked up an empty jewel case from the Under the Table and Dreaming album from a thrift store (the disc had been stolen) just because it was the older printed version of the cover art that had a picture of Dave's sister.
When LeRoi died in August of 2008, I sincerely felt a loss. Yes, weird; I'd never met the guy. But I appreciated his musical output and his contribution to the sound of a band that had become such a big part of my life. I suppose only other DMB fans would understand, but that's okay.
Music affects everyone in different ways. Whatever your opinion of this band, I'm sure you feel passionately about some other band or kind of music.
The Creature learns about Buddy Bolden
Still thinking about the early jazz in New Orleans. In the book I'm reading, New Orleans Jazz: A Revised History by R. Collins (Published 1996), I read about a cornet player and band-leader named Buddy Bolden. Something interesting about bands at that time that I didn't know: there were two kinds of dance bands in New Orleans at the turn of the century (I use that time frame broadly-between 1875-1910), Music bands, who used written charts or arrangements and whose members were skilled and highly trained musicians, and Faker bands, whose members may or may not have been trained musicians and primarily played by ear. Bolden's band was a Music band.
His band was made up of the typical line-up for dance bands at the time: violin on lead, clarinet and cornet to embellish the lead line, trombone to anchor the chords and string bass and guitar as rhythm. Bolden's band was a big success, but unfortunately, Bolden succumbed to mental illness and was eventually committed to an asylum, where he spent the rest of his life. But while they were hot, the band was known and admired for its musicianship and technical abilities. It was said they were the loudest band in New Orleans.
Bolden does maintain a legacy. He is one of the first names mentioned when discussing New Orleans jazz history. But, Bolden didn't invent jazz and the music his band played was more of the dance variety than pure jazz. In the never-ending search over who and where jazz really originated, though, he is as good a start as any.
Update, August 24, 2012: I attended a blues concert, headlined by Hugh Laurie. He talked a bit about Buddy Bolden. He mentioned that to this day, Bolden is considered one the greatest jazz musicians to have ever lived. Remarkable claim, considering there are no recordings of Bolden.
His band was made up of the typical line-up for dance bands at the time: violin on lead, clarinet and cornet to embellish the lead line, trombone to anchor the chords and string bass and guitar as rhythm. Bolden's band was a big success, but unfortunately, Bolden succumbed to mental illness and was eventually committed to an asylum, where he spent the rest of his life. But while they were hot, the band was known and admired for its musicianship and technical abilities. It was said they were the loudest band in New Orleans.
Bolden does maintain a legacy. He is one of the first names mentioned when discussing New Orleans jazz history. But, Bolden didn't invent jazz and the music his band played was more of the dance variety than pure jazz. In the never-ending search over who and where jazz really originated, though, he is as good a start as any.
Update, August 24, 2012: I attended a blues concert, headlined by Hugh Laurie. He talked a bit about Buddy Bolden. He mentioned that to this day, Bolden is considered one the greatest jazz musicians to have ever lived. Remarkable claim, considering there are no recordings of Bolden.
Monday, March 7, 2011
Where the Southern crosses the Dog
Thinking a lot about jazz music. Actually, I think about jazz music a lot of the time. I've always loved jazz. As a kid, I'd go to the tiny town library and borrow jazz CDs, record them onto tapes and relisten to them for hours. Then, I'd go to the slightly-larger town-next-door's library and find books about early jazz and borros some of their CDs. I appreciate all forms, but I was drawn to early mainstream and New Orleans style. Dixieland, Big Band era, ragtime. I've recently picked up a book about the origins of New Orleans jazz. It's not as straighforward as you'd think.
I did an independant study honor's project last year. The focus was the impact and influence of society on popular music between 1890 and 1930. A lot happened in 40 years. In New Orleans, immigrants were playing a big role in the city by establishing new ideas and business ventures. Creoles were beginning to lose the small degree of status that they had and poor white people (basically, people who didn't own plantations) were beginning to create a strong backlash against the recently freed Black population (who, themselves, were still being denied many basic rights and freedoms).
For the project, I read some of W. C. Handy's autobiography. Wonderful book, by the way. In it, Handy describes his first encounter with the blues (which in the end had an impact on jazz). He tells a great story of the time he was waiting for a train in a Mississippi Delta station. He encounters a man playing a guitar, singing a rough, rhythmic song about where the "Southern crosses the Dog." The "Southern" and the "Dog" that the man was referring to were nicknames given to railroad lines that criss-crossed through the Delta region.
