ADADG Tuning

joel | the band | Thursday, September 24th, 2009

I’ve been setting up to play some more guitar but ran into a problem translating songs between the six string drop-D tuning I use on guitar and the ADADG tuning on my five-string bass.  So I decided to try to tune my guitar down to ADADG tuning and relearn a couple of songs. 

The advantages of this tuning are :

  • the two low pairs of strings are copies of AD, so you can hop octaves just by moving across strings instead of across and up.
  • I dont have to relearn any drop-D songs or scales that I already know (this is how I got to ADAD in the first place)
  • Since I’m forced to use different fingerings I might stumble on some unique sounding riffs

Disadvantages:

  • I cant use standard guitar chords or scales :(
  • Learning new songs will be harder because I cant use standard tab
  • the low A string on the bass sounds funny - especially tuned down 1/2 step you really only hear the overtones - this is true on the guitar as well

I’ve thought of going to a tuning in fourths like ADGCE.  If I used that I could use standard guitar fingerings, i’d just have to shift the roots five frets. 

I’ll stick with this another week or so and see how it goes - it’s good to stretch the mental muscles a bit.  So what kind of triads can we build with this tuning?  Here goes:

Major triads

Scale degrees indicated by number:

Fingerings for ADADG tuning with major triads

The root position chords actually sound pretty full once you get four strings going and it’s not too hard to shift major and minor.  They are for the most part just variations of the C shape,

Minor chords require very slight modifications:

Minor

Note that its very easy to find chords with repeated roots and fifths, but getting a single major third with the root on the D-string is tough.

Glee - Episode 3

joel | life | Friday, September 18th, 2009

Related to my last post on emotional journeys I wanted to write a beat by beat analysis of some show and record the emotions displayed.  I chose episode 3 of Glee as my subject.

The highly incomplete list of beats is below.  A few important points stand out:

Tempo is Fast

Feelings change every 1-5 second.  During most of the dramatic scenes the feeling being expressed changes quicky.  A scene might last 45 seconds or so, a line might last 5 seconds, so that’s ten lines per scene.  Many scenes have sub-second camera cuts showing reactions or hinting at future conflicts.

Modern writers rarely seem to dwell on the same emotion so after a feeling is expressed or stated they quickly move to another one.  This keeps the show moving quickly.

Transitional devices.  There are a few transitional devices in the writing of the episode that are worth mentioning.

Feeling vs feeling

The camera or dialogue cuts between two characters expressing conflicting feelings.  This could be fairly static or have some kind of build

Forced transition

A common comic device is to present a feeling of discomfort (like getting the door slammed in your face) followed by something upbeat (like a dance number).  This transitional device makes light of the suffering or unfortunate circumstances (getting thumbs cut off, being taken to the emergency room) and lifts the mood - sort of like the story shrugging its shoulders and moving on.  In some cases these emotional shifts are accompanied by actual sighs or musical cues to denote that a situation is comic.

Musical numbers

These typically stick with the deeper development of a single feeling. “Bust the windows out your car”.  Instead of the microfeelings of a single camera cut, the music and pull us deeper and deeper into feelings.  Because most musical numbers have single point of view it is hard to accomplish the rapid alternation of conflicting or independent feelings that can be experienced in theater.  This raises an interesting idea of a duet of feeling vs feeling.

Primary arc of feelings:

  • Excitement -> nervousness/tension (pregnancy subplot)
  • Resignation -> Tension -> Frustrated/Concealed Desire (romance subplot)
  • Confusion -> anger vs confusion (qb+subplot)
  • Challenge -> Challenge -> Success (acafellas subplot)
  • Challenge -> Challenge -> Overcoming -> Success (choreographer subplot)
  • Frustration -> Comfort -> Disappointment -> Reconcilliation (gayvention subplot)
  • Fear -> fear revealed -> comfort -> fear restated (gay subplot)
  • Disappointment -> frustration -> fear -> decision -> overcoming (law school)
  • … and more …

