Music

Album Update

I’ve been very lucky in the past five years to have had the time, the focus, the health, the overall life circumstances that were necessary for writing music. When I consider that I’ve created a sampling of the music I dreamed of creating, that I’ve given shape and substance to the music within me, I feel a sense of peace.

My goal now is to set up a context that might allow listeners — that’s you — to experience some of the same joy that I felt in writing this music. That means planning an official album release. Commissioning artwork. Making videos. Doing interviews. Planning events. Sharing the stories behind the notes.

In the meantime, I invite you to preview all the music in my new album, Meteorite.

The music is complete, but the music is only part of the album. The album itself, in the larger sense of what an album can be, is still evolving. If you leave me a comment, ask a question, tell me what moves you, what you want to know more about, you can be part of the evolution of this album. I’d love that.

Here is the music:

Music, Songwriting

Song: Drifting At Sea

Drifting at sea
No land I see
All that I see
Is sky and sea

Hull’s got a crack
Main sail is torn
Compass has lost the will to spin

Seagull above
Gliding with ease
How does it feel
To fly so free?

Someday perhaps
I’ll be reborn
I’ll be a seagull flying free

Trapped on a boat
Hope is remote
Inside a jar I’ll float my note:

Sweetheart I miss you and
Mother I love you and
Father I thank you for my life

Dolphins at play
With me, please stay
Show me the way
And I’ll obey

Seagull above
Soaring so sure
Guide me along
To my destined shore

Words & Music by Rudi Seitz, 2020

Guitar, Improvisation

How To Improvise With A Detuned String

There are many ways to incorporate a detuned string into an improvisation. You might want to try this if you’re interested in making sounds that you’ve never heard before. Here’s one improvisation template or schema that worked for me this morning. If you play guitar or another string instrument, you can apply this template too. It goes like this:

  1. Use palm muting to play a punchy rhythmic phrase that’s comfortably anchored to a tonic.
  2. As you keep playing, make a transition from palm muting to a clear, sustained tone, using nail. Let some of the open strings ring after you strike them, to create a background resonance. Slow down.
  3. End the gesture by striking a detuned string and letting it ring, stealing focus. You’ll need to have detuned one of your strings to do this part! You should generally avoid the detuned string in the previous steps so that it comes as a surprise here and captures all of the listener’s attention.
  4. Now use your right hand fingers to gently and slowly mute the open strings at the bridge (possibly skipping the detuned string) to create a gradual fade out. Practice doing this as slowly and gently as you possibly can.
  5. Keep repeating Steps 1 through 4 until you feel ready to stop.

Here’s how you can make your improvisation different from mine while still using the same template:

  1. Use a different instrument.
  2. Use a different tuning and detuning. I’m E A D G C E-half-sharp.
  3. Choose a different string to detune. I chose the highest string.
  4. Use a different muting technique.
  5. Use different rhythms and melodic motifs.
  6. Be a different person 🙂
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Audience Building, Music, Personal Development

What can I learn about myself from a video?

Can video be a tool for self-discovery? If you make short videos with your phone, capturing little slices of your life, what can you learn?

I decided to put my camera in selfie mode while I was doing one of the things that’s most important to me in my life: listening to music. What does it look like when I do that, and what can I learn from seeing it?

Here is me listening to my piece, Garnet:

And here is me listening to my piece Birdsong:

What are my takeaways?