This reminds me of some other great crossroad stories, but I'll save them for later. :)
Handy was so impressed with this music that he wanted to recreate it. Handy was the leader of a band who played marches and dance music. At first, Handy was reluctant to play the new music he'd heard, bu then, one night, while playing a job with his band, he was approached by someone in the crowd to play some "savage" music. They were referring to the rough, raw sound that early bluesmen played. Unable to comply (Handy's men weren't trained for that kind of music, and it's interesting to note that they were only asked to play that kind of music because they were all black men), they initially played a "rousing" ragtime number, but were then asked if they wouldn't mind taking a break, while a couple of other musicians came up to play.
To Handy, the new musicians on stage didn't look like musicians. But he was still being paid, and his men got a break, so, why not? The two new men stomped and wailed and the audience went mad. "Coins rained down at their feet", writes Handy. He was impressed.
Handy went on to write the first published "blues" song. "St. Louis Blues" was Handy's attempt at blues music. It isn't a strict blues, actually passing through several dance styles. History ensues!
I did an independant study honor's project last year. The focus was the impact and influence of society on popular music between 1890 and 1930. A lot happened in 40 years. In New Orleans, immigrants were playing a big role in the city by establishing new ideas and business ventures. Creoles were beginning to lose the small degree of status that they had and poor white people (basically, people who didn't own plantations) were beginning to create a strong backlash against the recently freed Black population (who, themselves, were still being denied many basic rights and freedoms).
For the project, I read some of W. C. Handy's autobiography. Wonderful book, by the way. In it, Handy describes his first encounter with the blues (which in the end had an impact on jazz). He tells a great story of the time he was waiting for a train in a Mississippi Delta station. He encounters a man playing a guitar, singing a rough, rhythmic song about where the "Southern crosses the Dog." The "Southern" and the "Dog" that the man was referring to were nicknames given to railroad lines that criss-crossed through the Delta region.
This reminds me of some other great crossroad stories, but I'll save them for later. :)
Handy was so impressed with this music that he wanted to recreate it. Handy was the leader of a band who played marches and dance music. At first, Handy was reluctant to play the new music he'd heard, bu then, one night, while playing a job with his band, he was approached by someone in the crowd to play some "savage" music. They were referring to the rough, raw sound that early bluesmen played. Unable to comply (Handy's men weren't trained for that kind of music, and it's interesting to note that they were only asked to play that kind of music because they were all black men), they initially played a "rousing" ragtime number, but were then asked if they wouldn't mind taking a break, while a couple of other musicians came up to play.
To Handy, the new musicians on stage didn't look like musicians. But he was still being paid, and his men got a break, so, why not? The two new men stomped and wailed and the audience went mad. "Coins rained down at their feet", writes Handy. He was impressed.
Handy went on to write the first published "blues" song. "St. Louis Blues" was Handy's attempt at blues music. It isn't a strict blues, actually passing through several dance styles. History ensues!
Saturday, March 5, 2011
The Creature plays the Saxophone
The saxophone. Also a single-reed instrument. And the love of my life. I started playing the saxophone after about a year of clarinet. My first sax was a used Selmer Bundy II alto. Nothing wonderful, but I was thrilled! I remember practicing in my room for hours. I would play any piece of music in the house. My mom was learning violin and so had some fiddle music. After going through the basic method books, I would play the fiddle and violin music on clarinet, saxophone, and eventually the flute. I'm pretty sure that my parents went crazy hearing "The Devil Went Down to Georgia" on every instrument I knew how to play. This includes a small, cheap keyboard and my own scratchy attempts on my mom's violin.
Because the saxophone is so much louder than clarinets, it was around this time that I was banished to the basement for my practice sessions. At first, I was a bit offended, but then realized that it would be cool to have my own little studio. So I made it my own little studio. I got a small file cabinet to put all of my music in, and put up some posters and my music stand. After school and homework, every day, I'd go downstairs and play as long as I wanted.
I have recently been reunited with the ol' Bundy II. One of my cousins had it for a long time (when I got my good Keilwerth just before going to college, I didn't need the student horn anymore.) I had it sent through repair for a tune up and it is now a loaner of sorts for my students who "forget" their instruments at school or whose instruments need some repair.
