Five Auditory Illusions
February 23, 2008
1 CommentI’ve talked about the Shepard Tone before but NewScientist has just posted five great auditory illusions.
The virtual barber shop is fun! You’ll need headphones. I remember experiencing something like this at Disney World as a kid.
Phantom words creates the effect of a single word using separate sounds, demonstrating how your brain constructs meaning out of meaningless noise.
Temporal induction of speech shows how our brains fill in gaps when data is missing.
The scale illusion demonstrates how our brain groups notes together. See this image for the notation of what’s being played and what you are probably hearing.
Phantom melodies demonstrates how our brain picks out melodies from patterns at high-speeds.
Have fun!
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(1 votes, average: 5 out of 5)
Loading ...The Best Of Graham English 2007
December 24, 2007
0 Comments
It’s time for my yearly reflections and celebrations.
By far the most popular and most controversial post of 2007 was The Zen Of Attraction. I’m surprised at the attention it received because I wrote it as an aside. Some people loved it and some people hated it. But what was most interesting for me was how many people hated not the article, but me. I mean these were just simple ideas that are totally debatable. This post led me to define some comment rules that include no personal attacks. I’m willing to debate ideas but not whether I’m a good person or not. It was a very interesting experience!
The second most popular post was iQuickTwitter - My Quicksilver + Twitter + iChat + Growl Hack. This little app got some serious link love from TUAW, Ars Technica, and many other fantastic blogs. And a big reason why I didn’t blog as much as I did in 2006 was because of Twitter. If I ever had something short and simple to say, rather than try to develop it into at least 250 words, which I previously believed warranted a blog post, I would just post it to Twitter, which has a limit of 140 characters. I think my strategy will change some in 2008. My new Lifestream category will probably see a lot more action whenever I find that 140 characters is not enough. The most significant change is that I won’t keep such a tightly controlled niche blog. The only thing tying this blog together is that I am writing it, not the subject matter. So if I feel like saying something, this blog will take priority.
Along similar lines as iQuickTwitter were my many posts on automation. Some of them were conceptual, like Automation As Part Of An Integral Life Practice and Automating The Quality Of Your Attention. While others were specific and geeky, like IM Status: Update Your Skype, iChat, Or Adium Status With Quicksilver, Top 5 AppleScript Productivity Hacks for WordPress Bloggers and Podcasters, and Blogging With Quicksilver And AppleScript. I’ve really grown to see automation as an important part of life that I need to revisit again and again.
Some of my favorite songwriting articles were Applying The 80-20 Rule To Your Songwriting, my Hit Songwriting Tips Podcast, The Secret Alchemy Of Songwriting, 5 Sure Fire Ways To Kick-Start The Songwriting Habit, Rewriting Song Titles For Practice And Inspiration, and What Makes a Good Song? My biggest disappointment of 2007 was the small amount of completed songs. I finished only about half a dozen songs and published just one of them, which I’m quite proud of, “When The Wall Falls Down.”
I also didn’t write about ear training or music theory nearly as much as I did in 2006. But I have a few favorites, such as How To Use Tension And Release In Your Melodies, my Absolute Pitch Ear Training Podcast, Playing Outside: The Dominant 7 Pentatonic Scale, and Ear Training or Listening Practice?
Two great moments of 2007 were getting my new MacBook Pro and iPhone. The new Mac inspired a whole new series of podcasts called Graham English Talks and introduced my own videos, like The Best Of Dwight Schrute Part 1, Part 2, and Part 3. The iPhone inspired Brian Eno’s Oblique Strategies For Your iPhone and made my tech life much more streamlined.
2007 was definitely a year of social networking. Twitter, Facebook, Last.fm, Stumbleupon, and many other social networks occupied a large part of my time online. And there were many benefits like making new friends, reconnecting with old friends, finding a larger reach for my articles and music, and discovering new forms of self-expression. It confirms how important relationships truly are.
