Saturday, 27 March 2010
Sunday, 21 March 2010
The 4/4 beat in modern popular music and the demise of free thinking.
The truth is, modern popular music is almost entirely based on the same 4/4 beat. That’s not to say that there is anything wrong with 4 beats per bar. Latin musicians do a very good job of adding swing and character to the 4/4 beat but in mainstream pop music it’s all more-or-less the same. It struck me the other day while watching a group of Thai musicians playing the same beat that a group of British musicians or American musicians or Chinese or musicians or . . . hang on the entire world is being taken over by this one, stale, tasteless, characterless beat.
At one time, every nation had its own unique beat. India had its teental, its rupaktal etc etc. The far Eastern countries all seem to have had a very static beat with little to no syncopation, but still, it was their beat. The Latin countries had their salsa and swing, in fact Latin music is probably the most dance inducing music there is. The Spanish had they’re Flamenco, or was that only the Gypsies? Of course, remnants of these musical styles still go on but the majority of the world is succumbing to the same mundane beat derived from Rock music.
It struck me then that there are deeper implications to this phenomena. Not only is the entire world becoming the same but we are losing are ability to think freely. As an entire world squeezes itself into one cultural identity there are becoming less and less alternatives. And all this at a time when we foolishly believe we are freer than ever. In fact we are becoming like a globe of “Rock-beat” zombies. The Thais think they’re singing Thai music, they’re not; they are only singing Thai words. They have given up they’re originality for their very own slice of the capitalism cake.
Every nation is getting watered down and from once being a potent and tropical punch they are slowly becoming a watery, tasteless beverage.
Of course, music has always changed and evolved and to say Thai music is like this or that is narrow- minded. In fact Thai music 2000 years ago will have been very different from Thai music 1000 years ago so the fact that Western music is now influencing Thai music is nothing new. Still, I can’t help disliking that same old 4/4 beat of pop music, or perhaps I just dislike popular culture altogether.
At one time, every nation had its own unique beat. India had its teental, its rupaktal etc etc. The far Eastern countries all seem to have had a very static beat with little to no syncopation, but still, it was their beat. The Latin countries had their salsa and swing, in fact Latin music is probably the most dance inducing music there is. The Spanish had they’re Flamenco, or was that only the Gypsies? Of course, remnants of these musical styles still go on but the majority of the world is succumbing to the same mundane beat derived from Rock music.
It struck me then that there are deeper implications to this phenomena. Not only is the entire world becoming the same but we are losing are ability to think freely. As an entire world squeezes itself into one cultural identity there are becoming less and less alternatives. And all this at a time when we foolishly believe we are freer than ever. In fact we are becoming like a globe of “Rock-beat” zombies. The Thais think they’re singing Thai music, they’re not; they are only singing Thai words. They have given up they’re originality for their very own slice of the capitalism cake.
Every nation is getting watered down and from once being a potent and tropical punch they are slowly becoming a watery, tasteless beverage.
Of course, music has always changed and evolved and to say Thai music is like this or that is narrow- minded. In fact Thai music 2000 years ago will have been very different from Thai music 1000 years ago so the fact that Western music is now influencing Thai music is nothing new. Still, I can’t help disliking that same old 4/4 beat of pop music, or perhaps I just dislike popular culture altogether.
Friday, 19 March 2010
Is the guitar a key bound instrument?
A lot of music for classical guitar is written in three main keys: E, A, D and their respective minors. This is probably in part due to the fact that these three keys all have open bass notes on the guitar making it easy to harmonize music in these keys. Indeed, the constant barring of chords throughout an entire piece can be quite taxing even on the most experienced of hands. It is rare then to find complex melodic music in the keys of Ab, Eb, Db etc. The reason for this is that most of these keys have little or no open notes in them making it hard to achieve sustain in the bass and shift position smoothly. Still this does not necessarily mean that we cannot use these keys but we may have to rethink our concept of harmony when writing in more obscure keys. The main problem arises when we try to do what we can do easily in the key of E in the key of Eb for example. We may not be able to write music in a traditionally harmonic sense using these keys so therefore we must harness the guitars unique qualities and allow new sounds to come into our compositions. A good example of this kind of writing is Leo Brouwer. In his Etudes he utilizes the open strings of the guitar against foreign chords allowing the guitar to enter new dimensions and sound worlds. Similarly Heitor Villa-Lobos uses this technique in the B section of his Prelude no.2 where he moves a triad shape up and down the neck of the guitar whilst maintaining the open B and E strings above.
When we embrace these qualities of the guitar we can begin to create a truly original sound world unique to the guitar. Still, it is important to have a thorough understanding of the fret board and practicing in remote keys will not only help you to play better in the easy keys but will also change your perception of the guitar. A good way to practice without having certified studies, written by the great masters is to take a simple tune and play it in all the keys. I personally use the melody line from the Bach Minuet in G as the tune is melodic but also has some large intervals making it a little challenging while easy enough to play by ear (see example 1).
1 J.S Bach Minuet in G, Bars 1 and 2
Other simple tunes will make good practice for playing in remote keys and you won’t be required to go hunting for studies in the key of Ab or Eb etc.
It is also important to play in one key for a long time before moving onto another. If we simply play through all the keys without allowing their positions and sounds to sink into our subconscious then we are only skimming the surface of what these keys really are. In fact, Indian musicians often play in one key for years before trying a new one.
Scale also plays in an important part of how we can utilize more remote keys. If we only allow ourselves to compose in the western major and minor scales then we will come up against difficulties in some keys on the guitar. Not only can we use recognized alternative scales such as modes, pentatonic and Indian scales we can also create our own scales based on what works well around a particular tonal center.
