On drum machines, swing sometimes called shuffle shortens and lengthens each alternate beat. At zero swing, also known as swing, the beats within each pair are the same length. At maximum swing, the first beat in each pair will be twice as long as the second beat in the pair. In real life, you usually want your swing setting somewhere between these two extremes. Click here for a more detailed explanation of swing. One way to get a swing ratio in between and is to use a quintuplet grid. Slynk explains how to set this up in Ableton:. For an even narrower swing ratio, you can use septuplet swing.
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This gives you a swing ratio. Slynk explains again:.
Beyond complex rhythms, the Groove Pizzeria can teach another useful musical concept called event fusion. When a rhythm gets fast enough, you stop hearing individual beats and start to hear a continuous thrum. The transition happens at around twenty beats per second. If you play the rhythm even faster, the thrum becomes a steady pitch, and the higher the tempo, the faster the pitch.
First, put a clap on every sixteenth note. Next, reduce the number of time units to a small number 5 is fine and set the tempo to bpm. Now reduce the number of steps. Listen for the point when the claps fuse into a single tone. You can control the pitch of this tone by changing the number of steps. If you think of more interesting music learning or creation applications for the Groove Pizzeria, please let me know.
Happy drumming! I recently met a gentleman named Samuel Halligan , who, among other things, makes music education utilities using Max For Live. One of them is called Pop-Up Piano. If you use Max or Ableton and you could use some help learning music theory, you should go and download it immediately.
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Samuel made this thing to help pianists navigate the Ableton Push. But I could see this being useful for any musician. In a perfect world, this combination of instrument and music-theoretic Rosetta stone would exist both as a web app and as a DAW-native plugin. What do you say, developers?
In my paper about whiteness in music education , I tried to make a point about sampling classical music that my professor was rightly confused about. Rather than seeing the canonical masterpieces as being carved in marble, we should use them as raw material for the creation of new music. This sample is the subject of an amazing musicology paper by Robert Fink : The story of ORCH5, or, the classical ghost in the hip-hop machine. Why would Afrika Bambaataa or any other hip-hop musician want to appropriate the sound of the symphony orchestra?
A key aspect of the Afro-futurist imagination lies in a complex identification with the science-fiction Other, with alienness, on the part of an Afro-diasporic culture still dominated by the dark legacy of subjugation to more technologically advanced colonialism… [I]n the sound-world of electro-funk, it is European art music that is cast, consciously or not, in the role of ancient, alien power source Ancient alien power sources are a deathless science fiction trope.
The world that gave rise to the classical canon no longer exists, outside of music schools and similar institutions. But its remnants are everywhere. Why not repurpose them for the making of future music? Jazz musicians have done plenty of creative repurposing of classical music. There are also a few performance ensembles attempting to bridge the rap-classical divide. But I appreciate the spirit. My own interest lies mostly in the possibilities of sampling and remixing.
This, to me, is a tragic waste. I want to hear that progression repeated many more times than that. Fortunately, thanks to the magic of Ableton Live, I can! I have more classical music remixes here. It would be nice if classical music institutions took a liberal attitude toward sampling.
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Most of the canonical works are in the public domain, but the recordings are owned by the record label or organization that made them. Even better, music organizations could start creating sample libraries. The DSO posted a bunch of pristinely recorded excerpts on SoundCloud and encouraged the internet to go to town. That is the world I want to live in. They categorize the samples by instrument, key, and tempo, along with scores, MIDI files, background information, video of the performances, and whatever other context might be of interest. They use a licensing scheme that automatically grants sample clearances in exchange for some reasonable fee or revenue-sharing scheme.
Here are some suitably bleak sounds. Be sure to link back to us from your SoundCloud page. We might not be inclined to buy concert tickets, but we might eagerly comb through recordings with the right invitation. I recognize that this idea is kind of a tough sell. My goal as a progressive music educator is to help young people find their own musical truths, through discovery or invention. Most music educators still see their goal as being the preservation of the canon, and are either indifferent or actively hostile toward the music that the kids like. But if preserving the canon is your goal, then sampling producers might be powerful allies.
