The Daily Parker

Politics, Weather, Photography, and the Dog

P is for Pachelbel

Blogging A to ZThis morning, my Blogging A-to-Z challenge post will discuss a composer whose music I absolutely loathe because of its insipid, simplistic, earwormy pabulum, Johann Pachelbel (1653-1706).

You have, no doubt, heard his Canon in D, which, thanks to its inclusion in an otherwise forgettable film 51 years ago, continues to besmirch weddings and other cultural events with its demonstration of what happens when you strip music down to the essentials and add nothing back. In a way, the Canon in D resembles a lot of modern music by providing nothing more than a repeating theme of such simplicity that only a performance by 3rd graders on recorder could do it justice.

So why did I include this composer in a series on music theory? Because in that simplicity is just about all popular music of the last half-century.

Here are the first few bars of the piece:

It is I-V-vi-I6-IV-I-IV-V, repeated endlessly, until someone in the audience starts yelling "Please, for the love of Dog, make it stop!" Notice that the string parts are also boring, and (because this is a canon) repetitive.

When I say it has infected music in the last 50 years, I mean it's like a staph infection that can shut down an entire hospital. Here, to make the point better than I can, is Rob Paravonian:

O is for Ornaments

Blogging A to ZThis morning's Blogging A-to-Z challenge entry will take a quick turn and possibly trill your heart with a brief overview of ornaments.

You got a glimpse of two of the most common Baroque ornaments on Saturday as the Bach snippet I posted contained a grace note and a mordent:

The grace note tells the performer to add the note within the duration of the main note. For example, the grace note in the first measure would be played out as shown in the second measure:

A mordent tells the performer to do a little flip up from the written note (or up if it's got a line through it). This example shows a mordent, then its written-out equivalent, followed by a rising mordent and its equivalent:

The turn comes up frequently as well, and does exactly what it says on the tin:

Let's not forget the trill:

If only there were a single piece of music that put all of them together brilliantly...like maybe Bach's Sinfonia #5 in Eb major, BWV 791? Why, yes:

More than €700m pledged to rebuild Notre-Dame

Yesterday's devastating fire in the Cathédral de Notre-Dame de Paris fortunately left the walls and bell towers intact. But the destruction of the fire and roof could take 10-15 years to fix, according to Le Monde. So far, corporations and other European governments have pledged over €700m ($790m, £605m) towards rebuilding it:

  • La famille Arnault a la première annoncé un "don" de 200 millions d'euros par le groupe de luxe LVMH et a proposé que l'entreprise mette à disposition ses "équipes créatives, architecturales, financières" pour aider au travail de reconstruction et de collecte de fonds ;
  • La famille Bettencourt a annoncé deux dons de 100 millions d'euros, l'un via L'Oréal et l'autre via sa fondation ;
  • La famille d'industriels Pinault, qui possède le groupe Kering, a annoncé débloquer 100 millions d'euros via sa société d'investissement Artemis ;
  • Le PDG du groupe Total, Patrick Pouyanné, a annoncé sur son compte Twitter, que le groupe, qui se présente comme le "premier mécène de la Fondation du patrimoine", allait faire un "don spécial" de 100 millions d'euros.

In the past few weeks, 9 churches in France have burned; however, the Paris Police have opened an accident investigation, suggesting they don't believe it's related. Also, firefighters appear to have saved not only the bell towers but also the grand organ:

The culture minister, Franck Riester, said religious relics saved from the cathedral, including the Crown of Thorns and Saint Louis’s tunic, were being securely held at the Hôtel de Ville, and works of art that sustained smoke damage were being taken to the Louvre where they would be dried out, restored and stored.

He said three stained-glass “rose” windows did not appear to be damaged but would be examined more closely when the cathedral was made safe. Photos from inside the monument suggest Notre Dame’s grand organ, built in the 1730s and boasting 8,000 pipes, was spared from the flames.

Sixteen copper statues that decorated the spire, representing the 12 apostles and four evangelists, had been removed for restoration only a few days before the fire. Relics at the top of the spire are believed lost as the spire was destroyed.

