A while ago a friend asked me who I thought the best band of all time is/was. Naturally, I went to my favourite band, but mostly because of bias. I think my favourite band is the best band of all time, but that's why it is my favourite, but this is not really fair in an objective sense. And, really, this question is kind of subjective to begin with. Is the best band defined by record sales, popularity, influence, or true talent? Is musicianship considered, or technological advancements? Maybe the best band of all time existed before recording technology was available or perfected and the only people who ever heard that great band is now dead and gone.
As far as wide appeal, I'd have to nominate The Beatles or the Rolling Stones. These bands have proven their appeal to a huge audience base and, even though The Beatles were together for only about a decade, their music has continued to gain new fans and influence younger generations. The Rolling Stones have been together for what seems like forever, even after repeatedly declaring their intention to stop touring, and still sell tickets to their concerts. Is wide appeal the measure for best band of all time? Is longevity the mark of a great band? Or does it mean that the band just can't do anything else but play (this isn't a criticism, I think that it's a great reason to continue playing).
For influence on younger generations, Pink Floyd, Led Zeppelin, The Who, and, again, The Beatles are contenders. These bands tried new styles and sounds and were largely successful. Pete Townshend made it fashionable to introduce feedback into his guitar (Jimi Hendrix did this too) and Zeppelin and Pink Floyd made archaic lyrics and funny time signatures acceptable to rock musicians.
What about talent? Talent is really important, but in a rock music sense, showmanship is almost as important. Jim Morrison was more of a poet than a rock musician, but he knew how to sell his image. Is the defining factor innovation or creativity? The Doors had no bass player (only Ray Manzarek's left hand) and still managed to groove. The White Stripes is a duo of guitar and drums but still create a big, rock band sound. The Dave Matthews Band pulls from a variety of genres, including rock, jazz, funk, and world beat, and includes a violinist and a saxophonist as core (and founding) members, and has proven that this mix can appeal to a mainstream audience.
Furthermore, who says the best band has to be a rock band? Why can't the great big bands of the 1930s and 40s be considered? The bands of Ellington, Basie, Glenn Miller, and Benny Goodman did tremendous things to advance musicians and popular style long before the rock bands made the scene. Or, thinking further back, consider the Delta blues musicians who started the whole thing. Were it not for their creativity, we may still be singing parlor songs and Italian arias to each other.
What is the best band of all time? I can't really give an answer to this question. Not in good conscience, anyway. No matter which one I choose, I know I've left out someone who deserves the title too. There are a lot of facets to being the "best" and a lot of reasons for each choice. The best band is the one that makes the listener happy to hear it and makes their day a little brighter.
Wednesday, August 31, 2011
Thursday, August 25, 2011
Modes, one more time
The ancient Greeks believed that music could be used like a presciption drug. Certain kinds of music would remedy certain ailments. For example, the Dorian mode (mode based on the second scale degree of a major scale) was majestic and masculine, perfect for times when a person felt fragile. I'm simplifying, of course, but you get the idea. When Renaissance era humanists began looking again at the classics, they misinterpreted some ideas about the Greek system of modes and harmony, but I find it interesting that they found correlations at all.
Why am I so hung up on modes lately? Well, in music history class in college I remember learning about how the church modes were developed and how they have continued to have an influence on musicians since. In fact, several modes are still used by jazz musicians. Dorian and Mixolydian are commonly discussed by jazz musicians and theorists, and the Aeolian mode is really just a natural minor scale. Ionian is the "classical" term for a major scale, but hardly anyone actually calls it that. They are used to describe a "species" of scale. It is simpler to tell someone to use the Mixolydian mode than to repeatedly tell them to play the major scale with a lowered 7th scale degree. In some cases, using a mode while improvising a solo is easier to keep track of than a whole string of chords. When a mode shares in common the notes of that progression of chords, the soloist knows that they can choose notes from a specific mode and can stay within the key and within "good taste" for the solo.
During this research I learned a bit more about music and the ancient Greeks. I'll tell you about that next time. Interesting stuff!
