Words of Wisdom From Severine Neff

Today, I went to talk to a professor about my performance in her class. I had not been doing as well as I know I could have been, and because I often ended up coming to class late or turning in homework late for various reasons, I wanted to apologize. I went to her office and explained there had been some complicated things happening this semester and that she really was one of my favorite professors (I've even mentioned her in my blog before!)

She seemed surprised, and hadn't recognized any of the problems I was apologizing for; in fact she thought I was looking a lot better than the beginning of the semester when I looked exhausted and worn out every day! She said that it was clear that I understood the material and that's what she cared about most. She said things happen in life, and you just go on, it's nothing to worry about. As you get older you just get better at handling them... or not even, you just learn to handle them and life goes on. Then she said something very powerful - I'll do my best to quote: "Things in life often don't make sense... that's why we study music theory, because it can't be explained." This was so powerful to hear from someone who I think is so incredibly intelligent about music, and I just had to write about it so that it wouldn't be forgotten.

Homework Frustration

So it's 4:30AM, and I have a confirmed case of "Sundaynightitis," meaning I doodled around all through last week and this weekend and now I have to stay up late to get it all done in time. Oops, it happens. I'm still having trouble with my sleep schedule, I'm going to really focus on that this week. Goal: get to bed at 11:45 every night, and be up and OUT OF BED by 7:30 AM.

I just finished a take-home music theory exam. It's mainly on chromatic modulations through various keys. It's really cool to type the progressions out on the computer and hear what they sound like. It's awesome to have the power to whip through tonalities like it's no big deal - it sounds so fluid and carefree but there's so much work that goes into writing these progressions. It's awesome!

Unfortunately my TS is very present at the moment. I'm very aware of the fact that while most people in my current situation would be fighting only sleep to get their work done, but my battle is with simply staying still. My muscles are getting achy teeth are beginning to hurt from all the pressure I keep putting on them. My tics have been following a pattern where I'll go dormant for a half a second: my eyes close and I can't move anything. It's the calm before the storm; then a completely unpredictable tic rips through my body. Sometimes it's a (relatively) simple body jerk, sometimes my body heaves and it feels like I'm going to throw up!

A few hours ago I went to Abby, my RA Mentor, to calm down a little bit and relieve some stress. I hung out with her and another RA for a while, laughing and having a good time. It really helped to have a break like that! I love where I live and the people around me, I can't imagine it any other way.

After finishing my Music Exam I thought I'd write a little bit about what's going on before finishing up my Computer Programming, which explains this post. Anyway, I have a few things to write about once I get caught up with work, so more to come soon. Shalom!

Such Great Differences

Hey! This is a paper I just wrote for my Intro to Rock and Roll class. Enjoy!

Such Great Differences

Background sounds and music play a crucial role in the perception of what they are accompanying. The weight this phenomenon can be experienced by muting the television during an epic battle scene, or during the climactic kiss of a romance movie. Without the music that guides our hearts through our ears, the intense potential for powerful emotions dies into uncertain monotony. Another example of how much music affects perception can be found in the original and cover version of the song “Such Great Heights” by The Postal Service and Iron & Wine respectively. Each group applies different music to the same poetic lyrics to create unique performances with different meanings.

The Postal Service’s original version of the song begins with an electronic intro, presumably played on a synthesizer. The timbre of each note is almost a plain sine wave, heavily panned either to the left or right, immediately grabbing the listener’s attention and creating somewhat of a futuristic pop sort of feel. While this synthesizer part reoccurs later in the song, it does not clearly define the chord structure of the song and ends as soon as the vocal part begins. When the singer belts out the opening lyrics (0:41), his strong and confident tone quality seem to reinforce the futuristic and youthful nature of the song.

In contrast to the energetic electronics of The Postal Service’s original introduction, the cover done by Iron & Wine begins with a finger picked guitar playing the same part and chord progression it will play for the duration of the song. When I first heard this song, the soothing guitar instantly reminded me of the soft lullabies my father used to play to me as a child. While my own specific personal experiences are no doubt unique, the cover introduction is unquestionably much more relaxed than the original. This lullaby feel is further enhanced by the singer’s mature voice that sings almost as soft as a whisper, but just loud enough to have a pitch.

There is a special emphasis in both versions of the song on a particular set of measures in each of the verses; the first example of which is heard on the lyrics “mirror images” (TPS-0:46, I&W-0:32). In The Postal Service’s original, the note doesn’t fit into the chord structure of the song and jumps out to the listener like a weed in an otherwise clean-cut yard. In the Iron & Wine cover version, the very same phrase is smoother, yet the singer not only uses a more chordal pitch but also employs melismas and other pleasing musical devices that aren’t heard anywhere else in the song. Both versions produce significance to the very same phrase, but the ways in which they go about doing so create a different kind of importance to each.