Still, the damage is appalling. I join with the people of France in hoping that they will be able to rebuild, even if it takes until the 2030s.

N is for Notation

Blogging A to ZToday's Blogging A-to-Z challenge post will, like yesterday's, take us back in time.

Almost every day I've shown samples of music using modern notation. Any contemporary musician should have no trouble reading them.

Almost a thousand years ago, in 1025, the monk Guido d'Arezzo decided to record music on paper in a way that would enable people to read it even if they'd never encountered it before. He used blocks on lines with stems indicating how the notes were connected, and it looked like this:

The innovation here is that the note heads convey absolute pitch, and the stems convey timing, just as they do today. Someone who has never seen this before could (if they understood the language) produce the music intended by the composer.

During the early 17th century, as instrumental music came to dominate the scene, musical notation became much more complex. By the 1620s and 1630s, scores looked almost the same as they do today.

Specialized music uses specialized notation schemes, however. And non-Western music, which may use entirely different tonalities, sometimes has entirely different ways of notation.

M is for Modes

Blogging A to ZToday's Blogging A-to-Z challenge entry goes back in time a little bit. Before there were keys, there were modes: the original scales used in Ancient Greece that still pertain today.

Our C-major scale roughly corresponds with the Ionian mode. (I say "roughly" because while the fifth, octave, and probably fourth notes would have sounded the same back then as they do now, the rest of them probably would have sounded slightly out of tune to modern ears. This is a topic for next week.)

If you start on D, you get the Dorian mode:

It's not quite D minor, because instead of a flat 6th and natural 7th as in a minor key, we have a natural 6th and flat 7th. You can hear Dorian mode in Deep Purple's "Smoke on the Water."

Next comes Phrygian mode, starting on E:

If you start on F, you get Lydian; G, Mixolydian; A, Aeolian (corresponding closely to natural minor); and B, Locrian.

I mentioned Deep Purple because everything old is new again. A lot of modern popular music has reached back to modes, mainly (I think) because they sound cool. Lydian mode has a tritone instead of a perfect 4th; Locrian just sounds...off.

In fact, while Ionian, Dorian, Phrygian, and Aeolian pop up a lot, there aren't many examples of the others. But they're out there.

Homework assignment: Find modal pop songs (LMGTFY). Then listen to them.

L is for Legato

Blogging A to ZI don't always have time to write Blogging A-to-Z challenge posts ahead of time. This week I've had almost no free time until just now.

Today I'm going to slide into the topic of  markings. Music involves more than just the notes on the page; it's an artistic expression. Composers use a whole palette of markings and (usually Italian) words to convey to performers how to express the music.

Take this snippet of Bach's Invention #1 in C:

First, I should point out that Bach famously almost never added expression markings. In this example, I added a few to convey how I think someone should perform the Invention.

Start with the Italian at measure 1. The word "allegretto" above the staff indicates the tempo. It's a diminutive form of the word "allegre," which means happy; so allegretto means kind of happy. In practice it means a pretty quick tempo but not overly quick. "Allegro" (happy!) would be a little faster. Tempo markings range from "larghissimo" (really big and slow) to "prestissimo" (really fast). Classical FM has a good roundup of tempo terms.

The little "mf" under the staff is more Italian, but this time an abbreviation indicating how loudly to play. It stands for "mezzo forte," or middling-strong. Typical dynamic markings range from "piano" (quiet) to "forte" (loud), which helps explain why the instrument everyone knows and loves is called a pianoforte (because it can play both quietly and loudly).

The lines connecting the first 8 notes and the notes in measures 3 and 4 indicate phrases that should be played legato, or connected. Legato's opposite is staccato, from the verb stacciare, meaning to sift.

Finally, the little squiggle over the B in measure two is called a mordent, indicating a rapid articulation down from the B to an A and back. The little C next to it is a grace note, indicating that actually the mordent should start on the C. (Listen to the midi file for clarification.)