  1. Music makes me really happy. I already knew that. But these videos make me think about how I typically project (or don’t project) my experience of music to the outside world. When I write about music, I’m often concerned with communicating technical details, and all the theory can seem pretty dry and serious, I bet. And when a friend asks me what I’ve been up to and I say I’ve been struggling to finish a composition, perhaps it’s not evident to them how much I actually delight in that struggle. These videos give a direct look at how music actually makes me feel, and I’m not sure most people in my life have had a glimpse of that before. This get me thinking that as I move forward in life, I’d like to do more to convey my pleasure in music rather than keeping that pleasure inside.
  2. The ultimate way to experience a piece of music, for me, is to gesture as I listen. I’ve been doing this for my whole life, but only when I’m alone. This kind of gesturing is not conducting, where you’re guiding a performance using specific motions to convey your intentions. It’s also not dancing as we might typically think of dancing. You can do it sitting down, with your upper body alone. You just move spontaneously in response to what you hear, to imitate or interpret it, to express your excitement in it, to release the energy that it gives you. You don’t have to get anything “right” or keep accurate time — you can do whatever you want! Spontaneous gesturing is such an important part of experiencing music for me that I’m amazed by how little attention it gets when we talk about music appreciation, especially when it comes to classical music. If you want to get to know a piece of music, especially classical music, move to it, any way you want!
  3. When I think about sharing these videos, I realize I’m grappling with some perfectionism. I find myself asking: are these videos the best they can be, or should I make some more and see if I can do better (gesture more fluently, coordinate better with the music, improve the lighting and overall presentation)? As the composer of the music, I feel some reluctance to show myself getting “fooled” by one of the pieces — Garnet — thinking that it’s going to end a few moments before it actually does, even though that trickery is an explicit intention in the composition. The piece is working on me exactly as it should. But do I need to justify that? Sharing videos that aren’t perfect is a good exercise in personal growth, if one is looking to become less guarded and more accepting.
Music

Help me spend $1000 on independent musicians

Resolution: I’m going to spend $1000 buying albums made by independent musicians.

There’s been a lot of talk about the injustices of the streaming economy, and a lot of hand-wringing about Spotify recently, but if every listener committed to investing a non-trivial amount of money on independent artists and albums each year, the whole world of music-making would be better off. Back in the CD era, I used to spend all my spare cash on albums, why not now?

The twist in this project is that I’d like to build my new record collection from your suggestions. Instead of collecting music the way I did in the past, carefully selecting what I thought would please my very particular taste, I’d like to listen to whatever my network suggests I listen to. That means friends, acquaintances, readers, you.

I’ll do my best to promote each album I buy by favorably reviewing it in person, on Twitter, through this blog, and possibly elsewhere. And while this project lasts, I’ll be listening to my new purchases exclusively, staying away from any “free” content online and any music I had collected in the past.

To anyone who knows of an interesting new album created by an independent musician, tell me about it in a comment here on this blog post, or contact me on Twitter, and I will strongly consider it for purchase. Artists, please don’t be shy about suggesting your own work — I do want to hear from you directly. Wondering what kind of music I like? Read below…

FAQ:

What’s the timeframe?

I’m planning on a six-month timeframe, officially starting March 2022 and ending Aug 2022, though I’ve already bought three albums earlier in 2022 that I’ll be including in the project. I want to have time to get to know each album I buy, so I’d like to cap my purchasing at five albums per week and have it be lower than that most weeks.

How are you tracking your purchases?

I’ll be recording them in this spreadsheet.

What styles of music are you looking for?

I’m hoping for a mix of classical, folk, singer/songwriter, jazz, and world music. I’m also hoping to broaden my horizons and get to know new styles that I wouldn’t typically seek out.

How picky are you?

I’m interested in hearing any albums that were labors of love for their creators, whether the album was made in a bathroom or a professional studio, by a novice singer/songwriter who only plays three chords or by a virtuoso classical musician. In any case where I don’t immediately connect with the music itself, I will try to learn more about the performer and their story of creating the album, and as long as there’s passion and commitment in the story, I will feel happy to have made the investment and included them in this project.

Why are you doing this?

I’m planning to release an album myself (90 minutes of intricate counterpoint performed on clavichord) but I don’t currently have a sizeable audience to release it to. In thinking about how to build an audience for my own work, I began thinking about what I’d love other people to do for me: I’d love them to “tune in” to what I’m trying to achieve, buy my music, take the time to listen to it closely, and tell others about it. This raises the question: am I doing that same thing for other musicians? The answer is: so far no, not really. I’ve been consuming a lot of “free” music online but not buying or promoting many albums or artists. But that “no” leads to a further question: would I like to do it for other musicians? Would I feel excited and proud to support other creators who are taking the bold step of bringing new music into this world? And here the answer is most definitely yes! So I’ve set myself a goal: spend $1000 on independent music and try my best to promote it. Why not do this?