Which leads me to the very best of 2007, You! My life wouldn’t be nearly as fulfilling without the special presence of you. The support of my readers and listeners has made the tough times easier and the good times even better. I sincerely hope that we stay connected through 2008. Thanks for sticking with me through 2007. w00t!
(4 votes, average: 4.75 out of 5) Loading ...How To Use Tension And Release In Your Melodies
April 23, 2007
4 CommentsMusic, much like life, is fundamentally a swinging pendulum between tension and release. Fortunately, with music, this is easy to represent objectively and to utilize in your music composition.
Taking a look at the C major scale, you can see that each note has a relative degree of stability or instability. We also call this consonance and dissonance. Traditionally, the rules of counterpoint dictate that the unison, third, fifth, sixth, and octave are consonances. The unison, fifth, and octave are perfect consonances while the sixth and third are imperfect consonances. The second, fourth, diminished fifth, tritone, and seventh are called dissonances.
It’s important to note that dissonance doesn’t mean being wrong or bad. Dissonance simply indicates an increase in musical tension.
So a diagram of the C major scale, showing the relative degree of stability to instability, would look like this:
How can you use this as a composer?
Think of where you want to take the listener. A melody is like a roller coaster. It goes up, it goes down. It builds tension and releases tension. The final release doesn’t come until the ride is over and you are still again. Your job as a melody writer is to take your listener on a journey, weaving through tension and release just like that roller coaster ride.
A very practical way to illustrate this is to look at the end of melodic phrases. Perhaps your entire melody has 8 melodic phrases. It would make sense to increase tension in the first few phrases by ending on relatively unstable tones. Then you can resolve it, but not completely, on the fourth phrase. Increase the tension again, and then release it completely on the last phrase by ending on the first or fifth scale degree.
This is also a great strategy for improvisation. If you’ve got 32 bars to solo, don’t resolve until the very end. Or, depending on the section that follows, you may want to increase the tension during the entire solo so that the following section can provide the release.
We just looked at how to use tension and release on an entire melody by choosing stable and unstable tones for the endings of melodic phrases. You can also look at the individual melodic phrases and determine the motion between tension and release you would like the listener to feel within each phrase. You can zoom in and out as far as you need to help you create the desired effect.
Obviously, tension and release are created by a combination of factors, like rhythm, harmony, motion, and so on. I’ve only discussed one aspect of tension and release in melody so far. Here’s the bottom line, whenever you need to make a melodic choice, ask yourself, “What level of stability or instability am I trying to create?” Then make the appropriate choice.
(1 votes, average: 5 out of 5) Loading ...Absolute Pitch Ear Training Podcast 04-09-07
April 9, 2007
0 Comments
Topics covered:
Singing what you hear, the body/mind connection in music, exercises to improve your musicianship, and more.
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(1 votes, average: 5 out of 5) Loading ...Confusing Music Theory Fundamentals And Cliche
March 28, 2007
2 CommentsWanna hear something provocative? Check out this quote from an old issue of keyboard magazine.
“On this experimental record, I’ve been trying to explore more jazz harmonies. The thing is — and I’m gonna piss off a lot of people here — the II-V-I hits my barf button like nothing else. It’s the most horrible cadence in the known universe, so I’ve been looking at jazz that takes off in other directions.”
- BT, music producer
Now I respect everyone’s right to have a musical opinion. But I bring this up to warn people against forming strong negative opinions (aka limiting beliefs) about something as basic as the fundamentals of music.
I respect BT as a musician. He puts out great music. But his comment is the equivalent of Michael Jordan saying that lay ups make him want to puke. Better yet, it’s like Arnold Schwarzenegger saying that biceps are a terrible thing. Maybe the reason BT makes such good music is because of his strong opinions. I don’t know. But I do know that the average musician is going to need as many choices as possible in their musical lives. Why limit yourself?
Do what you need to make the basics interesting for you. Just don’t close the doors on a boundless library of musical experience.
(1 votes, average: 4 out of 5) Loading ...
