As mentioned in my previous post, I have a show coming up on Saturday May 23rd at Obsidian that I have been working on in one way or another everyday. There are more than 10 performers to consider, and my collective has been incessantly working through emails and meetings to figure out what each performer needs for their stage setup, who is gonna do sound, who is gonna set up and break down gear in between sets and how we are gonna pull it off in the time allotted. (Not to mention the things that have already thrown our plan off course.) The other side of it is that I’ll be performing during the late part of the event, so I also have my DJ set to practice now that I’ve prepared it for/with the visuals my friend Krysta has created for me. Plus, I have been exchanging texts, emails and meeting up with her to discuss new ideas and show each other what we have thought of since we last spoke. I’m excited to have a DJ set where it will be more of a concept performance piece than a traditional DJ set, because I have planned every song and the order of songs specifically to go with the visuals, and will not be leaving room for change as I usually do. Since there will be visuals, and it’s not a typical dance set that I will be playing, I am curious to see what it feels like for myself and the audience.

Yesterday I had the pleasure of interviewing my friend John K, one of my favorite DJs who goes by Rap Class and lives in Portland; of course, he used to live in Olympia and went to Evergreen. We spoke on the phone for an hour based on 4 main questions/prompts, and at the end, he turned it around and asked a question of me which was fun. Also, he happened to be playing a show that night with Garlic Man & Chikn, my friends who I apparently can’t stop raving about! I would like to transcribe the entire interview, but since we spoke for so long I will try and make a concise summary that hopefully does justice to the conversation.

Rap Class at the turntables

My questions:

1. How often do you perform each month?
2. Do you get paid for every show you play/is that something you are looking for when you play?
3. Do you have a planned trajectory for each set before you play?
4. DJ Spooky says the DJ is more than just an entertainer; that the DJ manipulates time, subjectivity     and memory. He talks about songs as constantly becoming…because you’re taking it and putting it in a different context and it becomes something different. For me I think the DJ’s role is to create an atmosphere.  Do you identify with that or not? How so?

Answers from Rap Class:

1. Between 5 and 10 times
2. It is…like tonight if I think it’s gonna be fun and a good experience, I’ll just be like ‘yeah whatever’ ya know? But like if it’s something for a stranger…I like to work for money…also I won’t say yes to something if it’s uncertain if I’m gonna get paid or not and I know that I am not 100% wanting to do it.
3. Yeah I mean you have your technical skills and when you’re playing out at least once a week, twice a week…and I’ve been DJing with turntables for 10 years, you kinda have an idea of like ‘yeah this is gonna work together’. I think that every DJ  that plays a set in a specific genre, no matter how many different genres or whatever you wanna call it you play out, um, they’ll cycle through 4-5 different mixes of a certain set within like a 12 month period or something. You have your songs and then you’re slowly adding throughout the year, I slowly add…you have a solid mix and then there’s variations of that mix…I really do think it takes a couple months to really understand the power of a track in your set.
4. I do identify with that…in that DJ Spooky quote. When you’re taking the songs out of context…and you’re turning people onto it [therein] lies the artistry. One of my big goals when I go out to DJ…I just look at the scenario, I look at what’s going on and I try to play the songs that hopefully…you know if they’re gonna ask me for Snoop Dogg– well, I’m not you know necessarily gonna play Snoop Dogg, but I’ve figured out that that’s what they’re sorta into and the songs I have– hit that area for them. And theres nothing more satisfying. This happened the other weekend, someone came up and was like “I don’t recognize one song you’re playing but I’m completely into the vibe that you’re putting down.” To me, that’s what it’s all about!

Find Rap Class on Facebook or at:

http://www.droppinggems.com/rap-class/

his vibe

Chapter 10: The Rhythmic Process of Chord Generation: Suspension Chords

Suspension Chord: A transient chord formed by carrying over a note from a previous chord. This note, which displaces a note of the prevailing harmony, is called a suspension. A suspension chord is entirely dependent on the chord which it temporarily displaces. A suspension chord does not alter the harmonic function of the chord which it displaces, it instead serves to develop/intensify the rhythmic texture.

Chord of Preparation: The chord which contains the note (or notes) which are about to be suspended.