What do you mean by only giving favorable reviews?

I’m of the opinion that if I don’t enjoy a piece of music, this might mean that I’m not the best person to appreciate and comment on it. I might not understand the work, or the work might not be crafted for ears that function like mine. In such a case, describing my lack of pleasure in the work provides no value to anyone. But if I do enjoy a piece of music, this definitely means that I’m a good person to comment on it. And it puts me in a position to provide value to another listener who doesn’t yet know about the work but stands to enjoy it. I want to provide value where I can and stay out of the picture where I can’t. Generally, I will try to buy albums that I think I have a good chance of coming to love; if there are few that I don’t learn to love, I might not say much about them, but I’ll try to keep listening.

What formats will you be purchasing?

I’m generally looking to purchase digital downloads of albums. If a particular album is available only on CD, I’ll still consider it. I’m not currently set up to play vinyl. I’m not looking for streaming offerings. And while I love Patreon, I’m not currently looking to become a Patreon supporter of each artist I listen to. I’m really just hoping to be able to buy an album and download it as WAV, FLAC, MP3, whatever. Best-case scenario is the artist/album is on Bandcamp.

Will you be tipping?

I’m going to keep my purchasing decisions as simple and frictionless as possible by paying the base price that artists request for their album, hoping that artists have set a reasonable base price that does justice to their work.

If I’m a musician and you haven’t bought my album yet, does that mean you don’t want to?

I’m connected to a number of wonderful musicians I haven’t purchased from yet. That’s not because I don’t want to — I do! I’m just getting started with this project and might need a reminder or nudge.

If I’m a musician and you’ve bought my album, how can I help you promote it?

Funny you should ask. What you can do is make sure I know or can find your story of creating the album and your larger story of coming to make music. What obstacles did you overcome to bring this album into the world? What does the album mean to you? When I’m recommending a piece of music, it’s very hard for me to speak engagingly about the technical details of the music. But it’s easy for me to speak engagingly about the artist’s story… if I know it. Tell me.

March 10 Update: I was interviewed by Kevin Alexander for his substack “On Repeat,” just published this morning. I have just received a slew of great recommendations today! I’ve spent $93.44 of the budget so far. Taking stock of the project overall: I’m doing very well in discovering great music. Word is starting to spread. Am sensing that folks who hear about this are curious and want to support it. My challenges so far: creating enough uninterrupted time for listening; also, breaking my old habit of just privately enjoying something — being sure to tell someone else about it!

Creativity, Music

How to organize the tracks in your album

Are you a musician planning to release an album but struggling to put your tracks into a coherent sequence? Are you planning a live concert but feeling unsure how to organize the program? Here are some tips that might help.

These tips come from my own experience as I put together an album of new music I’ve composed over the past five years. I’ve got 35 tracks with a playing time of 93 minutes. My mastering engineer requires a track order before he’ll begin work on the project. Each track needs to have a number — 1, 2, 3, 4… — and the engineer needs the tracks ASAP. Here’s why the problem is impossible:

  • There are too many options. If you have 35 items like I do, the number of ways you can organize them is 10,333,147,966,386,144,929,666,651,337,523,200,000,000.
  • Each option is time-consuming to evaluate. Listening to the material in any particular order takes a 93-minute investment which is emotionally exhausting.
  • My reactions change each time I listen. I might like a certain transition between two tracks the first time I hear it and not like it the second time.
  • If I listen to a certain order too many times, I start to memorize it. Then it’s hard to tell whether I like it because it’s effective or just because it’s familiar. Familiarity is confounding.
  • I’ve dedicated years of my life to creating this material, so the stakes are high. A bad order means that my tracks will compete with each other rather than elevating each other. Some pieces will not have a context in which they can shine.
  • Each piece was conceived on its own, without thought to how it might fit in a sequence. The pieces all have different styles and moods. I had no plan for how they were supposed to fit together.

