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Star-Spangled Beyoncé

Much ado has been made in the media about Beyoncé’s lip-synched performance of the Star-Spangled Banner at the 2013 POTUS Inauguration, but in today’s perfectly pitched world, lip-synching is fairly common for these high profile events, and especially so for National Special Security Events.

The fan fallout today is not nearly as bad as say, America’s sickening realization that not only Milli, but Vanilli too, had been ‘lipping’ all along. Really, nobody believes that TV is real, but maybe the aesthetic illusion sort of conditions the audience to expect that something real is happening somewhere to create the illusion. Somewhere in the holographic universe, there really are rappers rapping that aren’t really holograms themselves, we like to believe.

Of course, there are artists today who still sing the Banner live, like Kelly Clarkson (luv u grl;), or The Fray who maybe could’ve used an auto-tuner on their guitar. It’s probable that the pre-recorded track Beyoncé used to lip-synch over was itself pre-auto-tuned and produced with all the nicenings and sweetenings of a modern recording studio, with digital tools that flatten out all the human flaw, and smear away all the imperfect goodness that is the human voice and soul.

It is befitting that Beyoncé lip-sang the Banner; the whole event is a farce. Everything about it is empty spectacle. The Inauguration is theater, like a movie theater, not like stage theater. What do people think this is, a 3-D IMAX showing of Les Miz (2012) where the actors really sing right there in the scene? Is it any surprise that human puppets prefer the voices of human robots?

Anyway, more interestingly for the purposes of this blog: whomever arranged this Banner decided to end it with a humorous musical cliché.



Beyoncé sings this Banner in E Major (the Banner traditionally is in the key of B-flat Major). The final cadence uses borrowed chords from E minor to create a harmonic progression that picardies from E minor to E Major. It’s called an Aeolian Cadence, because the borrowed chords belong to the Aeolian mode, or natural minor.

This cheeky little aeolian cadence is is a running musical joke among musicians, found in countless songs, can be tacked on to the end of anything, has been around for a few centuries, and is perfectly befitting Beyoncé’s bravado bravura and her bunk Banner.

The intention here was probably to go “big” or go home, like some studio executive kept telling the conductor to go “BIGGER!”, but in light of the the whole performance being revealed to be a sham, the intended epicness of the Aeolian Cadence comes off exactly as it should—ridiculous and regretful, heightening the pretense of the moment as only music can do for the theater.

Epilogue:

A few examples of the “bVI bVII I Aeolian Cadence”:

“With a Little Help From My Friends” by The Beatles (In the beginning and the end).
“Super Mario Bros. Ground Theme” by Koji Kondo (To the Bridge: dada da dada dada dada)
“Slave to the Traffic Light” by Phish (teased a few times during the middle and the end)
“Birth” by Focus (Wait for it…)

Can you think of other examples of this cadence? Please put them in the comments section below.

Ringtunes

Ringtones are one of the most common forms of modern day noise pollution, heard billions of times a day arpeggiating out of ubiquitous buttocks, or even more insidious when unheard—hallucinated in schizophonia—or summoned to mind as earworms, or called forlornly in the mind’s ear while in the throes of nomophobia (the fear of ‘no mobile phone’).

More importantly, for this blog, ringtones are one of the most common forms of musical pollution.

The original ringtone is from the 1991 Nokia phone playing an old guitar waltz melody, Francisco Tarrega’s “Gran Vals”. Drag over the noteheads, or press play to hear the entire phrase. Try to line up the bass notes to hear how it creates a sense of resolution.

 

 

Yeah, they don’t make melodies like this anymore—so gay and dignified, spread-eagled across the major key to hit each and every note in turn, almost symmetrical, but even better than perfect parallel symmetry; it makes so much musical sense, it seems as though it’s always been here, since the 90’s when it was copyrighted, to the 1890’s (circa) when it was conceived.

Together, the melody and the bass create a Perfect Cadence—a harmonic progression that demands resolution. In other words, the Perfect Cadence takes you home. Thus, the 1st Ringtone was selected for cadential reasons, the sense of resolution to the Root, just like a phone call, connects you with home. The Perfect Cadence is one of the most satisfying musical devices in popular music, and usually occurs at the end of the song, or like in “Gran Vals” to signify the end of a phrase.

It is estimated that the Nokia ringtone is heard 20,000 times per second, 1.8 billion times per day, far superior to the number of times “Gran Vals” has ever been performed or heard.

Ringtones are the bane of public theater performance. How many concerts and plays, with their stuffy and bourgey audiences, have been stopped for the tiny sine wave bleeping of a cellular ringtone?

The true master musician is the master of her environment, completely at home in her soundscape, she doesn’t so much play the music as get swept up in the score of life.