As mentioned above, The Postal Service makes much use of electronics and studio technology. In fact, the phrases of the verses overlap by a beat, forcing the singer to sound two pitches at once. For example, in the line “…when we kiss they're perfectly aligned/and I have to speculate…” (0:49) the word “aligned” happens on the same beat as the words “And I.” Therefore, these phrases could not realistically be sung by one person in a live setting. Iron & Wine changes the rhythm of these words slightly so that this is not a problem for a lone singer; however despite the seeming intention to stick to the bare acoustic basics it is clear that overdubbing was used because a breath is audible during the word “aligned” (0:39). A small detail, yet an easy recording studio fix. This inclusion was probably intentional, perhaps a foreshadowing of overdubbed harmonies yet to come.

Both versions of the song have staggered instrumental entrances, but the effect is more prevalent in The Postal Service’s version. The song begins with the synthesized blips, soon underscored by a bass line (0:21). The drums begin to fade in (0:25) – an uncommon entrance for any percussion – while the blips fade out, leading way to the vocal entrance (0:41). In the Iron & Wine cover, the vocal entrance (0:20) is the only obvious entrance of sorts, with the exception of the mandolin solo at the end. Closer listening will reveal vocal harmonies layered into the cover as the song progresses, the first of which enters on the second phrase of the first verse (1:01). It is interesting that Iron & Wine would choose to include these harmonies in their acoustic cover, because they are not present in the original. The harmonies are soft and gentle and seem to give the voice an almost dreamy, angelic quality; as if the listener is drifting off to sleep and the harmonies are part of a dream. This makes the lyrics seem to be about flying to “such great heights” in a dream world rather than a futuristic one. As the dream continues the harmonies become more and more involved until they become a whole new instrument (3:43) is embodied by the dream in the form of a mandolin.

Cues for how to interpret the songs can be found in the music videos that the bands produce. The Postal Service’s music video for “Such Great Heights” depicts moving robotic parts and a male and a female astronaut. Based on initial impressions, one might think that this is a word play on the title and nothing more. On closer inspection, many of the scenes seem to have a strong sexual connotation: various robotic insertions and pulsations (0:43, 1:21, 1:28, 2:17, 2:55), subtle crotch shots (1:02), and machine parts that oddly seem to resemble human breasts (0:45) are only a few of the sexual suggestions within the music video. By contrast, Iron & Wine does not have a music video available. This could be due to a lack of funding, but is not likely as the group Confide has a music video for their cover of the song, even though their version is much less popular than the other two. Perhaps Iron & Wine chose not to produce a music video in order to maintain the dreamy, imaginative quality that makes their version so unique. While the material in these videos cannot be experienced solely by listening to the song, it suggests what the artists might have had in mind when they wrote and recorded the songs.

Although both songs use the very same lyrics and almost the same melody, the musical accompaniment drastically changes the meaning of each song. The Postal Service’s original is a ballad of youthful euphoric love, while the stylistic differences in Iron & Wine’s cover turn the same song into a dreamy lullaby. This was achieved by a variations in methods including instrumentation, melody, and vocal qualities. Each artist took the same poetic lyrics and by changing only the musical qualities, created such great differences.

Severine Neff

I just want to write a little bit about how much I appreciate my music theory professor, Dr. Severine Neff. Dr. Neff is one of the nicest professors I have met at this campus, and her passion for music and teaching it to others is very apparent through her teaching style. She plays piano beautifully, but only plays when necessary to illustrate key points in the lesson. She is very patient, and is open to trying new things to help us learn the concepts - something that cannot be said of many. After spending three semesters with her, Dr. Neff has completely changed the way I write and listen to music.

Props to you, Dr. Neff!

Mixed Meter

In my Intro to Rock and Roll class, we discussed the idea of mixed meter. A basic explanation for mixed meter is when the count changes throughout the song. Normally, you can count "1 2 3 4, 1 2 3 4" or "1 2 3, 1 2 3," all the way through a song. In mixed meter, this changes and you might find "1 2 3 4, 1 2 3, 1 2 3 4."

Here are some of my favorite songs featuring mixed meter:

• All You Need is Love by The Beatles. This one is a mixed-meter standard. They usually alternate between 3/4 and 4/4 time, but sometimes they fake you out. Listen to it and try to count along!
• Barracuda by Heart. This song is mostly in 4/4 time, but especially in the second half the Heart sisters throw in bars of 3/4 time. Very cool!
• Blue Rondo A La Turk by the Dave Brubeck Quartet. Masters of rhythm and timing, these guys have a real excersice in time signatures on this one. This song has three bars of 9/8 time grouped into four beats (2+2+2+3) followed by one measure of 9/8 grouped into three beats (3+3+3). Cool stuff.
• Zombie Woof by Frank Zappa. I have absolutley no idea what's going on in the intro to this song, but I deffinitely suggest listening to it and appreciating how coordinated the musicians are!
• Africa by Toto. This one is a little harder to catch - subtle, if you will. Each time the reoccuring musical statement is played throughout the song, there's a bar of 2/4. If you're counting, you should count something like this: 1 2 3 4, 1 2 3 4, 1 2, 1 2 3 4, 1 2 3 4

