Category: Music

To be free

A slightly belated tribute to Billy Taylor, who passed away this week after a long long career, as reported by A Blog Supreme. Several years ago, I attended a series of “jazz appreciation 101” talks by Dr. Taylor, given in Kennedy Center rehearsal space. He was a welcoming, generous teacher. One of the things I remember is his observation that you can learn a lot about jazz harmony just by mastering Billy Strayhorn’s “Lush Life.”

Slippery

In the European classical tradition, the piano, with its twelve precise divisions of the octave—inflexible, immovable—has dictated musical thinking for several centuries. Once developed, the piano quickly became a machine of almost tyrannical influence throughout the Western world. Its division of the octave into twelve intervals, each mathematically equidistant from its neighbors, forces one to regard pitches as discrete entities, like nations with strictly policed [borders]. A piano-generated melody goes from point to point with no expressive sliding in between. This is not a fault—Bach and Mozart built their entire work on the notion—rather, it is a stylistic choice. Since the advent of the black-and-white keyboard… Western instrumental music has had to state itself according to the twelve discrete, individual pitches of the scale, resulting in a more limited universe of emotional expression.

—John Adams, Hallelujah Junction, ch. 10, “The Machine in the Garden”

The B feature

Via Arts & Letters Daily, Lucie Skeaping recaps what we know of 17th century jigs, bawdy theatrical afterpieces.

Were jigs recited over the tunes, did they contain song interludes, were they through-sung like mini-operas, or did all three of these at various times apply? Of the 12 surviving English jig texts roughly half contain specific tune titles printed at various points alongside the text, that is, the names of popular ballads or dance tunes of the day.

Nipped and tucked and buffed

Carrie Brownstein puts in a good word for flubs in recorded music.

Voices, guitars and drums are really expressive instruments for the same reason that they’re really inexact instruments: [You] can’t coax the same note or beat out of them exactly the same way twice, even if you try.

Any stage actor could tell you that, and ruefully.

She mentions, as an exemplar, Denny Doherty’s early entrance for a chorus of The Mamas and Papas’ “I Saw Her Again.” Heck, I always figured that he meant to do that. It was effing brilliant.

O.F.

Via The Morning News, John Adams gives tips on getting through the first rehearsal:

Be flexible and take every opportunity to talk to the players. Sometimes you can make an on-the-spot change that will make an instrumentalist’s day. Other times, although you realize that what you’ve written is in fact awkward and unreasonable, the player will be affronted if you offer to simplify or revise a phrase or a passage. They assume that if something isn’t working it’s their fault. Composers are geniuses, right? For them it’s their burden to somehow make it work, and they do not realize that it’s the composer who needs to get it right.

Many actors I know aren’t quite so accommodating toward playwrights.

I also must quote this bit, relating to the many, many details of the composition process:

[Is] it mezzo forte or mezzo piano? (Or maybe pianissimo, because they’ll play it loud in any event?) Why aren’t there more gradients available? (Stockhausen tried: zero to ten.) Is pianissimo in the brass still going to cover the clarinets? And you always forget about mutes. It says “mutes on,” but you’ve declined to say when to remove them. Is it true that Schoenberg thought “mezzo” forte and “mezzo” piano were for sissies who couldn’t make up their minds? Maybe he was right.

Tripping Wires

Brandon Gentry looks back on the production of a mighty fine CD from 1994, ¡Simpatico! by local band Velocity Girl. Alas, there are no quotes from singer Sarah Shannon in the piece.

Coalescing at the University of Maryland in the late ’80s, Velocity Girl specialized in winningly sharp indie pop steeped in resonant major chord melodies and spry, agile rhythms…. Focused and concise, the best Velocity Girl is some of the best indie rock D.C. – or any other city – can claim to have produced in the last 20 years.