How Music Works
There is a great programme on Channel 4 here in the UK at the moment called How Music Works which looks at the origins, development and use of things like rhythm and melody.
The shows are excellent, and it’s a tall order, because they are aimed at musos and non-musos alike. So I sit there and nod through the first half hour, and then there’s something that really shakes my tambourine.
Last week’s one was about harmony, and how harmony comes from harmonics (which I didn’t know and, kind of: duh, but wow).
They were saying how the Church in western Europe was against harmony of any sort, and then it got hip, but remained opposed flattened notes in a major chord (ie. a minor chord), because they thought it was the work of the devil.
But the early Renaissance composers started spiking the punch with flattened passing notes right under the padres’ noses.
Can you image songs without minor chords? The devils work my arse.
I know what you’re thinking. Did he use one apostrophe, or did he use none? Well, to tell you the truth, in all this excitement, I’ve kinda lost track myself. But being as this is a weblog, the most powerful medium in the world, and would blow your mind clean off, you’ve got to ask yourself one question: ‘Do I feel mucky?’
December 5th, 2006 at 9:38 am
Of course, I’m a stickler for apostrophes, and I also like music, so this post worked on so many levels for me. I even like the missing “to” in the fourth para, which you must’ve omitted to trick us. You, sir, are a wag and a scoundrel.
And no, I can’t imagine music without minor chords. In the same way that I can’t imagine music without a key change where the performer suddenly has to stand up and walk towards the audience. That is to say, I think both are overused in an attempt to evoke an emotional response that would otherwise be fruitless due to the inane nature of what passes for music (and, more importantly, lyrical content) these days.
December 5th, 2006 at 10:07 am
We’re a couple of weeks behind, so we only watched the programme on rhythm last night. To be honest, I think it has already altered the way I listen to music.
December 5th, 2006 at 10:22 am
* - There are actually five levels to this post. Did you spot them all?
Mike - The programme is astounding. Many a holy crap moment. Like the chords at the beginning of Purple Haze that you never thought about. Or sustained chords, or the syncopation in Stevie Wonder’s voice.
Felix Mendelssohn said: “It is not that music is too imprecise for words, but too precise.” This show comes very close to doing it.
December 5th, 2006 at 10:47 am
Loved the show, thanks for the recommendation. I don’t qualify as a music snob yet, since I had to record How Music Works because it clashed with the X Factor restults - complete with blatant use of key change/performer standing up and walking towards audience.
December 5th, 2006 at 3:39 pm
Levels? THere’s more than one ‘level’ to this post? Someone clue me in. Does Dirty Harry count as a level?
December 6th, 2006 at 8:59 am
Cliff, I’m afraid I didn’t catch all five. Now I feel like a numbskull for even having brought up the subject. Grrr.
December 6th, 2006 at 6:53 pm
Oh great, there’s punctuation that’s got more interpretive intuition than I do!
December 7th, 2006 at 2:26 pm
Is that me, Ed R?