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Relationships 2

 

Training

This isn’t just about intervals. It’s a detailed way of thinking about anything. The idea is to focus intently on a particular thing, and see how much change you can bring to  it. This isn’t composition as much as composition training.

 

Changing the interval

 

The original interval can be changed in 11 ways. The interval we’re working with is a perfect 4th.  The other intervals are:

 

  • unison
  • minor 2nd
  • major 2nd
  • minor 3rd
  • major 3rd
  • augmented 4th
  • perfect 5th
  • minor 6th
  • major 6th
  • minor 7th
  • major 7th

 

Here’s the original interval again.

 

music relationship

 

You can change the interval by keeping one of the original notes and changing the other.

comp ex- new interval

 

Or you can change both notes, and form either a different interval…

comp ex- new interval2

or the same interval as the original.

perfect 4th

 

 

Keeping one of the notes maintains a clear relationship with the original interval even though the interval changes. So does changing both notes and keeping the original interval.

 

Changing both notes without maintaining the original interval is the only move that cuts all contact to the original.

 

Melody strings

Try stringing a few 2-note ideas together. Make all of the notes the same duration (this is so you can focus on pitch relationships). If there’s something you don’t like about what you’ve got, change a note.

 

Be clear about what needs to change, and why. Maybe there’s a large leap that doesn’t work where it is, but might work elsewhere. Keep track of your decisions. This brings self-understanding, indispensible to being a composer.

 

Of course, it may not be the notes that need to change. It might be the rhythm…

 

 

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Relationships

Musical relationships are created when you place one piece of musical material (note, chord, field recording, sample, etc.) after another. Once you identify a relationships, you can decide how you’re going to use it in the rest of the piece. These relationships form the basis for coherent content.

 

To make this clear, I’ll start as simply as I can.

 

Here’s one note played after another.

 

music relationship

There are three relationships here.

  • the interval/distance between the notes
  • the location of each note (one high, one low)
  • and the duration of each note.

 

Interval implies melody. It refers to how far one note has to travel melodically to get to another. More generally, it’s simply the distance between two notes. Thinking melodically makes the concept easier for some people. The location of the notes is about where we place notes on the staff. The duration of the notes creates rhythm.

 

Work with changing the value of these relationships.  The interval can widen or narrow. This will change the location of the notes. You can make one note duration shorter, and the other longer. It won’t take long before you start seeing endless possibilities.

 

If you play with this for awhile, you’ll wind up with a lot of different 2-note musical objects. Do any of these objects go together? Does it make sense to string them together into a melody? Superimpose them to make chords?

 

Doing this helps you see how working with small ideas leads to larger ideas.

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Interview with Colin Labadie on augmented guitar

Colin Labadie is a composer/guitarist who began working on a prototype for an augmented guitar in 2010.  He’s currently working on a second augmented guitar with a wider variety of sensors and more complex signal processing effects. Check out his website for more.

http://www.colinlabadie.com/projects/prototype_augmented_guitar.html

 What does augmented guitar mean for you in your work? Is it a way to create a new sound palette for the instrument? Do you see it as a way to present the guitar in a less conventional light? Do you approach it as a guitar, or do you think of it more generally as a sound-producing interface?

 

I’ve always loved the potential of the electric guitar for finding new and interesting sounds. When I discovered Max/MSP, I felt that it was a bit of an untapped resource since it hadn’t been used much with the electric guitar despite being extremely powerful in terms of sound processing. The problem was that I when I was performing, the only control I had over the processing was with a computer mouse, and I was tweaking the sounds so often that I felt like I was playing the mouse more than the guitar. Augmenting the guitar was really a solution to that problem, as it freed up my hands from the computer so I could play the guitar while still manipulating its sound the way I was imagining. It has the added benefit of allowing more subtle real-time control than the feet (where processing is usually controlled), since as a guitarist my hands are naturally more dexterous.

 

The augmented guitar definitely presents the guitar in a less conventional light, not only in terms of sound but also in terms of visuals, since it can look a bit like a Frankenstein. I like pretty guitars as much as the next person, but I also really like the DIY aesthetic of an augmented guitar. There’s something about it that instantly arouses curiosity. But ultimately I don’t see it as being unconventional for its own sake; for me it’s really a byproduct of seeking out new sounds.

 

For me, I think of the augmented guitar as either a guitar or a sound-making interface to more-or-less degrees depending on the context or even the mood I’m in. When I was first using it, I was so fascinated with the sensors that I would usually just use the guitar as a drone and played more with the effects, but lately I’ve started to incorporate more guitaristic playing. It really varies.

 

 Have you modified the electronics of the guitar itself? Or have you added controllers/sensors to the guitar? Both? Describe these modifications.

 

I’ve just added controllers/sensors to the body of the guitar. The first prototype I build had a couple of buttons, knobs, a switch, a force-sensing resistor (FSR) for pressure, and an accelerometer for tilt. I could map these onto the processing parameters however I wanted, and I could also change those mappings on the fly. I’m working on a second version that will have a few more controllers/sensors, and these will be able to communicate wirelessly with the computer via XBee/arduino so that I’m not bogged down with additional cables, and so that the laptop can potentially sit off-stage.

 

At some point I do want to modify the actual circuitry of the guitar. I work a lot with lo-fi op-amp chips and it would be great to be able to switch into a hard-wired lo-fi guitar mode. I’d also like to wire up the frets and strings so that my body’s capacitance can alter the sound, like a kind of circuit-bent guitar.

 

 Describe the work that you have done as a performer on augmented guitar.

 

I’ve used it mainly in improvisation, either in my improv duo MUGBAIT, solo, or ad-hoc performances with other improvisers.