Chord of Resolution: The chord to which the suspension chord resolves. It occurs on an unaccented beat. The suspended note must resolve stepwise to the note which it has displaced.

Bass Suspension: The bass may be displaced by the note above it, the 2nd. The bass note of a parent 7th chord cannot be displaced.

False 6th Chord: A suspension chord which simulates a 6th chord. Though the tones are the same as a 6th chord, the harmonic function of a chord is still as a suspension chord.

Triple Suspension Chord: A suspension chord may have multiple displaced notes, as in double, triple, or quadruple suspension chords. Each note of suspension should resolve exactly as if it were a single suspension. Each of these displaced notes may resolve independently of one another, so long as the rhythmic qualities of the piece comply.

Interrupted Resolution: The use of submetrical embellishment to interrupt the progression of a suspension to its resolution.

Abbreviated Resolution: A resolution of the suspension which takes place on an isolated short note which stands in place of a longer note.

Anticipation Chord: A partial change of harmony before it is expected. Wherein a suspended chord features a displaced note which resolves, an anticipation chord is a shift away from a harmony.

Chapter 11: Linear Chords

Linear Chord: A dissonant harmony which acts as a transient and melodic movement. They have only a local effect on the harmony, and are classified in two groups: Diatonic and Chromatic.

9th Chord: A chord which includes the interval of a 9th in relation to the root note of the chord. These chords can be dependent or quasi-independent. If the 9th is a suspended note, or is used in passing to connect two chords, it is entirely dependent on the harmony over which it is creating a melodic movement. A 9th chord may be considered quasi -independent when it is voiced on an accented chord over a change of bass.

Appoggiatura Chord: An appoggiatura is an ornamentation or embellishment note. Allen Forte defines the appoggiatura as an “incomplete auxiliary note which recieves metrical or rhythmic accent” (p. 345). It is often written as a grace note. A linear chord which features an appoggiatura is called an appoggiatura chord.

Consonant 6/4: The 6/4 (in figured bass) or the second inversion cannot usually represent its parent chord because it contains the interval of a 4th (which is considered dissonant by Allen Forte). It can, however, represent the parent chord (and be considered consonant) when it immediately follows the parent chord.

Passing 6/4: The second inversion is often used to connect a sixth (or third inversion) chord with its parent chord.

Linear 6th Chord: A 6th chord which is not derived by means of inversion should not be considered related to the parent chord. Thus a 6th chord developed by suspension or through linear movement should not be considered representatives of the parent chord. They serve as dissonances (false consonances) and should be resolved.

Parallel 6th Chords: When linear-6th chords occur in direct succession and in parallel motion, they serve one of two purposes: (1) they neutralize an otherwise dissonant passage: (2) they expand the harmony or a harmonic connection in a highly fluent way.

Italian 6th: An augmented 6th chord (or first inversion) which is derived from the the dominant preparation of the IV^6 (in the minor mode).

French 6th: An augmented 6th chord derived from the dominant preparation of the II^4/3 (in the minor mode).

German 6th: An augmented 6th chord derived from the dominant preparation of the IV^6/5 (in the minor mode).

Linear 4/2: A chromatic dominant preparation that simulates the third inversion of a dominant-7th chord.

Neapolitan Chord: A chord which assimilates the lowered 6th. It was derived from the dominant preparation of the IV in the minor mode and is characteristic of music by late Barogue Neapolitan composers.

Pedal Point: The sustaining of the bass note of either the I or the V below moving chromatic and diatonic harmonies. These harmonies are called pedal-point chords.

Chapter 12: The Techniques of Melodic-Rhythmic Development

Motive: A musical idea which is repeated to the point of becoming a characteristic feature of the melodic structure of a composition.

Theme: A theme is, in relation to a motive, a longer and more complex melody which executes a complete progression. Both themes and motives serve to enhance progressions. They are the patterns by which we tend to recognize a musical piece. They unify and contrast various phases of a composition, signal (or intensify) a climax, etc. The idea of patterns being characteristic points on which we may more readily relate to a piece of music is something I’ll perhaps explore more as I dive into esthetics.