Beats from episode 3

  • excitement - i cant hold it in anymore
  • terry’s pregnant - pride, suprise, excitement // worry
  • sigh
  • toast
  • 1:03: I’m really happy for you son
  • “i was a mess”
  • “that’s my fault, boys learn that from their fathers”
  • “i was saving up for … law school”
  • “didnt have “
  • “guts!”
  • 2:12———— dance
  • frustrated looks
  • “what’s wrong with the choreography?” - shock, nervousness
  • “we’re a team now” - venom, cruelty
  • nervousness fear
  • “did you ever perform Mr schuster?”
  • <new problem>
  • 3:41 ————
  • “oh no, theres none at all”
  • “it’s great its wonderful”
  • 4:26 ————- break room
  • comic relief / disgust - “cutting off his thumbs”
  • nervousness, discomfort, awkwardness
  • “my life is a disaster”
  • “i dont have thumbs” - misery
  • “for he’s a jolly good fellow”
  • “it’s creepy” <sigh> -> “this is how we do it”
  • “testotertones”/acafellas
  • 7:56 ——-bedroom——-
  • “i hope so”
  • “it was like she was trying to make a twin” - happiness
  • <nervousness, fear vs. excitement>
  • <sex>
  • 8:21 ——-cookies——–
  • “i just dont have time for all of it anymore”
  • “all those in favor of hiring dakota stanley?” - confrontation
  • 10:00——-hallway
  • “glee is my one shot” -
  • “i’ve moved on and I’m focused on my career”
  • “you have feelings for me and you just dont have the guts to admit it” (realization)
  • “yes” - confrontation
  • 11:18———
  • “i will not be satisfied…” - pride, gloating, evil
  • “go after these glee clubbers one by one” - anger
  • “i need a fog machine” - greed, gloating
  • 12:12 ——-locker
  • “have you ever kissed anybody”  - longing
  • “but I want to” - frustration
  • “we are superior to all of them” - pride
  • <holding hands> - closeness
  • “i dont think I’m his type”
  • 13:28 ——-nightclub that girl is poison
  • i felt like i was finally a star
  • “yay! ken…” - false pride
  • “this is huge”
  • “i need their
  • “prison food”
  • 15:44 ——— break room ————–
  • here come the acafellas - pride
  • “stop right there william” - conflict
  • “who is josh groban”
  • “no sandy”
  • “he’s looking for an opening act”
  • 17:38 ——– parking lot ————
  • until midnight
  • vocal adrenaline
  • “dont - hes a monster”
  • 19:19 ———- vocal adrenaline - mercy ———-
  • get off my stage
  • 19:54 ———- parking lot ———————
  • <new problem>
  • how are we gonna get $8000
  • 20:20 ———- practice room ——————-
  • “i dont think I can be in the band anymore”
  • “howards out”
  • “is that what that was”
  • “i have some bad news”
  • “acafellas pressure is too much pressure for henri”
  • “officially doomed now”
  • “it was fun while it lasted”
  • “i dont think you should give up”
  • 22:10 ———–laptop ————————–
  • i’m quitting glee too
  • i didnt quit glee
  • have the guts to stick with it a little bit longer
  • trust me - i know
  • 23:26 ———– moms ————————–
  • i’ve got star potential/a cougar never disappoints/my above ground pool cleaning business went through the roof <pride><sex>
  • if you mess this up for me… <anger>
  • 24:28 ———— practice —————–
  • swing that big old bat
  • 26:19 ———— gay vention
  • we need to have a gay vention
  • you can do better
  • what if I cant? nobody notice us <frustration/anger // sadness>
  • kurt is sweet to me <hope/connection vs sadness>
  • 27:13 ————- car wash —————-
  • <sex>
  • gratitude vs venom
  • make it official
  • that we’re dating
  • i’m in love with someone else
  • rachel?
  • <violence> broken glass
  • <sex/dancing>
  • 30:05 ————-video —————–
  • <sex/anger/violence vs anger/shock/surpise/confusion>
  • 31:00 ————-menus—————–
  • “at walking”
  • “frankenteen”
  • “you’re freakishly tall”
  • “maybe you need someone whos going to lie to you”
  • “do i want to be a winner of not”
  • “wait” - barbara streisand
  • “we’re gonna win because we’re different”
  • “you’re fired” - anger
  • 33:27  ———- dressing rooms ————–
  • <nervous>
  • “thanks for beliving in me”
  • “josh groban is here” - excitement
  • 34:41 — acappella number/tick tock you dont stop—-
  • <dancing> <applause> <jealous glances>
  • <not standing>
  • 35:00 ——– after
  • which one of you is sandy
  • “this is restraining order” <comic surpise>
  • “explosive”
  • 37:45 ——— parking lot ————–
  • “im sorry”
  • “you were really good”
  • “josh groban loves an alcoholic”
  • “you ok?” “i am” - its enough for me …
  • “you inspire people” - pride
  • “i’m going to law school” - hope/pride
  • 39:45 ———- locker room ————-
  • “im sorry/i hope it works out”
  • “i’ve never told anyone before”
  • “the whole point of the club is to express what is inside you” <hope>
  • “i cant… i’m just not that confident” <fear, doubt>
  • 41:23 ———- sues office ————–
  • “that’s the smell of failure” <anger vs fear>
  • “when you really believe in yourself you dont have to bring other people down”
  • 42:29 ———- dancing —————-
  • “it was really good”

