alexis wrote: ↑Fri Feb 14, 2025 12:24 pm
I did a lot of driving yesterday, and intentionally listened to a lot of current hits. I was very impressed with the way they were produced to keep one's attention through almost every moment of the typical three-ish minute song, almost entirely done through repeated introduction of extremely abrupt changes, usually in the direction of minimizing production techniques, at least to the degree I was able to assess all this.
These included especially, IMO, abrupt changes/minimizing of dynamics (including the ultimate minimizing dynamic change - abrupt introduction of silence), as well as brief dropping out of reverb, stereo width, harmony voices, and vocal effects.
It seemed to me that after the (often very brief) minimizing changes there was a return to the full production of a moment ago, to a very satisfying effect.
Very few chord changes in most of the music of course, and "middle eights" were as rare as hen's teeth.
I thought more than once, what a killer song it would be that combined today's production techniques with the musicality of a few decades ago!
But then I realized probably the only person who would feel this way is one whose idea of what music is was imprinted on their neutral circuits a few decades ago!
I agree, especially with the point regarding
"I thought more than once, what a killer song it would be that combined today's production techniques with the musicality of a few decades ago! "
And have on the occasion extemporized on that topic and wondered, what would Mozart, Bach, Beethoven, Debussy, Liszt, Stravinsky, Gershwin et al have done with Cubase etc ? Look at Bach for instance when confronted with the new fangled Well Tempered Klavier, or was it the piano-forte - a keyboard that allowed dynamics! He went out and wrote 48 Preludes and Fugues !
I think today's musicians spend as much time learning their craft, but these days spend more time on production, clever use of effects, but far less on learning an instrument, they don't need to, and the results can be quite impressive and enjoyable, as you say. That being said, to watch a virtuoso perform some tortuous piece, that makes one exclaim "This is surely at the zenith of human ability" that is enjoyable not just because of the artistic dexterity, but because it happens to be a knock out tune as well, takes some beating.
I listen to Radio 3 of a night time especially, because there's a great jazz programme that endeavours to showcase contemporary jazz, and quite impressive content there is without question, but I do wish they'd step out of their comfort zone, they are accomplished performers, and unshackle themselves from the 2 chord loop, that would indeed lend itself too a more interesting listen, especially when complimented by equally compelling production.
I try and experiment with different chords/keys, not just for the sake of it I hasten to add, but to make it a more interesting writing exercise and listening to of course. And on the occasion stumble across some quirky results, often by accident I must admit. But when I come to add the vocal parts, my inconsistent chording, might serve as a reasonable homage to Shoenberg and other atonalists, but trying to sing chromatic major to minor compound chords, augmented 4ths, diminished 9ths etc is way beyond my ability and often has me going back to the song and stripping it bare, and reminding myself of the old adage KISS there's a reason a pop song is relatively simple (ok yes there may be the awesome solo) , it isn't meant to be an example of soaring musical acrobatics with a wizardry of dexterity, but something your man/woman/et al on the Clapham Omnibus can whistle along to, connect with, assimilate to, as they go about their day, whether jogging, grafting, selling fish and chips, skateboarding, hammering in nails and mixing cement, falling in and out of love and driving along etc they shouldn't need to be able to sing along with Pavarotti, as if life weren't difficult enough for them as it were, so give 'em something simple That's what I tell myself, but then again, when did I ever listen to my own advice