Why am I so hung up on modes lately? Well, in music history class in college I remember learning about how the church modes were developed and how they have continued to have an influence on musicians since. In fact, several modes are still used by jazz musicians. Dorian and Mixolydian are commonly discussed by jazz musicians and theorists, and the Aeolian mode is really just a natural minor scale. Ionian is the "classical" term for a major scale, but hardly anyone actually calls it that. They are used to describe a "species" of scale. It is simpler to tell someone to use the Mixolydian mode than to repeatedly tell them to play the major scale with a lowered 7th scale degree. In some cases, using a mode while improvising a solo is easier to keep track of than a whole string of chords. When a mode shares in common the notes of that progression of chords, the soloist knows that they can choose notes from a specific mode and can stay within the key and within "good taste" for the solo.
During this research I learned a bit more about music and the ancient Greeks. I'll tell you about that next time. Interesting stuff!
SAX o phoooone!
Many years ago, while listening to CDs in the music library of WIU, I came across a recording of a piece called Saxophobia. It was written by Rudy Weideoft, an American saxophonist from the turn of the century. As much as I wanted to play that piece, it's probably good that I didn't find music for it until later. While it isn't technically too difficult, stylistically, it's a bear. Like most of his other pieces.
Weidoeft, (pronounced weed-oft) was known for his virtuosic style, using double tongue, slap tongue, and his ability to make the saxophone "laugh" by pitch bending. When he started playing the saxophone, in the early 1900s, the saxophone was still a bit of a novelty instrument. His playing style isn't really jazz, but more along the ragtime/fox trot style. Which would place Weidoeft a more of a pre-jazz sax player. He did a lot to promote the saxophone as a legitimate instrument, at a time when it was still regarded with some disdain.
Some other of his hits include Sax-O-Phun, Sax-A-Doodle, Valse Vanite, and Saxema. His main horn was the C melody saxophone, which isn't seen much today, but was a popular choice at that time. The C melody is bigger than an alto, but smaller than a tenor, and its voice sits right between them. A bit too throaty for an alto, but lighter in quality than the heavier tenor saxophone.
Weidoeft had some personal troubles, with his wife stabbing him and nearly killing him in 1937, and problems with alcohol abuse. He died in 1940 from cirrhosis of the liver. But his music lives on, for better or for worse, as a novelty sound and an example of how far the saxophone has come.
Weidoeft, (pronounced weed-oft) was known for his virtuosic style, using double tongue, slap tongue, and his ability to make the saxophone "laugh" by pitch bending. When he started playing the saxophone, in the early 1900s, the saxophone was still a bit of a novelty instrument. His playing style isn't really jazz, but more along the ragtime/fox trot style. Which would place Weidoeft a more of a pre-jazz sax player. He did a lot to promote the saxophone as a legitimate instrument, at a time when it was still regarded with some disdain.
Some other of his hits include Sax-O-Phun, Sax-A-Doodle, Valse Vanite, and Saxema. His main horn was the C melody saxophone, which isn't seen much today, but was a popular choice at that time. The C melody is bigger than an alto, but smaller than a tenor, and its voice sits right between them. A bit too throaty for an alto, but lighter in quality than the heavier tenor saxophone.
Weidoeft had some personal troubles, with his wife stabbing him and nearly killing him in 1937, and problems with alcohol abuse. He died in 1940 from cirrhosis of the liver. But his music lives on, for better or for worse, as a novelty sound and an example of how far the saxophone has come.
Wednesday, August 24, 2011
Model modality
In jazz theory class this morning, we got a good workout with modes and chords. In addition to my decision to bring my alto sax in to work on, instead of the easy-to-transpose Bb instruments like clarinet or tenor sax, this was a great way to start my morning. (I really need work on my Eb transposition skills, they are less than stellar...) After figuring out how to transpose quickly-er from concert pitch, I was starting to get the hang of it. The modes are useful to jazz musicians because they describe scales that can be played over a single key. As I mentioned in the last post, modes are scales built on the different scale degrees over a key. There are seven commonly used modes, though way back during the Medieval and Rennaissance (and actually even further back to the ancient Greeks) as many as fifteen different modes were used. These modes are referred to as church modes and were, obviously, used in Gregorian chant and in the church masses.
To make this really long, involved evolution of church modes story less long and involved, different modes were used for different things. The monks singing the music for the early church services would use modes because music notation wasn't really formed or set at that time. By knowing which mode to sing in, the monks could all sing together and knew how to end a chant. Go take a listen to some Gregorian chant, and you'll hear how the notes used are limited and everything sounds, to our modern ears, somewhat predictable and bland. There are other reasons for this, too, but that will have to wait for another nibble.