The Groove Pizza uses geometry to help visualize rhythms. When you put the twelve pitch classes in a circle, you can connect the dots between different notes in a chord or scale to form shapes. My hypothesis is that seeing these shapes along with hearing the notes will help people learn music theory more easily. On the left is the chromatic circle , showing the notes in the order of pitch height the way they are on a piano keyboard. On the right is the circle of fifths. Notice that C, D, E, G-flat, A-flat and B-flat are in the same places on both circles, while the other six notes trade places across the circle.
Pretty cool! The colors represent the harmonic function of each note relative to the root C. Purple notes are perfect neither major nor minor. Green notes are major or natural. Blue notes are minor or flatted. You could technically think of, say, B-flat as being the sharp sixth rather than the flat seventh, but that usage is rare in real life.
I represented this ambiguity by making it blue-green. We could make it blue if we knew it was flat fifth from Locrian mode, or green if it was the sharp fourth from Lydian mode. Here are some common chord progressions, and what their shapes can tell us about how they function. You can see how the notes move very little from one chord to the next. To get from Cmaj7 to Am7, you just move the B to A while keeping the other three notes the same.
In general, any chord you can produce by moving the notes as little as possible from the current chord is likely to sound smooth and logical.
That makes the voice leading harder to figure out, because you will need to introduce some jumps or additional chord voices to make it work. That said, thinking in terms of pitch class rather than pitch makes it easier to learn the concept; then you can work out the logistics of voice leading actual pitches from a place of understanding. The circle of fifths view is more clear here. Getting from the Bb to the F is just a matter of rotating the little triangle clockwise by one slot.
If you voice the C7 chord like a jazz musician and leave out the G, then the voice leading in this progression becomes exquisitely clear and simple. Seeing these chords on the circle of fifths is not very enlightening—while Western functional harmony keeps things close together on the circle of fifths, non-Western harmony jumps around a lot more. To get from Bb-7 back to C7, B-flat stays the same while the other notes move one scale degree counterclockwise.
This is very close to the way I conceptualize this progression in my head. You could also think of this progression as being iv-V7 in the key of F minor, in which case the Bb-7 is acting more like C7sus b9 5. Here the suspension metaphor makes even more sense. Beyond the fact that it looks cool, seeing geometric representations of music gives you insight into why it works the way it does.
The main insight you get from the circles is that perfect symmetry is boring. On the Groove Pizza, squares and equilateral triangles produce steady isochronous rhythms , like the four on the floor kick drum pattern. On a sixteen-step grid, pentagons produce clave patterns , while hexagons make habanera and tresillo.
The same concept applies to the pitch wheel. A square on the pitch wheel is a diminished seventh chord ; an equilateral triangle is an augmented triad ; and a hexagon is a whole tone scale. Interestingly, this is true both on the chromatic circle and the circle of fifths. These sounds are fine for occasional use or special effects, but they get tedious very quickly if you repeat them too much. By contrast, the harmonic devices we use most commonly, like major and minor triads and seventh chords, are uneven and asymmetrical.
Food ha for thought. It was uplifting. Many most? A group of women in our section were especially decked out:. One of the women said it was as big a deal for them as the election of Barack Obama in Black Panther is heavily overdetermined, like all superhero movies.
And he wants to remake the world by fomenting black revolution, by any means necessary. The Wakandans, meanwhile, are uncomplicatedly strong, self-possessed, and at ease with their own power. I want to emphasize that this reading is based solely on my watching the movie and reading Twitter. The American empire taught him how to kill mercilessly, and now he wants to use that same force to bring the empire down. Usually when I do, I point to formal aspects of the music—the grooves, the hypnotic quality of electronic beats, the intertextuality and timbral invention of sample-based production, and the spectacular verbal and vocal virtuosity of the best emcees.