Figuration: When used alone, probably does not refer to figured bass. It instead signifies a general process of melodic embellishment. A figuration may be considered as a short succession of notes. Where a motive is usually considered to be in the foreground of the piece, a figuration is generally thought of musical ideas which doesn’t take the lead. Thus, a motive may become a figuration if it becomes the accompaniment for a new melodic idea.

Augmentation: The expansion of the duration of a motive.

Diminution: Voicing the form of the original motive in a proportionally smaller space of time. (Allen Forte points out that the term “contraction” is perhaps a better term since diminution may also refer to the lowering of a note by a half step, but he offers no alternative to augmentation)

Inversion: Inversion has a different meaning when it’s used in relation to harmonies (as explained earlier) or melodies. When referencing the inversion of a melody, it is meant that the melodic idea is turned upside-down- as in: A B C -> C B A.

Complete Axiliary-Note Pattern: A statement of the main note followed by an auxiliary note (or notes) before the main note is restated. There are four main forms: (1) Main note -> Upper Auxiliary -> Main Note (2) Main Note -> Lower Auxiliary -> Main Note (3) Main note -> Upper Auxiliary -> Main Note -> Lower Auxiliary -> Main Note (4) Main note -> Upper Auxiliary -> Lower Auxiliary -> Main Note

Incomplete Auxiliary-Note Pattern: A motive in which the main note occurs only once, either at the beginning or the end. Thus the upper or lower auxiliary notes may serve as a suffix or a prefix to the main note.

Secondary Auxiliary Note: An additional smaller embellishing auxiliary note which is generally used for rhythmic reasons. This additional embellishment is considered of a subordinate function, and is therefore called secondary to establish its role in the embellishment.

Concealed Passing Note: A passing note which is somewhat buried by other embellishments.

Obligatory Chromatic Auxiliary Note: It is occasionally necessary to use a chromatically-altered auxiliary (or passing) note when their diatonic counterpart would interfere with the melodic progression.

In the beautiful city of Kahlua I ventured around from day to night asking others of people they listen to in Hawaii and which influential artist on the island. Iz and Mike Love both occurring mentioned artist. I began obsessed with these two both because both of them. I then began to talk with Gordie over Iz a man people constantly said they missed. He explained to me that the person they were talking about was a local who sung a song of familiarity which is “Over the rainbow. I was surprised to find that out and it made me want to find out more about IzI found His full name was Israel Ka’ano’i Kamakawiwo’ole aka Iz. His last name in Hawaiian translates to  “the fearless eye, the bold face.”  Iz was also a native & a rare breed, with him almost being a pure Hawaiian of unusual lineage. His ancestral roots are still within the island itself some would mention to me as I asked about Iz. He remains the most Hawaiian of all, the so-called “forbidden” island of Ni’ihau was a phrase mentioned in our book. Now these were some basics but Iz was known through many things such as soundtrack of movies that have Drew Barrymore and Adam Sandler with 30 dates nights and many other film featuring Sean Connery, Brad Pitt and many more. I enjoyed everything until I read the part of Iz death to know such a great individual was long gone made me feel very sad because I never really knew the identity of the man behind over the rainbow. RIP to Iz and good wishes to those who carry his memory. 

In the past few weeks this study has revealed that audience is one of the main concerns in music and performance. There are many different situations and variables that may congregate a captive audience but some of the most interesting found comes from deep rooted struggles that can collectively be seen as movements.

1) In the early 1900s Seattle suffered harsh working conditions in terms of manual labor and was the center of a campaign by the Industrial Workers of the World. This campaign used work songs/folk songs to express certain agitations and create emotions and motivations through the Pacific Northwest (Before Seattle Rocked. Armbruster, 2011). (See: Little Red Songbook)

2) The social effects when music is used as a form of movements for any form of justice. In 1930-1940 there was the unionization and communist led movements and later in 1950-1960 civil rights movements. Both used folk music as a way to “bridge racial boundaries” (Reds, Whites, and Blues. Roy, 2010). The 1930-1940’s made folk music into popular music with the formation of blues/jazz/big band/swing, but in turn lost it’s purpose. The movements in 1950-1960 had basic intentions of peace songs among the racial segregation. Some of these songs weren’t meant to be hits, but ended up becoming them as activism progressed.