Interestingly, my first clarinet was also a Bundy II, and I still have that, too. It also has a place in my teaching studio. They are both kept for practical reasons, but they are also reminders of where the most important part of my life began.
Because the saxophone is so much louder than clarinets, it was around this time that I was banished to the basement for my practice sessions. At first, I was a bit offended, but then realized that it would be cool to have my own little studio. So I made it my own little studio. I got a small file cabinet to put all of my music in, and put up some posters and my music stand. After school and homework, every day, I'd go downstairs and play as long as I wanted.
I have recently been reunited with the ol' Bundy II. One of my cousins had it for a long time (when I got my good Keilwerth just before going to college, I didn't need the student horn anymore.) I had it sent through repair for a tune up and it is now a loaner of sorts for my students who "forget" their instruments at school or whose instruments need some repair.
Interestingly, my first clarinet was also a Bundy II, and I still have that, too. It also has a place in my teaching studio. They are both kept for practical reasons, but they are also reminders of where the most important part of my life began.
Friday, March 4, 2011
The life of a music student.
Music students are some of the busiest people on any college campus. I remember living in the dorms my freshman year and hearing my floormates complain about having to get up early and go to class at 9am. I was already in a practice room by 7:30 or in class by 8am. I also hardly ever got done with my day until about 6 or 7 at night because of rehearsals or practicing. Then of course, I had to get homework done. I was not the exception. The other music students I went to school with all had the same sort of daily schedules.
It is a misconception that musicians are lazy. Sure, some musicians may be lazy, but it's rare. A lazy musician is a homeless one. All of the musicians I know are driven, creative, self-starters, who have long days and nights. Yes, many have day jobs, but those with day jobs also teach outside of work hours and perform when they can.
Most music students are experts at time management. They have to be. They must organize their time efficiently to get everything done and to still get enough practice and rehearsal time.
So, the next time to meet a music student, or any musician really, think about what they go through to pursue their life's passion.
It is a misconception that musicians are lazy. Sure, some musicians may be lazy, but it's rare. A lazy musician is a homeless one. All of the musicians I know are driven, creative, self-starters, who have long days and nights. Yes, many have day jobs, but those with day jobs also teach outside of work hours and perform when they can.
Most music students are experts at time management. They have to be. They must organize their time efficiently to get everything done and to still get enough practice and rehearsal time.
So, the next time to meet a music student, or any musician really, think about what they go through to pursue their life's passion.
Thursday, March 3, 2011
The Creature plays the Clarinet
Hello! Welcome to blog post number one! My goal is to create a blog about all things music. I know there are lots of music blogs out there, but I'd like to make one from my perspective, as a teacher, performer, and audience member. Also, as this is my first attempt at something like this, I hope to get better at it as I go along. Better at blogging, not music. Well, I want to get better at music, too. *sigh* You know what I mean. :)
Let's begin with the clarinet. When I started band in school, I really wanted to play the saxophone. But my family didn't have a saxophone. We had an old clarinet. So, given the choice between playing the clarinet or not playing in band at all, I chose the clarinet. After about a year of playing the clarinet, my parents managed to find an old used saxophone. By that time, I'd decided that I liked the clarinet, but still wanted to be a sax player. So I played both. And have continued to play both since.
Coming soon: the clarinet in Jazz.
Let's begin with the clarinet. When I started band in school, I really wanted to play the saxophone. But my family didn't have a saxophone. We had an old clarinet. So, given the choice between playing the clarinet or not playing in band at all, I chose the clarinet. After about a year of playing the clarinet, my parents managed to find an old used saxophone. By that time, I'd decided that I liked the clarinet, but still wanted to be a sax player. So I played both. And have continued to play both since.
The clarinet is a woodwind instrument that uses a single reed that vibrates and makes sound. 
It looks like a lot, but the keywork isn’t too complicated. The player blows into the mouthpiece, over the reed, making it vibrate. The vibration of the reed is where the sound is made.
The instrument has been around for hundreds of years and has the benefit of recognition from many important composers. Mozart was a fan of the clarinet, and in his letters he wrote how he wanted more of them in his orchestras. He wrote a concerto for clarinet, which has become standard repertoire for clarinetists everywhere. If you want to audition for an orchestra, plan to learn the Mozart Clarinet Concerto.
Coming soon: the clarinet in Jazz.
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