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What Makes Experimental Music
As an independent creative music producer and performer, I am often accused of being experimental. And this label feels quite appropriate and comfortable for me to describe my creativity is largely channeled through music and the spoken word. But this oft used term can be very broad and vague. What does the term experimental actually mean? And what constitutes experimental music?
Within and amidst most if not all of the many genres and sub genres of music, there is an experimental approach, style and strand that at least a few artists are responsible for. These somewhat more maverick music makers, music players or composers can therefore tend to adhere to a musical style up to a certain extent. But then they will deviate from the norms of approaching, composing and performing that style or genre of music. For example, an experimental jazz saxophonist will still play with in the confines of the a particular jazz style with recognisable phrasing and harmonic progressions. But he or she may then add an element that is outside of the traditional formulas for this style – perhaps adding a different harmony or disharmony to their instrument playing.
Modern and contemporary classical music from the earlier twentieth century was considered very experimental when composers started to add more dissonance, new harmonic progressions and instrument combinations to their orchestral scores. Debussy, Stravinsky and Arvo Paert composed very experimental music for their time. Even the instruments themselves can be toyed with to open up the possibilities of tone and timbre. For example, one can play with the sounds of a piano by adding objects to or altering the strings within the instrument to give what is called a ‘prepared piano’ sound. Experimental composer Hauschka uses this a lot and can bring out a much more percussive piano sound that hardly resembles the instrument as we know usually it.
Music is usually constructed of a few basic elements. These are melody, harmony, rhythm and tempo (how fast or slow the music is to be played). Experimental music would tend to play with these elements in a fresh and perhaps new way. The key to being experimental seems to be to surprise the listener. The predictable does not usually take place and safe patterns are disrupted, even if slightly. Electronic experimental outfit Boards of Canada have their signature style of bending the pitch on most melodies they compose, rendering their music sweet but also slightly warped or wayward. And of course silence is part of music too – the gaps between the notes and sounds can be considered just as important as the notes or beats themselves. John Cage tried to make this point with his highly experimental score call 4 minutes and 33 seconds which is in fact scored silence.
Experimental musicians can also mix up genres. One can hear this in the early dubstep or grime music as the influences of techno, dub and ambient music were apparent. As an artist that toys with conventions by bringing together lots of music genres including juxtaposing music and the spoken word. Essentially for me, being experimental means making music that surprises and brings the listener into a more personal voice that is hopefully interesting and refreshing to discover. There is usually a pattern in there, though it may not be so obvious to feel at first.
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Understanding Music Theory In Practice
I have witnessed countless occurrences during my teaching career where teachers upon trying to explain music without sufficient demonstration have left students bemused and at worst alienated. This is a disaster, as music theory really isn’t that complicated, and if you have only a limited experience of playing a musical instrument can be easily understood when put in relation to the things that you are able to play.
It is in everyone’s best interested to apply everything to an instrument, in particular the piano, where the whole spectrum of music is laid out before everyone’s eyes and at everyone’s fingertips. From there it can easily be translated to selected instruments.
Any attempts to explain music theory without this are, in my opinion, flawed. The intervals in a scale, for instance, can be visualized clearly when one plays a C major scale on the piano. From that scale, made more effective as a demonstration by the fact that there are no flats or sharps, the student can see why there is a semi tone between the 3rd and 4th degrees and the 7th and 8th degrees. It can then be implied form this that the same applies to other scales, such as G major, which can in turn explain why there is an F# and thus how key signatures work.
All of these notions are incredibly simple, but completely baffling and abstract when not explained in relation to how they are played. I suffered bitter experience of not being able to grasp these things at school, as my music teacher and music theory teacher (I had separate classes) failed to explain these basic and fundamental concepts in relation to my chosen instruments. I was fortunate to come fro a very musical family and certainly had a natural affinity to playing music, so these things weren’t hindrances, they were merely a part of a separate world far from what I considered to be at the time, my own unique understanding of music.
The problem I see often which is regrettable is that this goes on and causes students much displeasure when attempting to achieve music GCSE. Yet it is one that I always strive to rectify, simply by explaining very slowly and precisely how crotchets and quavers work, simply by tapping them out and counting and encouraging students to do the same. It is a gradual process of recognition that can take time in order for it to become apparent how it relates to piano or guitar. But it certainly happens more quickly when instruments are used rather than by throwing out abstract terminology and expecting students to grasp what by the sounds of it are obscure concepts.