During a solo performance, the violinist below is interrupted by the ringtone. Without missing a beat, the violinist quickly deciphers the figure, and plays an improvised variation.

You can feel the building tension in the room as the ringtone plays, instantly released by the violinist’s good humor and virtuosic display. What a pro!

This can go much worse, as the recent cellular disturbance at a performance of the New York Philharmonic demonstrates. A pesky iphone marimba played during the end of a Mahler symphony which is apparently enough to get a $1,000 fine and stop the show. It sounds like that was the most memorable moment of the night; the release of tension caused by the hated ringtone, finally allowed people to act naturally—calling for the pariah’s head.

Today, ringtones are an artform all their own (at least, they were 5 years ago), with popular artists such as Timbaland creating specialized albums of ringtones. Even if one of these ‘songs’ is only a few seconds long, it will get infinite more exposure in ringtone form, than in traditional musical form, even if they will be mostly ignored, or despised.

Epiloggies:

Like the ‘arms race of sound’, where popular music albums are becoming louder and louder with each passing year, and consistently louder at each ictus, or the natural analog of this race, where the birds and the bees increase the pitch and frequency of their tunes so they can be heard over the industrial soundscape, the musical pollution of mobile phone ringtones follow a similar trajectory—drowned out by the ambient noise field only to respond with increasing complexity and volume.

The need to be heard is greatest of all, friends. And you cannot silence our ringers, not with a thousand fingers. You cannot shush the ten thousands songbirds and tell them to go sing somewhere else. Listen! They are returning, like a musical cadence, they fly back home on notehead wings, beaks full of nonsense lyrics, syrinxes split into harmony. The season of song is upon us once again. Expect us…

Hugem

Big Surprise

We made a little holiday video for the pagan Christmas carol classic “Big Surprise” from the movie The Life & Adventures of Santa Clause. It’s by Rankin-Bass Productions, the company that ruined your childhood with many other scary puppet and animated movies.

TL&AoSC features this sprightly little number below, “Big Surprise”, about the invention of toys to fill bleak orphan lives with holiday hope. “Big Surprise” is a classic holiday song in every respect, yet is rather obscure. In fact, its season-neutral lyrics make it the perfect Kid’s Song for all time. It is suitable for classrooms year round, as it is for caroling on Christmas morning.

The songs switches key three times—from Bb, up to C, and finally up to D, higher and higher, each verse ascends by a whole tone, while maintaining the traditional song structure of three verses and choruses with a bridge thrown in the middle. Every Christmas song changes key at least once.

The simple animal-child relationship, the gaiety of the melody, and the overall fun quality and aforementioned obscurity make “Big Surprise” the perfect holiday cover carol for Los Doggies. Deck it out.

The very end of the song features the “Jingle Bells” chorus played on the glockenspiel as is tradition. This has probably been a Christmas cliche for a long time. An early famous example that comes to mind is Nat King Cole’s “The Christmas Song”. Another popular one is in Bruce Springsteen’s cover of “Santa Clause is Coming to Town”. In both examples, the melody is played from the 3rd, as it is in the original “Jingle Bells”. Recently, Jimmy Fallon, Maria Carey, and The Roots continued the tradition in a live toy rendition of Mariah’s song “All I Want For Christmas Is You”.

In a slight twist on this cheesy holiday cliche, Los Doggies transposes the melody up to the 7th, resulting in a Major 7th (Add 9) Chord. Drag over the noteheads below to hear the melody in its original key (A Major), then click on the chord to hear how it works over the D Major (as in the end of “Big Surprise”). Try hitting 64th notes on the glock, by quickly dragging your cursor past the row of C-sharps.



The Major 7th makes the cliche a little sadder. After all, it is the’ Chord of Love’, as they say. A staple jazz chord, the Major 7th appears in many classic jazz carol standards. The Charlie Brown song “Christmas Time is Here” by Vince Guaraldi features a memorable Major 7th Chord that is emphasized by the first note of the melody.

We also performed a version of “Christmas Time is Here” with our good friend Liana Gabel in honor of our mutual kickstarters happening this month.

The Oldest Song

We made a video for The Oldest Song—a music video, as it were. The Oldest Song (Hurrian Hymn no.6.) was discovered on clay tablets in the Ancient Syrian city of Ugartit and is estimated to be about 3,400 years old. This version is performed half on toy classroom instruments, and half on traditional rock ‘n’ roll instruments. With its incessant crazy changes, odd rhythms, and silly happy schoolhouse sound, the Oldest Song makes for the perfect Los Doggies cover song. It’s almost bad, but it isn’t; it is good.

The Oldest Song is so old yet sounds much like the music of today; it’s in the key of C Major (C D E F G A B), and follows a simple I IV V chord progression. The first measure even sounds like “Ode to Joy”.