So as a conclusion I would say the guitar is a fixed key instrument if you only approach from a Western harmony perspective but is open to all keys if we allow new sounds to enter our compositions, sounds that are perhaps foreign and uncomfortable at first but later become a unique sound world.
When we embrace these qualities of the guitar we can begin to create a truly original sound world unique to the guitar. Still, it is important to have a thorough understanding of the fret board and practicing in remote keys will not only help you to play better in the easy keys but will also change your perception of the guitar. A good way to practice without having certified studies, written by the great masters is to take a simple tune and play it in all the keys. I personally use the melody line from the Bach Minuet in G as the tune is melodic but also has some large intervals making it a little challenging while easy enough to play by ear (see example 1).
1 J.S Bach Minuet in G, Bars 1 and 2
Other simple tunes will make good practice for playing in remote keys and you won’t be required to go hunting for studies in the key of Ab or Eb etc.
It is also important to play in one key for a long time before moving onto another. If we simply play through all the keys without allowing their positions and sounds to sink into our subconscious then we are only skimming the surface of what these keys really are. In fact, Indian musicians often play in one key for years before trying a new one.
Scale also plays in an important part of how we can utilize more remote keys. If we only allow ourselves to compose in the western major and minor scales then we will come up against difficulties in some keys on the guitar. Not only can we use recognized alternative scales such as modes, pentatonic and Indian scales we can also create our own scales based on what works well around a particular tonal center.
So as a conclusion I would say the guitar is a fixed key instrument if you only approach from a Western harmony perspective but is open to all keys if we allow new sounds to enter our compositions, sounds that are perhaps foreign and uncomfortable at first but later become a unique sound world.
Monday, 15 March 2010
Sunday, 14 March 2010
What school should we follow when composing for classical guitar?
The question of how to compose for the classical guitar can mean the difference between writing vast amounts of music or never getting past the first measure. Indeed, too much classical training can at times hinder the guitar composer as he begins to feel that certain passages can't be written because they do not follow certain rules of classical harmony. However, as has been said about all the arts, it is good to learn the rules before breaking them.
Recently, I have been able to compose a large amount of classical guitar music in part thanks to the lessons I have learnt from the music of Heitor Villa-Lobos. He was one of the first and most important composers to mix classical guitar with folk music, thus allowing the guitar to sing its own, idomatic tune. If we follow too strictly in the paths of composers such as Fernado Sor or Matteo Carcassi we are not only looking backwards but are also repressing the guitars natural spirit.
By harnessing the unique qualities of the guitar such as open strings, harmonics, strumming, slurring, fixed chord positions moved up and down the fret board (as in Villa-Lobos' Prelude No.2), doubling of notes etc, we can see the guitar in its own light and free ourselves from the age old rules of western classical harmony. This does not mean that we have to write atonal music. One of the most annoying things music enthusiasts say about modern music is: "It's all atonal". Clearly these people do not listen to a very wide range of music. In fact there are many otherways we can compose for the guitar in a tonal and melodious way but without following the same old chord progressions or even thinking chordally at all for that matter. I believe there is still a lot of potential for new compositional ideas in eastern music, pentatonic scales (which are perfectly suited to the guitar), African music, Brazilian music, the list goes on.
For now, I am stemming off the root of Villa-Lobos' guitar compositions and trying to keep as far away from Sor, Carcassi, Tarrega, (even) Barrios etc etc as possible. Still, even Villa-Lobos will eventually be outdated.
Music moves on, new styles come and influence the musicians who play it but there is no such thing as a fixed musical style. Flamenco today is vastly different from Flamenco of 100 years ago. Let us composers be brave enough to embrace the changes and recognize the beauty in hybridisation, the vast melting pot of ideas constantly churning, mixing together and eventually coming full circle.
Recently, I have been able to compose a large amount of classical guitar music in part thanks to the lessons I have learnt from the music of Heitor Villa-Lobos. He was one of the first and most important composers to mix classical guitar with folk music, thus allowing the guitar to sing its own, idomatic tune. If we follow too strictly in the paths of composers such as Fernado Sor or Matteo Carcassi we are not only looking backwards but are also repressing the guitars natural spirit.
By harnessing the unique qualities of the guitar such as open strings, harmonics, strumming, slurring, fixed chord positions moved up and down the fret board (as in Villa-Lobos' Prelude No.2), doubling of notes etc, we can see the guitar in its own light and free ourselves from the age old rules of western classical harmony. This does not mean that we have to write atonal music. One of the most annoying things music enthusiasts say about modern music is: "It's all atonal". Clearly these people do not listen to a very wide range of music. In fact there are many otherways we can compose for the guitar in a tonal and melodious way but without following the same old chord progressions or even thinking chordally at all for that matter. I believe there is still a lot of potential for new compositional ideas in eastern music, pentatonic scales (which are perfectly suited to the guitar), African music, Brazilian music, the list goes on.
For now, I am stemming off the root of Villa-Lobos' guitar compositions and trying to keep as far away from Sor, Carcassi, Tarrega, (even) Barrios etc etc as possible. Still, even Villa-Lobos will eventually be outdated.
Music moves on, new styles come and influence the musicians who play it but there is no such thing as a fixed musical style. Flamenco today is vastly different from Flamenco of 100 years ago. Let us composers be brave enough to embrace the changes and recognize the beauty in hybridisation, the vast melting pot of ideas constantly churning, mixing together and eventually coming full circle.
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