But as I write this post, I’m in good shape. My track order is mostly finalized and I’m ready to send it to my mastering engineer next week. An impossible problem became possible for me, thanks to these ideas:

  1. Think of a story that you want to convey with the tracks. I’m grateful to @alexgardner for offering this suggestion when I reached out for help on Twitter. At first, I thought that my tracks were so heterogeneous that they couldn’t fit into any unified narrative. What I realized is that the narrative doesn’t have to be evident to the listener. It can be a “secret” story — one that’s known only to me — one whose only purpose is to help me wrap my mind around the problem.
  2. Make a list of track attributes. I’m grateful to @gahlord for this suggestion, also via Twitter. I created a spreadsheet listing the starting and ending note of each track and a brief description indicating bright/dark, fast/slow, and long/short.
  3. Decide on a goal for the ordering. In my case, the goal is to sustain a sense of variety throughout the album so that each track can be experienced fresh. I decided that variety and contrast are more important to me than grouping tracks by theme or emphasizing similarities between them. My desired shape is “fractal” rather than “linear.”
  4. Pick a middle piece — one to go right in the center of the album. Then go through each of the remaining pieces and ask if it should come before your middle piece, or after your middle piece. This lets you break the problem in half.
  5. Next, choose your first and last pieces. Now you’ve got: Opening -> Middle -> Ending.
  6. Next, distribute your biggest pieces. What are the longest, densest, or most important pieces remaining? Pick the top two and put one in each half of the album. Now you’ve got Opening -> Big Piece #1 -> Middle -> Big Piece #2 -> Ending.
  7. Try to make contrasting pairs — two tracks that are very different, but that also sound good together and flow well, one into the next.
  8. Now try to identify twins — two tracks that are very similar. Experiment with placing twins before and after a contrasting pair, as if to form a ring around it. So if A and B are a contrasting pair, while X and Y are twins, you’d have something like X -> A -> B -> Y.
  9. Make a provisional commitment. Choose an order as quickly as you can, and then rename all your tracks according to that order, using filenames like 01_MySong, 02_MyOtherSong, 03_MyOtherOtherSong. This gives you a reference point to measure future changes against.
  10. Now see if you can improve your provisional order by swapping pieces, so for example, the piece in slot 5 and the piece in slot 11 might trade places.
  11. Make short clips out of all your pieces. Each clip should consist of the opening 3 seconds plus the closing 3 seconds of the piece. Once you’ve made these clips, you can put them in any order you’re considering and listen to the whole playlist in a minute or two. This is a way to quickly preview an order without having to listen to all the material over again.
  12. Once you’ve arrived at an order you feel good about, review each track and use your intuition to determine whether the track is “happy” in its current position. Does the track get along with its neighbors? Does it sound better in their company than it would sound all by itself? If you find any tracks that aren’t “happy” move those ones, but leave everything else where it is.

These ideas worked for me — maybe they’ll work for you too?

Music

Music and Pleasure

Music is something we do for pleasure, right?

I don’t mean to diminish music by posing this question.

To call music a tool of pleasure does not lessen music’s importance, because pleasure itself is important and good.

It’s true that the pursuit of pleasure can take a greedy, destructive form, but just as much, it can be a path to connection, even enlightenment. The experience of pleasure can put us in tune with ourselves and with one another. Among the varieties of pleasure, there is physical pleasure, there is spiritual pleasure, and music offers both.

If music can make us sad, it does this in a way that brings us pleasure. We are happy to be moved to cry, when it’s music that’s doing the moving. If music can make us disoriented or confused, it does this in a way that brings refreshment, expands our field of view, and so delivers the pleasure of growth.

Of course, music is a business. Music is pursued for money, fame, and influence. Music is an academic discipline. Music is a way to glorify God. Music can have a mission: it can tell a story, advertise a product, raise awareness for a cause, spark a revolution. 