To make this really long, involved evolution of church modes story less long and involved, different modes were used for different things. The monks singing the music for the early church services would use modes because music notation wasn't really formed or set at that time. By knowing which mode to sing in, the monks could all sing together and knew how to end a chant. Go take a listen to some Gregorian chant, and you'll hear how the notes used are limited and everything sounds, to our modern ears, somewhat predictable and bland. There are other reasons for this, too, but that will have to wait for another nibble.
Monday, August 22, 2011
still here! and modal!
Okay, it's been really busy on this end, so I've been away from the ol' blog for a while. But, I have started my fall semester with two music theory classes. This actually makes me happy. Weird, considering I've never really loved theory. I find it more interesting now, though, because I'm starting to think about how music is constructed and why some of it makes sense and why some of it does not.
My early morning class is Jazz Theory. I think I'm going to like this one. According to the schedule and the syllabus, we're going to go over exactly the kind of stuff that I need. Today we discussed modes. Modes are scales that are built from different scales degrees. For example: if you started on the fifth scale degree of the key of C, (that would be starting on G) and obey the key signature of C (no flats or sharps) that would result in a scale with a lowered 7th scale degree. In this case, the F# that is normally in the key of G is lowered to an F natural. This mode, a major scale with a lowered 7th scale degree, is called Mixolydian.
The second class I'm taking is Tonal Analysis. It is a more in-depth look at sonata form. More on that later.
My early morning class is Jazz Theory. I think I'm going to like this one. According to the schedule and the syllabus, we're going to go over exactly the kind of stuff that I need. Today we discussed modes. Modes are scales that are built from different scales degrees. For example: if you started on the fifth scale degree of the key of C, (that would be starting on G) and obey the key signature of C (no flats or sharps) that would result in a scale with a lowered 7th scale degree. In this case, the F# that is normally in the key of G is lowered to an F natural. This mode, a major scale with a lowered 7th scale degree, is called Mixolydian.
The second class I'm taking is Tonal Analysis. It is a more in-depth look at sonata form. More on that later.
Saturday, August 13, 2011
pianoFORTE
Going through a burn-out phase of a different sort. All I feel like doing lately is playing the piano. I still love my clarinet and saxophone, but for some reason, every time I get a free moment while in my lesson studio, I'll get out the piano books and plonk away. In college, in addition to the hours and hours spent practicing my instruments like I was supposed to, I would spend some additional time playing whatever I could on the piano. Maybe I'm reverting. Anyway, I'm not too concerned at this point, music is music, but I know that I will need to start practicing my clarinet seriously again. Just kind of enjoying the "down-time."
Have I told you how a piano works? Well, the keys on the keyboard are attached to a sort of lever that is attached to a hammer. When the key is pressed down, the hammer is made to go up and hit the string. Because pianos were developed during a time when keyboard instruments could not easily make dynamic (loud and soft) distinction, it was termed the "pianoforte." Hitting the key hard will get a loud sound, because the string is hit with the hammer with more force. Hitting the key gently produces a soft sound, for the opposite reason.
Have I told you how a piano works? Well, the keys on the keyboard are attached to a sort of lever that is attached to a hammer. When the key is pressed down, the hammer is made to go up and hit the string. Because pianos were developed during a time when keyboard instruments could not easily make dynamic (loud and soft) distinction, it was termed the "pianoforte." Hitting the key hard will get a loud sound, because the string is hit with the hammer with more force. Hitting the key gently produces a soft sound, for the opposite reason.
Monday, August 8, 2011
Oom-pah-pah
In the last post I told you that I'd show you some common circus instruments. Most of them you've seen in other places. You know, the usual suspects of band music: cornets, trombones, clarinets, drums. But, holding down the bass end of these groups are tubas. Tubas were used before other bass instruments were widely available, and were popular because, in comparison to a string bass or a piano, they were portable.
At the Circus Museum I found a few displays with the older, retired instruments. Of course, I got a picture:
You can see the cornet on the left, lower corner, a saxophone and, in the upper right, is a helicon tuba.
Here is a closer view:
A helicon tuba is the direct predecessor to the sousaphone, which was developed by march king John Phillip Sousa. The helicon is a type of marching tuba, designed to wrap around the player's body, making it easier to carry and play while walking around. Sousa redesigned the helicon so that is was lighter and even easier to march with.
