Emphasis as a Basis for Phrasing (part 2)

Some people have been asking for examples of this so I thought I would share one of my own pieces here which uses this very technique:

Silently Stealing Sleighbells

This piece is mostly triplet quavers (triplet eighth notes at 132bpm) which are played as a consistent rhythmic figure throughout two of the three sections which are the component parts of the arrangement for this piece.

Because each note has a different emphasis and in this performance particular attention was payed to the way each note relates to the one next to it, the piece has a melody which is shaped by emphasis rather than by rhythmic variation.

Seeking the Truth (part 1)

Before I even start, I'll contextualize this as 'my opinion only' to avoid too much of a backlash. I'm claiming no 'authority' here and only sharing my view on a topic which I've found myself discussing over the last few weeks.

One fundamental factor which determines how we formulate our ideas and gain strength in our convictions and beliefs is our perception of the concept of 'perceived authority'. This can sometimes have a dark and questionable role to play in the formation of opinions, and consequently 'recorded and referenced music theory'. I'm mentioning this because across a wealth of well respected textbooks on the subject of music theory, there are multiple contradictions. Which one is right? Which publication can claim 'authority'? Guitar magazines do this all the time, but how much is this appropriate?

I contribute quite a bit to Paul Clark's forum where I set up a good natured and well intentioned "Theory Challenge" thread which turned into a healthy ground for discussion and good natured debate on certain concepts and ideas. The 'tetrachord concept' was one such idea where 'misconception central' caused a whole load of problems. Most of the following blog entry is taken directly from my contribution to this debate, although since it was pertained to some ideas I had been working on for this blog, I thought it appropriate to share it here.

There are multiple interpretations of "tetrachords" which all have a measure of value (within a permanently evolving system of music theory), although I'm not convinced by some of them, and I think the dissection and subsequent re-labeling of a lot of theoretical concepts sometimes serve the purpose of doing no more than justifying certain 'contemporary' pieces by certain composers who, incidentally, were also influential and instrumental in the editing and devising of some contemporary music theory textbooks. This has led to some very shallow and tentative ideas which have been recorded, studied by some, then held up to be 'the truth' and widely referenced a little too often, where in actual 'truth' they have often been artificially devised to attempt to explain a musical idea which is a long way removed from the comfortable and well established tonal system.

Where do we get our 'truth' from? It's always the case that 'trusted sources' are often the best place to look for such a truth but unfortunately there is a lot of misplaced self-importance, ego, and thoroughly deplorable arrogance amongst some academics (especially those who consider themselves to be in a position to write textbooks on music theory) which has offered a wealth of contradictory suggestions, advice, labeling, and concepts which I would consider all to be highly questionable. Whilst I might be (in a sense) an academic (and to this end, making my own claims with no more or less 'authority' than others) I always try to teach (especially at a high level) that the truth comes from the careful, intelligent, and multiple referencing of as many publications as the student may lay their hands on to as exhaustive a conclusion as possible. Speak to as many learned people as possible for the benefit of their experience and view, and you will formulate an opinion of much greater value than to blindly trust and one source.

Emphasis as a Basis for Phrasing (part 1)

This is another blog which takes a step backwards from a previous idea rather than forwards. It’s another simple exercise (as with all the best exercises), which is very useful for developing better control over the way you sound. Control is one of the most under-used words when it comes to practice but it’s absolutely the most desirable thing to be able to do with your playing. Using a scale (or mode) over two octaves, try the following emphasis exercises:

Emphasis exercise 1:

Using a scale (or mode), play each note in sequence using equal note values. Use either all crotchets (quarter notes), or quavers (eighth notes) but play an accented note on every 3rd note in the scale as you ascend and descend over 2 octaves.

Emphasis exercise 2:

Using a scale (or mode), play each note in sequence using equal note values, play an accented note on every 4th note in the scale as you ascend and descend over 2 octaves.

Emphasis exercise 3:

In a 2-octave diatonic scale (inclusive of the tonic at both ends) there are 15 different notes.

Chose 3 random numbers between 1 and 15. Now using a scale (or mode), play each note in sequence using equal note values, play an accented note on each orf the 3 tones which correspond with the 3 numbers you have chosen. Accent the same 3 tones when descending.

These simple exercises develop a lot of control which is often missing from guitar players technical facility, especially where a lot of electric guitarists use compression (which limits the amount of dynamic control over your playing by design!). if you use a compressor pedal, make sure it’s switched off for this exercise (as with all other effects).