Sheer pleasure is not the only reason to sing, or play an instrument, or write a note on staff paper. But if you look at the essence of music, if you consider why we’re addicted to music – it’s about pleasure. 

Take away people’s willingness to pay for music, and we’d still make it. Take away music’s academic prestige and we’d still want to learn about it. Take away the large concert venues, the rock stars, the virtuosos — take away music’s connection with fame, and we’d still sing in the shower. But if music didn’t bring us pleasure, then the other reasons for making it would lose their support. If it didn’t make us feel good, then music would no longer be a way for anyone to make money or get famous or achieve any other goal.

Why is it necessary to remind oneself that music is about pleasure?

Musicians might need such a reminder because our work is difficult, and that difficulty can be so intense as to consume us and makes us forget what we’re really after.

I am a musician. That means, in some sense, that I’ve dedicated my life to pleasure… to seeking out a certain form of pleasure, and sharing that pleasure with others.

But what did I learn in my first music lessons as a kid? That I’d have to practice before I could play what I wanted to play. 

The study of music is all about delayed gratification. In my own path as a musician:

  • I’ve wanted to sing a note but couldn’t reach it or hold it in tune, so I needed to practice more and/or give up on reaching that note for the time.
  • I’ve wanted to play a passage on guitar that I had spent dozens of hours preparing but I couldn’t pull it off, so I needed to practice more and/or try an easier piece.
  • I’ve wanted to sight-read a piece but constantly got stuck, so I needed to go slower and try an easier piece.
  • I’ve wanted to compose a piece of my own but didn’t know how to start so I had to muddle around for years looking for an entry point.
  • I’ve wanted to improvise a solo but couldn’t get my bearings or synchronize with a group so I had to go back to the woodshed.
  • I’ve wanted to make a recording to share but couldn’t press “record” without promptly making a dozen errors.
  • I’ve wanted to receive a response to music that I had labored for months to create but I heard only silence in response and didn’t know how to connect with those who might appreciate what I’d done.
  • I’ve wanted to delight someone with my music but found that it didn’t speak to them.

This is just a way of saying that the effort to experience pleasure and offer it to others through music can come upon obstacles that cause stress, distraction, insecurity, and doubt.

When music frustrates me, I’ve taken to reminding myself that music is about pleasure, and my capacity for pleasure is intact, no matter what pitfalls arise. I can laugh. I can love. I can delight in things. I already have everything that music can give me, or that I might seek to achieve through it.

In those moments when I am skeptical of my own abilities or path forward in music, I remind myself that we – all musicians – are seeking the same result, the spreading of pleasure. I can work towards that end no matter what, through efforts musical and non-musical alike.

I sometimes do a little experiment. I take the densest, driest music theory textbook I can find on my shelf, I flip through the pages and look at the squiggles – dense squiggles I have poured over many a time before – and I remind myself that all of this is just a recipe to give someone a good time. That’s why we’re arranging notes in various combinations and laboring to follow precise instructions about how those notes should be performed… it’s all to give someone a good time. Really, that’s all it’s about – pleasure – but that is important.

Music

Nonstandard Contrapuntal Imitation

Imitation in music is when one voice announces a melody or phrase and another voice repeats it. There are lots of ways to “do” imitation. Imitation can be strict, or loose, and it can involve some kind of transformation, like slowing down the material, or speeding it up, or turning it upside down, or playing it backwards. The transformations that I’ve just mentioned all have names — like augmentation, diminution, inversion, and retrograde — and they’ve been used by composers for long enough that they can be considered “standard.” To be sure, their possibilities are boundless, but the concepts themselves have been known to composers for hundreds of years and can be found in any basic counterpoint text. One of the things I’m always looking out for in my own composing efforts is whether there might be uncommon, or perhaps unexplored kinds of imitation that could lead to new musical possibilities. In this post, I want to summarize the non-standard varieties of imitations that I’ve worked with in my canons so far. I don’t know whether any of these are new in the sense that no one’s done them before, but I can say they were all new to me when they first came to mind.