When I listen to the music, I hear effortless cool, the power that comes from strong emotions held in reserve, and a defiant sense of pride. I hear confidence, and that is a quality I have been severely deficient in for most of my life. As I get older, I have become more confident, but when I was younger I was desperately awkward and socially anxious, and that part of me is never far from the surface. I need swagger lessons, and hip-hop is an excellent teacher. I am not unusual among white rap fans for feeling this way. But I believe that many of us are mostly drawn to it for confidence lessons.
There were some stark socioeconomic differences between the two groups. NYU music education students are mostly white and Asian, and they tend to come from privileged backgrounds. They are mostly classical musicians, with a small minority playing jazz. But the opposite turned out to be true. Recording can be stressful under the best of circumstances—the environment is daunting and clinical, like being under a microscope, and the clock is always ticking. But this was more than performance anxiety; one of the students was on the verge of panic just sitting and listening in the control room.
The next day, then, I was surprised to find that the rap kids evinced little to no anxiety whatsoever. The atmosphere was casual and relaxed, even to a fault. A greater sense of urgency might have made for a more productive session. But anxiety was no obstacle. This was all the more remarkable given that they were recording originals. Instead of being nervous about exposing their own feelings and ideas, apparently it added to their confidence. The CORE kids are sometimes shy about opening up their material to scrutiny, especially if they consider it to be unfinished.
But they will perform or play back finished work with remarkably little hesitation for their age. Meanwhile, the most proficient CORE emcees are sure enough of themselves to effortlessly freestyle in front of an audience. I have never in my life had the courage to do that. He argues that traditional markers of upper class status like tailored suits or a taste for classical music no longer function; in an era of supposed meritocracy, the elite must prove that they deserve their privilege because of their talents, abilities, and hard work.
So what is Jay-Z doing in the book? She is the first Hip-Hop Cultural Envoy with the State Department, and has traveled to forty-six countries to give talks and perform. She has been a teaching artist for a variety of other institutions as well, ranging from the Soros Foundation to local community groups. Toni has a particular method based on the cypher , a circle of emcees in which everyone takes turns freestyling.
Toni uses the cypher as a way to help her students develop not just their flow, but their emotional well-being. In person, she has the calm, attentive affect of a good therapist, which is effectively what she is. She asked someone in the audience to come up and beatbox for her. It was in the morning and no one was jumping to volunteer, so I finally raised my hand. I had never beatboxed in public before, but Toni knows how to empower people, even nerdy white dads. It felt great up there, effortless in fact, like all peak music experiences do.
During the same conference, the CORE participants did a showcase concert. It was mostly the kids doing their own songs, along with appearances by a few mentors and pros. The concert began with a cypher—everyone in the concert came onstage and while the band put down a groove, they took turns freestyling verses. I struggle to imagine a group of conservatory students beginning a recital by all improvising a piece off the tops of their heads, but the CORE kids pulled it off with effortless cool.
I still remember one of the entire verses verbatim. She rapped:. But she had the audacity to stand up there and just repeat it four times. And she was right, it slayed. Most music educators might believe themselves to be teaching confidence. I recently had two white music teachers from a majority-black school visit my music technology class at Montclair State University.
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My lesson that day was on drum programming, on what makes a good beat. After class, the older of the two visiting teachers wanted to talk to me about that comment. A version of this interaction plays out in music classrooms across America every day. You have this item? Rate it! Authorized dealer of. The product range of sher music. More than a million musicians are already trusting us!
Larry Dunlap The same Real Easy Book, Level 1 used by school jazz ensembles world-wide now includes: Three-horn arrangements of each tune Separate pages for each horn player Parts simple enough for beginning players, but which create fuller, much more interesting performances. The new parts are written in a limited range to be playable by a variety of instruments. Each tune now includes harmony parts for the melody, background parts behind soloists, ensemble 'shout choruses,' etc.
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