Emotional Journey

joel | Uncategorized | Wednesday, September 9th, 2009

I’ve been thinking a bit about the relationships between feelings and songs. 

(Click on the chart for a larger image.)

Everyone knows that a song should make you feel something.  Really good songs make you laugh, or cry, or feel closer to someone you love.  But how many different emotional notes or flavors are there?  And how do they relate?

Eckman describes five facially expressed emotions:

  • anger, disgust, fear, happiness, sadness, surpise

In addition he later included the following:

  • amusement, contempt, contentment, embarrasement, excitement, guilt, pride, relief, satisfaction, pleasure, shame

The Emotional State Machine

Think of these emotions as states in a Markov model - are all transitions between states equally likely, or are there certain directions that emotions progress? 

For example, sometimes and expression of anger could be the catalyst used to get people out of the fear state and into a state of acceptance. 

Similarly, there is a definite progression of feelings in the so-called “seven stages of grief”: shock, denial, guilt, bargaining, anger, sadness, acceptance.

Is it possible to create a set of songs that predictably and reliably moves people along this continuum from negative into positive feelings? Kind of like a train that makes a stop at each emotional way station finally delivering passengers to a happier and more positive place.

 

Emotions in Music

If you’ve been to the movies or a concert, you might have had several emotions:

  • suprise: a sudden shift in tempo or arrangement
  • tension: could be created by swirling dissonance or cacophony
  • anger: many songs make one want to mosh - just think of the feeling where “rage against the machine” gets its name
  • trance: a positive state close to rest, often created by moving textures and prettiness harmonic lines, with a slow tempo
  • groove: a happy but not tiring
  • pump: by this i mean a more beat-driven disco-like experience where people get pumped up

Last Stop Happiness

So for now I have this version of the emotional state machine chart.  Negative states are on the left and positive on the right.  The basic breakdown of states is by tense: whether a feeling or emotion is an immediate sensory experience, the meta-expectation of a future experience (or memory of a past one), and the overarching mood which might span days or weeks.   The meta-emotions are split into an active/passive axis (fear vs anger, hope vs desire).  I’ve also listed a few special emotional states as “transitional” in that they are temporary and lead to an emotional reset.

Notice that there are two paths out of the negative bubble:

  • anger -> effort  -> success/victory (think “Reducation through labor”)
  • anger -> effort -> exhaustion/collapse (cant think of a song for this)
  • sadness -> grief -> letting go
    (think “Holly Brook/Live Again”, “Journey/Dont Stop Belivin”)

It seems that the best progression is as follows:

  • sadness -> grief -> letting go -> open
  • fear/tension -> anger/struggle -> victory -> pleasure/pride

Set Design

In a typical movie, we would repeat ascending fear->anger->victory loops and perhaps once have the [sadness->grief->letting go] arc near the end.  This is perhaps because grief is more powerful and it is hard to really have people cry many times in a film.   There might also be a romantic subplot leading to a make-out scene late in the film.

Also most pop films would start with something happy so that the coming conflict would have a baseline to contrast against.  Unlike film, we might want to have a tear-jerker moment, but at a live show it should be early so people can dance more at the end.   We’d really want to trade the fear/tension->struggle->victory loop in film for more time spent in the “groove” or “pump” states at a show.

This might give us a set like this:

  • Opening: baseline happy/fun
    • “hello we are here/soundcheck” song
    • happy song 2
  • Sad movement: (anger/fear)
    • {loss -> fear -> anger/struggle -> victory} xN
    • loss -> grief -> letting go
    • {fear -> anger/struggle -> victory} xN
  • Happy movement: happy/pump (repeat as needed)
    • ballady break/trance
    • groove
    • pump