Phrasing with Scales and Modes (part 1)

I've had no end of requests about modes since I first started the phrasing module.

Am I going to be covering modes/phrasing with modes?

While I've had some really good, supportive feedback about the first 2 videos, I probably didn't make it clear enough in the post "New Year, New Ideas" that the first 2 videos are supposed to serve as an example of what can be done with a scale. It happened to be a Bb major scale that I used in the example, but in truth it could have been any scale, any mode. Pentatonic, blues scales, even arpeggios can be practiced using this principle of breaking up the rhythm, and experimenting with different note values and rests between them but remaining within the restricted framework of completing the scale (or arpeggio) over however many octaves as you wish. It was meant to serve as an example of a principle rather than just as a major scale exercise.

If building familiarity with different scales and modes is necessary, then I would suggest that is done before attempting to explore different rhythms while playing them in their ascending and descending forms. Scale diagrams and information about what (and where) all the modes are can be found all over the internet. A quick google search will offer you all the information you will ever need, and some clear scale diagrams are well presented on a lot of good education websites.

Getting back to the phrasing module, there are two directions that I can go in from those first videos. The first is to explore different scales, modes, arpeggios, pentatonic and blues scale choices etc... and thoroughly go through a lot of different sounds and effects that these tonalities can bring. The other direction I could go in is to explore the dynamics of movement within a scale more thoroughly. Maybe changing direction once or twice over a 2 octave scale instead of always needing to complete it over 2 octaves before either ascending or descending once more. Maybe explore intervals? The list of options here is immense.

What I had planned to do next was to explore more 'melodic movement choices' rather than tonalities, although since I've been asked about this a lot, I'm probably going to explore both of these things.

Asking Better Questions (part 1)

I vividly rememeber a time at music college when the question "What is art?" set off the first academic year with the intention of generating some healthy discussion about it. Maybe it was also to challenge preconceived ideas or to expand thoughts that people may already have on the subject, but my recollection of this day was of a very defensive position that one lecturer took when I suggested that the question "What is art?" was actually quite limited, and that perhaps the topic may be better addressed by asking "Where is art?" "When is art?" "How is art?" and even "Why is art?". Judging by the reaction I got, I don't think these questions fit into that particular lecturers 'plan', and as I learned quickly, you can't go against 'the plan' in an established academic setting. To challenge 'the plan' is to challenge the institution itself, and they don't like that very much. For anyone else, outside an institutionalised educational setting who may wish to explore an idea and develop a deeper understanding of a topic beyond some elses 'plan', asking better questions is a very good way to achieve that.

What this brings me to is an important set of questions which can be asked of anything, and for the current focus on phrasing, "What is phrasing?" can generate some interesting answers, but how about "Where is phrasing?" "When is phrasing?" "How is phrasing?" or even "Why is phrasing?". Proper grammar might sometimes be difficult to fit with these questions, but what they pertain to is there, and exploring the answers to these 'better questions' can lead to some useful insights that in turn, can better inform what it is you're trying to do.

Phrasing Videos

I've had a couple of messages letting me know that the videos I embedded into the "New Year, New Ideas" post don't always seem to work.

I don't know how to fix this problem beyond posting the links to these videos on youtube which are here:

Phrasing video 1

Phrasing video 2

Impossibility?

The next blog I was going to post on here was going to be the next installment of the phrasing module that I've been working on and teaching this month although I've been working on the Contemporary Guitar Performance Workshop main course over this week, and I've been working through the closing section which contains some ideas which are very much consistent with what I've found myself sharing with my students when they've tried some of the exercises for developing their skills with phrasing.

From the closing section:

"Take each new piece of information, each new idea, each concept, and each person’s perspective, and use it as a starting point for your own exhaustive experimentation and explorations. If you take onboard other peoples ideas and consider them to be ends unto themselves then that's what you will confine them to be through perspective. Avoid putting things into this 'perspective prison', and try to recognise where other people do this. Some people protect their ideas, opinions, work, and attitudes by presenting it to the world in such a way that you can easily get the impression that there is no other way some things can be done (it’s a favourite amongst politicians). This is sometimes true when it comes to cold, hard facts, but not always. Keep your mind open, and what seems impossible can sometimes be exposed as just a good challenge, and not clear cut 'impossibility'."