There are thousands of markings in musical scores that assist performers. But dynamics, tempo markings, phrase lines, and ornaments (mainly in Baroque music) are the most common.

Jallianwalh Bagh, 100 years later

One hundred years ago this hour (Sunday 13 April 1919, 17:37 HMT), Brig. General Reginald Dyer order his men to fire on 10,000 unarmed Indian civilians within an enclosed space from which they had no escape:

On the afternoon of April 13, a crowd of at least 10,000 men, women, and children gathered in an open space known as the Jallianwalla Bagh, which was nearly completely enclosed by walls and had only one exit. It is not clear how many people there were protesters who were defying the ban on public meetings and how many had come to the city from the surrounding region to celebrate Baisakhi, a spring festival. Dyer and his soldiers arrived and sealed off the exit. Without warning, the troops opened fire on the crowd, reportedly shooting hundreds of rounds until they ran out of ammunition. It is not certain how many died in the bloodbath, but, according to one official report, an estimated 379 people were killed, and about 1,200 more were wounded. After they ceased firing, the troops immediately withdrew from the place, leaving behind the dead and wounded.

The shooting was followed by the proclamation of martial law in the Punjab that included public floggings and other humiliations. Indian outrage grew as news of the shooting and subsequent British actions spread throughout the subcontinent. The Bengali poet and Nobel laureate Rabindranath Tagore renounced the knighthood that he had received in 1915. Gandhi was initially hesitant to act, but he soon began organizing his first large-scale and sustained nonviolent protest (satyagraha) campaign, the noncooperation movement (1920–22), which thrust him to prominence in the Indian nationalist struggle.

The government of India ordered an investigation of the incident (the Hunter Commission), which in 1920 censured Dyer for his actions and ordered him to resign from the military. Reaction in Britain to the massacre was mixed, however. Many condemned Dyer’s actions—including Sir Winston Churchill, then secretary of war, in a speech to the House of Commons in 1920—but the House of Lords praised Dyer and gave him a sword inscribed with the motto “Saviour of the Punjab.” In addition, a large fund was raised by Dyer’s sympathizers and presented to him. The Jallianwalla Bagh site in Amritsar is now a national monument.

At an inquest after the event, Dyer had no remorse for his actions, and volunteered that had he managed to get the tank he had with him into the square, he would have used its cannon to further attack the civilians.

Both the massacre and the inquest were dramatized in the 1982 film Gandhi, which won Best Picture that year.

The Commons debate about the incident that took place on 8 July 1920 offers some context for the current Commons debate about Brexit. Indeed, the massacre and its aftermath should put paid any notions that the United Kingdom has always stood up for human rights, even in the last century, or has a particular sensitivity to its own citizens who come from outside the British Isles.

In the debate, the Secretary of State for War, a Mr. Churchill of some repute, gave the view I should hope all Britons would have had:

If the road had not been so narrow, the machine guns and the armoured cars would have joined in. Finally, when the ammunition had reached the point that only enough remained to allow for the safe return of the troops, and after 379 persons, which is about the number gathered together in this Chamber to-day, had been killed, and when most certainly 1,200 or more had been wounded, the troops, at whom not even a stone had been thrown, swung round and marched away. I deeply regret to find myself in a difference of opinion from many of those with whom, on the general drift of the world's affairs at the present time, I feel myself in the strongest sympathy; but I do not think it is in the interests of the British Empire or of the British Army, for us to take a load of that sort for all time upon our backs. We have to make it absolutely clear, some way or other, that this is not the British way of doing business.

Reading through the debate, however, it almost seems as if Churchill were in the minority. He wasn't, but only because the less-racist MPs in the House at that moment largely kept quiet.

The thinking behind Dyer's mass murder led directly to the thinking behind Lord Louis Mountbatten's precipitous and disastrous withdrawal from India in 1947, whose principal consequence has been 72 years of nonstop hostilities between India and Pakistan. And it leads directly to Brexit.

K is for Key

Blogging A to ZFor day 11 in this year's Blogging A-to-Z challenge, we take a look at keys. Not the ones on a musical instrument, but the ones on a staff sheet.