In both cases there was an audience because there was a demand for a change. This is an example of music being used as a social tool. If music builds relationships based on mutual fundamentals it is likely to be a successful part in motivating the masses.

This week I was able to see Grace Love and The True Loves a Soul/Funk band from Seattle. Grace Love did an amazing performance with a nice memoir to B.B. King. 

The audience was engaged and there was a constant rapport from call and response, old classics, originals, and covers of 1990’s R&B. The social scene was friendly and the opener was The Brown Edition, a well known established band in the community who brought in a crowd.

I also was able to get an interview from Razors and Red Flags and Ryan Baker, guitarist was quick to answer.

1. Do you have a specific route/venues you frequent, and why?
 “We are trying this year to maintain a looser schedule with doing so many shows last year, we worry that we may have over saturated the market, while it is important to build our name we want to try to focus more on a local level and primarily Portland and Seattle area.  Those areas, have been very receptive to our sound, where as we feel some places don’t embrace the rock as much.”
2. Has your sound changed much over the years?
   “Yes in 2009 i started the music as only a singer/songwriter aspect. Singing a lot at open mics, i started to get people that wanted to jam with me. Pete was one of the first few, and we immediately clicked, I had recorded and EP of 6 songs with rocket soul music’s Ryan Hansmann, we had a good run with that band, but broke up due to some reasons ill leave out for brevity sake, in 2013 we reformed the group and rerecorded all the material with a better line up and has gelled ever since. We are more of a Rock and multi genre because of the new additions and writing we have gone thru a metamorphosis of sorts to more of a danceable rock vibe with emphasis as storytelling lyrics.”
3. What importance does the opener band have in a show?
 “We believe the opening band warms up the crowd and builds the energy for the night, a lot of bands don’t like going first, we have played the role so many times, i kind of enjoy it, I am a music lover, so i enjoy seeing what a lot of other bands have to offer.”
4. What importance does the audience play?
“The audience is your vessel, who you are speaking too, playing too, trying to sway, in your favor. For when the crowd is with you, the energy is up, and everything seems to build to a rhythm and can make the band even play better. Support is everything, and this is art, so you are always a lil sensitive about your baby. We are always trying new things. So we put ourselves out there not everything works.”
5. Where have some of your best shows been, and why?
“Best shows are starting to be down in the harbor, we sort have built up a mystique down there and they come out and pack the small joints we play, best road shows are probably leavenworth at the munchen haus and also on the same trip we played Marko’s Place in Roslyn having great energy at both places, and they took care of us too.”
6. Where has your inspiration come from?
“Im inspired alot by jack white, and also jim morrison. the bands i would say that have inspired me would be like the who, motorhead, led zeppelin dr hook (Shel Silverstein) , johnny cash, i really like storytelling and poetry.”
7. Are you all from Olympia/PNW? What kind of music scene do you see currently in Olympia, and has it changed since you’ve been here?
“Here’s the run down, Mayo Georgia Nick and I come from Grays Harbor, Pete we imported from Rockford Il.  I grew up in the small logging, cow town of Elma Wa, and have lived in thurston and grays harbor my whole life, but have toured alot of the I-5 corridor and some other states.”
8. How is your music similar or different from where you grew up?
“I listened to alot of shitty country music, I mean shit. Like 90s pop drivel, and didnt really start branching out till 15 with rock and punk tunes. started writing when I was 15″
9. Have you traveled/performed anywhere else in or outside of the states? If so, what are some cultural similarities and differences?
“I have toured with this band as far as southern oregon, and as north as bellingham we do eastern washington and idaho shows as well, we want to play vegas reno and California next.”

This interview was helpful in seeing how music is welcomed and how a city or area can be conditioned to a type of music, which effects the audience and social scene and furthermore the reputation and followers.

“It was a good moment, the kind you would like to press between the pages of a book, or hide in your sock drawer, so you could touch it again.”
― Rick Bragg, All Over But the Shoutin’

Black Warrior River, Tuscaloosa, AL

I think that what Rick Bragg is talking about here, is a spot of time. I had so many moments during my time in Alabama and Gulf Shores that I wish I could press between the pages of a book, to keep forever and revisit when I needed something to remind me of the beautiful things in the world. Spots of time. 