Music in the Heart

Today as an RA staff, we volunteered as a group at an organization called Club Nova. It's an organization that provides a lifestyle for people in the community with mental disabilities and handicaps. It's called a "Clubhouse Model," where members and staff both participate equally in running the organization. They have three main components of the oragnization: the house, the thrift store, and the apartments. The apartments were recently taken over by the government and are now Section 8 housing, but many of the members still live there. The house has meeting places, offices, a kitchen, and is just in general a place for people to hang out and be social. The thrift shop is pretty self explanatory, that's where I presume they make the majority of their income.

It was an odd experience being around so many people who have disorders and disabilities that are much more extreme that my own, and I think some of my fellow volunteers felt similarly. It was very clear that all of the members had a normal underlying self and personality, but there's was some barrier or difference that changes them in unfortunate ways.

The house had an upright piano wich of course I ended up at during our lunch break! Many of the same RAs from the Pachelbel post were with me at the piano, too. We talked about music theory some, discussing the difference between major, minor, and diminished triads and what exactly a seventh chord is. One of the members came over and talked to us a bit. Because of the barriers, I wasn't sure exactly what he said, but he definitely asked to sit down at the piano. He talked about listening to the radio and how he hasn't had much inspiration for a while. He mumbled something that didn't make a whole lot of sense about tuning and playing in band, so I was slightly skeptical when told me he was going to play me a pop song. He proved my ignorance when he began playing a beautiful chord progression right in front of me, complete with inversions and sharps and flats and everything beautiful. It made me remember that music is a part of all of us, and is a form of communication that bridges lingual and cultural and even disability barriers. I felt that I could experience the person he truly was, despite the differences in the way our minds work.



The video unfortunately doesn't have sound, but perhaps it's still interesting to watch.

Half a Pachelbel

Today was the first day of RA training, and it went quite well in my opinion. I got to meet my coworkers for the next year and start building relationships with them. After the training was over, three of the more musically inclined guys made their way to my room, where we proceeded to jam. We had a drumset, two guitars, and a mandolin going (all of which were my instruments except for one of the guitars). The guy playing the mandolin was new to the instrument but picked it up with surprising speed - the man's got good string sense!

We all doodled around a bit with various melodies and chord progressions, but we locked together on one in particular and had a really awesome groove going. The chords were C, G, Am, and F repeated. In the key of C (which it was,) this is reffered to as a I V vi IV progression. The C chord, being built from the first note in the scale, is symbolized by roman numeral I; the G chord is built from scale degree 5 and is symbolized by roman numeral V, and so on. This can be heard in a great deal of songs, like "Don't Stop Believin" by Journey, "Let it Be" by The Beatles, "Sk8er Boi" by Averile Levinge... you get the idea. People refer to this as the "Pachelbel chords," but this is wrong.

Pachelbel's Canon is I V iv ii IV I IV V. In the key of C, that would be C, G, Am, Dm, F, C, F, G. If we compare the first four chords of Pachelbel's canon to the other progression, you see that they're the same except for the last chord. However, this is somewhat forgivable because a Dm and an F chord are the same except for one note (D minor is D,F,A; F is F,A,C). The real issue comes in when you realize that "Don't Stop Believin'" and the other songs have four chords, but pachelbel has - count 'em - eight! That's right, what many musicians think of as the "Pachelbel progression" doesn't even have the right number of chords! For a song that uses legit Pachelbel, listen to "Graduation" by Vitamin C. That doesn't really count though, because she (they?) actually has Pachelbel's original piece playing in the background. It's a very nice tribute, but you can see how that's not quite what we're going for.

Luckily for you, you've read this blog and you know the truth. Therefore, the next time one of your musician friends tries to impress you by saying "You hear that? That's Pachelbel!" You can turn around and say to them "Oh yeah? Then where's the other half?"

Bobby McFerrin and the Pentatonic Scale

The pentatonic scale is composed of only five notes, as opposed to the tradition seven-note scale. Imagine playing a song using only the black keys of a piano. As difficult or unnatural as this may seem, plenty of very common songs are composed using a pentatonic scale, including "Cowboys" by John Williams and "My Girl" by The Temptations. In fact, one of the first original songs that I wrote for marching band turned out to be in a pentatonic scale. I didn't even realize it until years later!

I found out about Bobby McFerrin a while ago through YouTube and I'm amazed by everything he does. A coworker recently sent me a video to a demonstration he gave at a conference called "Notes and Neurons." It's an interesting look at how the pentatonic scale is almost hardwired into the human brain. Check it out!

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale from World Science Festival on Vimeo.