A key designates which scale the piece (or part of the piece) uses to establish its tonality. In this year's very first A-to-Z post, I showed you the four principal scales (major, natural minor, harmonic minor, and melodic minor) that Western music uses most of the time. In that post, you may have noticed that the major scale had the notes C through C without any accidentals (sharps or flats), but the three minor scales all had flats in several places. That means the major scale was in the key of C major, and the minor scales were all in the key of C minor.

To avoid writing all those accidentals throughout the score, we can use a key signature, that essentially says "these sharps or flats run from here to the end (or the next time we change keys)." For example, here again is the C major scale:

And here again is the C natural minor scale, but this time with the proper key signature:

Also remember how every key has a relative key? That's easy to see with key signatures. Here's the A natural minor scale; note that its key signature is the same as its relative key, C major:

Though I might get some argument from some modern composers, generally you can have no more than 7 sharps or flats in a key signature. Each sharp or flat on a key signature takes the key up a fifth in what we call the "circle of fifths." Take a look at how that works. Here are the keys with flats in their signatures:

Start with C; up a fifth to G, up a fifth to D, etc. Now the flat side:

Start with C; but this time, down a fifth to F, down a fifth to Bb, etc. So it works the same way as sharps, but in the other direction.

Often pieces will change keys mid-stream; this is called a modulation. Here's a simple example from Bach in which he modulates several times, between C minor and its relative key, Eb major, with a clever modulation to F minor for a couple of bars. And here's a lampshaded example from Beethoven. (Listen to the whole Schickele clip. The first time I heard it I almost pissed myself laughing.)

Tonight is the Apollo Chorus annual benefit and cabaret, which I'm co-chairing, so tomorrow's A-to-Z might be slightly delayed.

J is for Jazz

Blogging A to ZNow that you know everything about harmony...oh, wait. Because regular old harmonies have nothing on jazz. So for today's Blogging A-to-Z challenge entry I'm going to lift up the curtain on some pretty wild stuff.

I'm actually not going to have a lot of musical examples today. I'm merely going to point you toward other places that do it better.

I will, however, draw your attention to the greatest jazz musician in history: Bach. He improvised the way that other people breathe. And he influenced modern jazz artists hundreds of years later. Just one example, Nina Simone. Listen to the fugue she injects about a minute in:

Or more recently, here's Donal Fox doing improvising on a Bach prelude:

The problem with this format is that jazz is a topic just as large as music theory. So if this post has done nothing more than gotten you to listen to a couple of jazz pieces, that's a success.

I is for Interval

Blogging A to ZToday I'm going to write about a topic that would have come second in any reasonable course on music theory. But in the Blogging A-to-Z challenge, sometimes the cart does come before the ox. Because even though I've already shown you the German 6th chord, fugues, and a reasonable harmonization of a simple melody, today I'm going to show you intervals.

An interval is simply the distance between any two notes. If the distance is one note, we call that a second; two notes, a third; and so on, up to seven notes, which is an octave. (Two of the same notes are called a unison.)

For example, here are the intervals of the major scale:

In order, they are: unison, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, major 7th, and octave. Not surprisingly, the minor scale has minor intervals instead:

Now the intervals are unison, minor 2nd, minor 3rd, perfect 4th, perfect 5th, minor 6th, minor 7th, and octave.

Interval training starts basic ear training. Musicians have to recognize intervals not only stacked like these two examples, but also played out. For example, here are a major 2nd, a minor 6th, and a perfect 4th played as a music teacher might do it:

How about a chart of all of the intervals, you say? OK:

Interval C to... Notation
Unison C U
Minor 2nd C#/Db m2
Major 2nd D M2
Minor 3rd D#/Eb m3
Major 3rd E M3
Perfect 4th F P4
Tritone F#/Gb Aug4/Dim5
Perfect 5th G P5
Minor 6th G#/Ab m6
Major 6th A M6
Minor 7th A#/Bb m7
Major 7th B M7
Octvave C U