One of these spots of time was the first and only evening that we spent it Gulf Shores. Laura’s family friends moved there after retirement and were so excited to show is around. I was the only who had never been there before. I am a beach lover, I have never lived more than ten minutes away from the beach and I was still in awe of how flawless the beaches were. Bright white, sandy beaches, bright blue water and bight blue skies. Maybe I have over-used this phrase, but it was like nothing I had ever seen before. I will include some pictures of the beach, and of our sunset boat ride, but I can assure you that pictures do not do it justice.

Sunset on the Florida, Alabama state line.

After dinner that night, we went to a famous bar/music venue called “Flora-Bama”. I’ve been hearing about this place for two years, so it was with great anticipation that I walked into this warehouse of a bar. We walked through a gift shop into a dimly lit, open area. You could smell the ocean and see the sand. There was a 90’s cover band finishing out there set. We kept walking until we ended up in another large, dimly lit room where a classic rock band was playing. This room had a dance floor with a pretty good crowd. I was the youngest person in the room by about 20 years, but I was assured that was because it was a Sunday night during off-season. This whole bar is covered in graffiti from various college football players, and rival college students. Room after room, band after bad; again it was like nothing I’d ever seen or experienced before. I could only imagine what it was like during spring break. The next morning we took a boat to a restaurant called “Tacky Jack’s” where I had the most amazing shrimp and grits for breakfast. As I sat there, right on the water – I kept thinking “how is this my life?”. 

Daniel, Laura and Me at Flora-Bama

Gulf Shores

          So many country songs mention “where the blacktop ends”. I found this place in Tuscaloosa, Alabama. We were driving along and suddenly the road turned into rust colored dirt. For miles and miles we drove on a bright orange dirt road – the color contrasted by the blue sky and setting sun. The trees that lined the road were much shorter than the ones here, but are full, bright and beautiful all the same. We drove up to the tiny house on the river, the sun was just kissing the sky goodbye – there were flowers, candles, and the smell of a delicious fried chicken dinner in the air. We had arrived to the Metcalf’s river side oasis. My roommate/travel companion, Laura’s parents showed us the most genuine southern hospitality. We spent three days eating home cooked meals,  and learning what it’s like to live in the south. We were introduced to people who had lived in Tuscaloosa their whole lives. Their parents had, their parents parents had. The culture was radically different than what I grew up knowing. One of the days we were there, we took a tour of the University of Alabama and got to meet some of Laura’s family. In 2011, there was a severe tornado in the city of Tuscaloosa that killed 64 people, and destroyed so much of the town. Almost everyone we met on that trip mentioned something of it, whether it was recalling the day of the tragedy, or rebuilding of the elementary school down the road. Much like New Orleans, people of Tuscaloosa have turned to music to encourage, morn and process the loss and devastation.

During our time on the river, I read a book called “All Over but the Shoutin’” by Rick Bragg. Rick Bragg was one of Laura’s professors when she was a student at the University of Alabama, and the cousin of her God-father. Laura suggested his nonfiction books to me because his writing is honest, and true to his life growing up as a poor white boy. He recalls with deep revere about his mother, and her strength raising three children by herself. It’s hard not to read this book without hearing his deep southern drawl in your mind. I sat for two days on the Black Warrior river, listening to the sounds of birds, barges and laughter while I read this book. It gave my imagination a break – as I felt like I was already in the setting.

In a lot of ways, his book reminded me of the writing I am doing now, with these blogs – really just recalling and processing real life events; a memoir. In my next post, I will work hard to synthesis all of these experiences and touch more on the connections I have made between history, city, rural and urban sounds. For now, I think it’s important to just remember and reflect on my experiences. While I know this program is not about making value statements on the places we traveled to; I’m going to come right out and say it. I love Alabama. I love all of the people I met, I love how rich in history the city of Tuscaloosa is, I love how different the trees and landscape is, and I love that I didn’t eat a single vegetable the entire time I was there. Everything was different, and beautiful and I would go back tomorrow If I had the opportunity.