The helicon is usually a BBb bass pitch, but sometimes was pitched in EEb. The helicon itself was developed from another instrument called the saxhorn or saxtuba. (I'll have to wait on the explanation of a saxhorn, because, after some preliminary research, there is a lot behind those horns.) The saxhorns and saxtubas were used in military bands, and because it was a common band arrangement at that time period, it is logical that circuses would include the same configuration.
Before bass guitars and even before string basses were found in early jazz music, tubas were used. Because the tubist had to breathe, the feel of that early music is more of a "two-beat". Once "walking bass" was possible, jazz began to change in feel and style.
At the Circus Museum I found a few displays with the older, retired instruments. Of course, I got a picture:
You can see the cornet on the left, lower corner, a saxophone and, in the upper right, is a helicon tuba.
Here is a closer view:
A helicon tuba is the direct predecessor to the sousaphone, which was developed by march king John Phillip Sousa. The helicon is a type of marching tuba, designed to wrap around the player's body, making it easier to carry and play while walking around. Sousa redesigned the helicon so that is was lighter and even easier to march with.
The helicon is usually a BBb bass pitch, but sometimes was pitched in EEb. The helicon itself was developed from another instrument called the saxhorn or saxtuba. (I'll have to wait on the explanation of a saxhorn, because, after some preliminary research, there is a lot behind those horns.) The saxhorns and saxtubas were used in military bands, and because it was a common band arrangement at that time period, it is logical that circuses would include the same configuration.
Before bass guitars and even before string basses were found in early jazz music, tubas were used. Because the tubist had to breathe, the feel of that early music is more of a "two-beat". Once "walking bass" was possible, jazz began to change in feel and style.
Thursday, August 4, 2011
A soothing circus march
Still going through the circus museum stuff. Music is a big part of the circus production. It attracted audiences to the circus, and the circus depended on large audiences to keep the lights on, so to speak. Music was used in the parade through town when the circus arrived, accompaning the floats and wagons that rolled down the main drag to the circus site. Music was neccessary behind daring acrobatics and the clown's comic routines. It was used pretty much the way you'd think it would be: as a soundtrack for the thrills and spills, the oohs and aahs, the elephants and sideshow freaks.
An interesting fact I learned, though, is that Sousa's The Stars and Stripes Forever march was a 'disaster' signal. If something serious happened in the big top, the band would play it and help would come running.
Tune in next time for a look at some old band instruments! Like the ones seen in this picture!
An interesting fact I learned, though, is that Sousa's The Stars and Stripes Forever march was a 'disaster' signal. If something serious happened in the big top, the band would play it and help would come running.
Tune in next time for a look at some old band instruments! Like the ones seen in this picture!
Wednesday, August 3, 2011
Loud whistles
Some more circus music knowledge to lay on you! In one of the halls at the Circus World Museum in Baraboo, there was a collection of novelty instruments. Most were of the hit-with-a-mallet variety, but there were also a couple of calliopes. A calliope (pronounced cuh-lie-O-pee) is a steam powered instrument. Kind of like a organ, but instead of pipes, the tubes that the air is forced through is more whistle like. This creates a less rich, more shrill sound than that of an organ.
Here is a calliope inside one of the wagons. Calliopes are also loud, and except for note pitch and duration, it's impossible to play with any expressiveness (like dynamics).
This one travelled all over the country, including some performances with the Barnum circuit.
Here is a calliope inside one of the wagons. Calliopes are also loud, and except for note pitch and duration, it's impossible to play with any expressiveness (like dynamics).
This one travelled all over the country, including some performances with the Barnum circuit.
Tuesday, August 2, 2011
Really exotic Wisconsin
After a rather lousy beginning, day one in Wisconsin has wound up being a nice day. While picking up my rental car, I had my truck (BLAZERFORCEONE to the initiated) checked at the next door repair shop. It was really loud and driving a bit funny. Long story short, it's an expensive fix, but I need it to drive safely and well...so when I will pick it up later this week, hopefully all is repaired and in good working.
So, trying to get on with my vacation/road trip, and trying not to get too bummed over how much the past few days has run me in terms of car repair bills, I went to the Circus World Museum in Baraboo. In addition to riding a real, live elephant (I had mixed feelings about this. Am I exploiting this animal?), I heard and saw some pretty nifty circus music stuff.