 

Have you composed any music specifically for augmented guitar, either solo pieces or as part of an ensemble? If so, how would you categorize this work? Improvisation? Ambient? Noise?  All of the above? Other?

 

I haven’t yet composed anything specifically for augmented guitar; like I mentioned earlier, it’s been mainly for free improvisation in both solo and group settings. But, I’m currently working on integrating the augmented guitar as part of my doctoral thesis, where I’ll compose three structured improvisations that will act as transitional interludes between the larger movements for acoustic instruments.

 

Is the way that you’ve set up your augmented guitar suited only to an experimental approach, or do you see it as compatible with a variety of  situations (pop, jazz, metal, classical, avante-garde, etc.)?

 

I’ve used it primarily for an experimental approach since it lends itself to that kind of playing. Because you can control things simultaneously, you sometimes get weird intersections between effects that you wouldn’t have found otherwise, and it becomes a launching point for exploring odd sounds, especially in free improvisation. That being said, there’s no reason why it couldn’t be used in other musical situations since it’s really just a system for controlling sound, and you can map that control to whatever you want. It’s not a surprise that Moldover (one of the better known augmented guitar guys) is using it mainly for pop music, or why the commercial augmented guitar product “Guitar Wing” is being marketed to all kinds of genres (check out http://createdigitalmusic.com/2014/02/augmented-guitar-final-hours-crowd-funding-watch-guitar-wing-can/ to see what I’m talking about).

 

The only potential problem with incorporating it into established genres is that it has a certain aesthetic that doesn’t always fit the mold, and that can be met with different reactions. It’s not as big of a deal in experimental genres since people tend to be more open, but in certain contexts you might not get called back to play again. That’s not to say you shouldn’t do it, depending on how bad you need the paycheque.

 

 Do you think that the electric guitar is better suited to augmentation than other instruments? If so, why?

 

There are some practical aspects that make it marginally easier to augment than other instruments. Certainly, having the pick ups built in makes for less of a hassle. It’s also relatively easy to integrate the sensors and electronics into the body of the guitar, and being able to find a decent instrument for relatively cheap makes for less qualms about drilling into it. Beyond the practical aspects, there’s also a rich history of experimentation and tinkering with the electric guitar that’s more publically visible than other instruments, which makes it seem somehow more “normal.” All that said, I don’t necessarily think that it’s useful to say whether the electric guitar is better suited for augmentations, since there have been many other fascinating projects that don’t use the guitar. I think we can learn things from people who have augmented instruments other than our own, and we don’t really stand to gain anything by having overly detailed conversations about which instrument is better suited for augmenting.

 

 Do you think that the idea of an augmented guitar brings the guitar closer to being a type of sound sculpture? In other words, does the idea of the guitar become more abstract, less tied to its conventional performance modes? This is related to the comment above about the guitar as sound-producing interface.

 

I think it depends to what extent you’re trying to subvert the electric guitar’s strong cultural associations. There are so many different forces at play when it comes to those associations that I don’t think augmentation alone is enough to completely abstract the guitar, though they can help. Ultimately I think the degree to which the guitar is abstracted relies more on the approach of whoever’s playing it, and how they treat things like performance context, playing technique, the types of sounds they’re creating, and all of the idioms therein. In general I see tabletop guitar as being a more abstract form of the guitar, since by laying the guitar flat they’re completely subverting how you’re supposed to even hold a guitar, which is pretty fundamental, not to mention conventional playing techniques and sound.  Augmentations definitely have the potential to abstract the guitar, especially in terms of sound; the types of processing you’re able to get are sometimes so far away from the typical electric guitar sound that those associations becomes blurred. On the other hand, you have artists like Moldover, who has a very sophisticated augmented guitar and interesting effects, but still plays idiomatically in a lot of ways, and so I think the use of augmentations is perceived as a kind of extended virtuosity that doesn’t affect the fundamental essence or “guitarness” of his instrument. For me it really depends on the goals, approach, and perceived intent of the performer that dictates how abstract the guitar is, and it varies from performer to performer.

 

 

 

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Craft 3: Working with Chords

Chords

Experimenting with chord relationships is part of the craft process. Why does a chord sound better going to one chord more than another? Why does a chord relationship work in one song, but not in another?

 

Answers to these questions don’t emerge right away. You might have to wait for the next song. Or you might never get an answer. Or the “answer” might come in the form of an insight that has nothing to do with the question. Just ask the questions. Things will happen. You’ll get better.

 

Developing skill means trying things out to see what works.

 

 

Different chord shapes

The most common chord progression in the world is C major to G major. How many C chords do you know? How many G chords? If you only know one of each, then you only have one choice for a progression. If you know two C chords (I’ll call them C1 and C2; same chord, different shape) and one G chord, you have two choices. If you know two of each, you have a total of four choices: C1 to G1; C2 to G1; C1 to G2; C2 to G2.

 

And there’s a lot more than two of each. Here’s a link to major triads shapes.

 

http://www.infosnacks.com/snack/428/guitar-major-triad-inversions/

 

Trying things out means doing the work to see what the possibilities are. Working with the possibilities develops skill. This is craft.

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Craft 2: Material and Technique

Writing music is like digging clay out of a riverbank so that you can make a pot.  The first draft is a lump of clay. As you begin to shape it, the material suggests things to you. The way it develops takes you down paths you wouldn’t have thought about. The music teaches you. You develop skill with the materials.

 

A precise understanding of the materials we use to make stuff, and of the techniques we use to make it is necessary for good work to emerge. In music, the materials are pitches, rhythms, timbre, etc. Technique is the ways that you manipulate the material. Having no technique means you wind up doing the same thing over and over again. Actually, that describes having one technique. Having no technique means you can’t do anything.

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