Imitation with Interval Expansion or Contraction

The idea here is that follower expands or contracts the melodic intervals of the leader; not occasionally, but repeatedly and systematically. For example, the leader might employ the whole-tone scale, where every interval has an even number of semitones, and the follower might cut all the leader’s intervals in half. I wrote about this concept in my post on Interval Compression and explored it in Canon 72 “Rhyolite” and Canon 73 “Tellurium.”

Imitation with Insertion or Deletion

The idea here is that follower periodically inserts a new measure that’s not found in the leader’s material — the follower might be extra “talkative.” Alternatively, the follower might skip or ignore one of the leader’s measures — the follower might be “forgetful.” In this way, the lag between leader and follower can change throughout the piece, even though the tempo of the parts is not changing. The important point here is that the insertion or deletion is not a one-time or exceptional occurrence, but a device that is used regularly and systematically throughout the piece. I did this in Canon 67 “Feldspar” and the two pieces that came before it, Canon 65 “Galaxite” and Canon 66 “Rhodonite.”

Imitation with Reordering

The idea here is that follower is allowed to reorder the leader’s material in some way, whether it’s individual measures or entire phrases that get moved around. I wrote about this in a previous post on Reordering Canons and explored it in Canon 94 “Cinnabar.”

Imitation in One Dimension

The idea here is that the follower is required to strictly imitate one dimension or aspect of the leader’s material while being free to alter another aspect. (The freedom to alter another aspect can also be turned into a requirement to do so.) For example, the follower might preserve the directions of the leader’s melodic intervals while freely varying their sizes: if the leader plays A and then goes up to an E, the follower would imitate this by moving upward, but perhaps landing at a D, or perhaps an F. The composer might impose a requirement that the follower must not play the exact same interval as the leader, so E becomes off limits as a landing point if the follower is also starting on A; still, the landing point must be higher than the follower’s initial note, not lower. Another variant of this idea is to say that the follower must copy the leader’s rhythms exactly, but is free to vary (or is required to vary) the leader’s melodic material. In Canon 88 “Carminite,” the follower preserves the leader’s rhythms and melodic directions while varying the leader’s interval sizes in an unpredictable way.

Monophonic Imitation

This idea is not about a transformation that the follower applies to the leader’s material; rather, it’s about the way the two voices are positioned in relationship to each other, and how the result is perceived. If the rhythmic gaps in the two voices are positioned appropriately, it may be possible to superimpose one voice on another so that they never have a shared hit. Furthermore, the voices may be placed in the same melodic range and played using the same timbre, so that it becomes impossible to distinguish them. In this case, there are still two logical voices, and one voice may still be seen on the page as imitating the other, but the listener hears a single line. In this way, a polyphonic process can give rise to a monophonic outcome. You can hear this at the beginnings and ends of Canon 92 “Ammolite” and Canon 93 “Meteorite”. In both cases, the imitation is retrograde.

Imitation with Embellishment

In “traditional” counterpoint, there’s nothing unusual about the idea that one voice might ornament or embellish a phrase as part of the imitation process. But the way we could extend this concept into “nonstandard” territory is if we make the embellishments so numerous or so significant that the phrase seems to become something new altogether. The listener might be prompted to ask whether one voice is really imitating the other, or loosely interpreting the other, or creating new material that’s inspired by the other. Another possibility is that the leader and follower could present two differing developments of the same primary line, the same common ancestor. Perhaps the two lines have a similar contour and hit the same melodic targets, but have different details, different connective tissue. In Canon 42, “Amethyst” I began to explore this idea by writing a bare canon and then repeating it in a way where the two lines were embellished in very different ways.

I’ll follow up with a separate post about non-standard canonic constraints — ways of restricting what’s considered “permissible” in a particular canon — ways that lead to interesting musical outcomes, but ways that don’t involve the style of imitation per se.