While exploring the circus wagon hall (which sounds a bit boring, but was actually very interesting-and it was cool inside the hall) I found this:
Which was attached to this:
After considering whether or not it actually worked and if I was willing to sacrifice 50 cents to find out, I dropped in some quarters and waited for something to happen. After a gentle roar of whooshing air, the wagon screamed to life. I say screamed because these things are LOUD. It is a band organ. An automated musical device used to attract attention to circuses as they come into town and create excitement for all possible circus goers. This was, I must say, the best 50 cents ever spent, as it made me smile like an idiot until the tune ended and a couple other people around me stuck around to investigate how it worked. I found another one nearby, and a gentleman who watched me turn on the first one turned on this second one. The one I played had a cheery circus march. The second one was a medley of waltzes. Also extremely loud.
There are several of these types of air controlled, automated machines at the House on the Rock, also in WI, but I'd never really considered their practical use, like in circuses. They work by air compression, like organs, and reams of cardboard or paper, that control movements of the the mallets and bellows. Think of the reams of paper used for player pianos, and you'll get an idea about how the movements are controlled.
It is amazing to see something so innocent looking move and animate itself with such glee. And for a moment, I was able to forget my car woes and enjoy some happy circus music.
So, trying to get on with my vacation/road trip, and trying not to get too bummed over how much the past few days has run me in terms of car repair bills, I went to the Circus World Museum in Baraboo. In addition to riding a real, live elephant (I had mixed feelings about this. Am I exploiting this animal?), I heard and saw some pretty nifty circus music stuff.
While exploring the circus wagon hall (which sounds a bit boring, but was actually very interesting-and it was cool inside the hall) I found this:
Which was attached to this:
After considering whether or not it actually worked and if I was willing to sacrifice 50 cents to find out, I dropped in some quarters and waited for something to happen. After a gentle roar of whooshing air, the wagon screamed to life. I say screamed because these things are LOUD. It is a band organ. An automated musical device used to attract attention to circuses as they come into town and create excitement for all possible circus goers. This was, I must say, the best 50 cents ever spent, as it made me smile like an idiot until the tune ended and a couple other people around me stuck around to investigate how it worked. I found another one nearby, and a gentleman who watched me turn on the first one turned on this second one. The one I played had a cheery circus march. The second one was a medley of waltzes. Also extremely loud.
There are several of these types of air controlled, automated machines at the House on the Rock, also in WI, but I'd never really considered their practical use, like in circuses. They work by air compression, like organs, and reams of cardboard or paper, that control movements of the the mallets and bellows. Think of the reams of paper used for player pianos, and you'll get an idea about how the movements are controlled.
It is amazing to see something so innocent looking move and animate itself with such glee. And for a moment, I was able to forget my car woes and enjoy some happy circus music.
Monday, August 1, 2011
Exotic Wisconsin
Tomorrow I take off for my annual road-trip. I've started taking a week out of the year to throw some stuff in the car and drive around the country. Last year was an epic drive out to South Dakota (with a lovely detour into Wyoming to visit the awesome Devil's Tower). This year, after the back to school/minor changes in my life thing, I've decided to take a drive closer to home and hopefully keep it a little less expensive. Wisconsin it is.
I've been to the notorious House on the Rock (twice) and really enjoyed the down-the-rabbit-hole experience of the Organ Room and the automated musical instruments that play themselves (one of my favourite things to watch, incidentally, and definitely something work buying tokens for, if you take a visit), but it isn't on the itinerary. Going to visit Milwaukee, spend some quality Lake Michigan time, and spend a day in Devil's Lake State Park. There are also several well-known musicians to come from the Badger State.
There is Les Paul, who I've written about in a previous post, Steve Miller (of the Steve Miller Band), my dear Woody Herman, and early jazz trumpeter Bunny Berigan.
I've been to the notorious House on the Rock (twice) and really enjoyed the down-the-rabbit-hole experience of the Organ Room and the automated musical instruments that play themselves (one of my favourite things to watch, incidentally, and definitely something work buying tokens for, if you take a visit), but it isn't on the itinerary. Going to visit Milwaukee, spend some quality Lake Michigan time, and spend a day in Devil's Lake State Park. There are also several well-known musicians to come from the Badger State.
There is Les Paul, who I've written about in a previous post, Steve Miller (of the Steve Miller Band), my dear Woody Herman, and early jazz trumpeter Bunny Berigan.
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