Music has stayed so similar over the millennia because of the natural basis of the major/minor scale. Every tone that you hear is actually a tiny chord of barely audible harmonics. They form the harmonic series, a scale that resembles the key of Lydian Dominant, and dictates what we hear as consonant and what is dissonant. The Harmonic Series appears at the end of the above video, as a half-time rock outro.

So when you strike a low C on a piano, these others harmonics will also sound.

Tones at the front of the series will sound consonant, while the tones at the end of the series are the most dissonant. So every tone we hear has harmonics that make it sound subtlety like a major chord (the first 8 harmonics actually make a dominant 7th chord). That’s why simple major music like the Hurrian hymns were just as popular in the ancient world as it is in today’s derivatives.

The Oldest Song is so old that nobody knows it anymore. It should be taught in every music classroom in America. It should be the School Song of Berkeley. It should be performed as a ballet at the Bolshoi Theatre in Moscow. There should be dub and dance versions all over the Net, a sludgey stoner metal version, and the prodigy Asian version that puts them all to shame. The Oldest Song went viral thousands of years ago, and no one has bothered reposting it since. All that remains is an out-of-print record, an ad-addled youtube video, with synthesized MIDI versions of the song— a Muzak mockery of the god-fearing ancients. It’s as if a millenia from now, all that will remain of our once glorious music culture are the bloopy Casio covers of pop songs no one remembers the lyrics to.

Old Bloggy about The Oldest Song

Kickball

Los just launched their Kickstarter in support for their new album. Kickstarter is a website that helps raise funds for DIY projects.

Just ask our psychedelic stove-top friend below.

Los Doggies needs your help to finish mixing, mastering, and printing the new album. With your kind donations, you’ll help us cover the costs of completing the album, and receive a copy of it in early 2013.

Thank you so much to everyone who has already donated, but we still have a long way to go to meet our goal. The Kickstarter will be active all month, but we don’t get to release this album without your support.

Los Doggies continues to provide original music, literature, and art through their websites:

www.losdoggies.com
http://losdoggies.bandcamp.com/

Keep checking in with us all month, as we plan to release a lot of live videos to celebrate the holidays, and we’ll put up a sample track of the new album.

American Indian War Chant

The American Indian War Chant is a popular melody sung at sporting events1. There’s even a dance craze that goes along with it—the tomahawk chop.

Fans of tribe-inspired teams sing the War Chant in perfect 4/4 time, set to an “ooga chaka” beat, while tomahawking with their right hands on the downbeats (usually the 1’s and the 3’s) like some crazy syncopated musical cult. They mostly sing in the key of F Pentatonic, prompted by marching band or ballpark organist.

Drag over the individual black noteheads below to listen, or click on the score to play/stop the entire melody.

I like this melody. It backtracks over each part. It has a kind of spiraling unfolding shape, like a snake who eats her own tail and vomits up another snake head. The first 2 wo’s are repeated quickly in the 16th note turn at the beginning of the second measure (the “wo-a-woah”). Then those first 2 measures are combined to form the essence of the 3rd measure (a perfect 4th interval below). And finally, the 4th measure mirrors the second measure, and resolves to the 1st note of the entire melody (the F an octave below).

Similar to the ‘China melody’, the Indian War Chant captures the spirit of a nation (or the melodic mocking of a minority). The F Minor Pentatonic melody references a I → V → I chord progression. With quick melodic turns of a pentatonic key and a big brassy timbre or anthemic chanting, the above melody could easily invoke any exotic place or people, but it is the duple meter—the backing beat of a “HUY-yuh-yuh-yuh” or an oogachaka with extra ooh—that gives it that authentic buffalo tom-tom Native Americiany sound.

The Indian Chant originally comes from the Florida State University Seminoles 1960’s cheer “Massacre” played at football games by the Marching Chiefs. “Massacre” features a much funkier version of the melody.

As legend goes2, the White man held a sporting contest in 1984 against the Auburn Tigers, where fans enthusiastically sang along with the “Massacre” melody, and continued to drunkenly sing, even as the marching band fell silent. The pitch might not have been perfect, and there’s no way they could hit all those bouncy rhythms in the original melody. So the simplified easy-to-sing version above was born from a historical piece of audience participation and musical elision.

The seminal Seminole melody has since spread to other teams and other states around the country, becoming the cliché Indian melody to sing at sporting events and beyond. It fits in well with other Minor Pentatonic sporting event melodies like “Ass-hole”, and “We Will Rock You”. The Minor Pentatonic scale is a natural scale, found in every musical culture, making it ideal to sing with your fellow fans or to mock your rivals with (as in nanny nanny poo poo).

huey lewis sports

I like sports.

Notes (deleted from history):

[1] http://www.youtube.com/watch?v=L_vpfblTqng

[2] Florida State University athletics website, “The War Chant