After two years of working mostly with existing material, I’m happy to be writing songs again. This one took me over completely for a few days, and then I spent another couple of weeks recording it and animating it on the lattice.
Be Love is a simpler song than Flying Dream, and I think it does a better job of illustrating what the lattice is all about. A couple of notable moments:
Several times, all the notes suddenly collapse to the 1, the note in the center. Check out the feeling of arrival, or homecoming in the music when it happens. It’s especially powerful going into the first chorus at 1:12. This is a real-time demo of tonal gravity.
During the verse, the song hangs out in the left part of the lattice, and then for the chorus it moves to the right. This is an example of a change in mode — the song stays in the same key (1 is still the center) but two of the scale notes change. The language of pure music doesn’t translate literally to English, or to emotion, but it evokes its own sensations that can support, or contradict, the words and feelings in the lyrics.
I had the great pleasure this spring of singing with Tribe of Dreams, a traveling band that creates musical community everywhere they go. They left behind, in San Francisco, a wake of connection and increased musical collaboration that is still rippling outward.
One of my fellow transient tribe members has been the ethereal Froukje van der Velde, whose musical name is Flecha Moon. She was in San Francisco for a few months of 2013, and left a huge impression on my Hotel Utah and Sacred Grounds open mic friends. Singing with Froukje has been a pure joy.
Recently, we both sang on a bill at 50 Mason Social House in SF, and I caught some video of us harmonizing. I’ve posted “Driving” and “The Cove” to YouTube, along with Froukje’s song “Ships Go Sailing By.” There’s a particular moment in the middle of “Driving,” when we get rolling on some improv harmonies, that gave me head-to-toe goosebumps. I hope you enjoy these. I sure did.
In music theory, an interval is the difference between two pitches. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
These two usages are very different from each other. “Interval” is used to describe pitch differences in both melodic space, the world of pitch, and harmonic space, the world of harmony. I think that’s a bit unfortunate in the case of harmony, because what drives the quality of a harmonic interval is not the difference in pitch (up, down) so much as the ratio between the two frequencies. The same interval may look very different in one space than in the other. Many intervals that are very close in pitch are far apart harmonically, and many harmonically close intervals are far apart in pitch.
Take the perfect fifth, for example. Here are two ways to describe the interval of a fifth:
A pitch distance of 7 half steps, and
Multiplication by 3.
The first way is simpler for thinking about melody, and the second is simpler for thinking about harmony.
Multiplying by three is the smallest harmonic move you can make, except for unisons and octaves. In harmonic terms, it’s the Note Next Door. But in melodic space, seven half steps is a long jump. Bass singers are kind of heroic in that way.
The following video shows a perfect fifth, in both harmonic space (the lattice) and melodic space (the keyboard).
Another example is the major second. This interval is a compound of two fifths, so the original note is multiplied by 3 twice. The major second means multiplication by 9. Harmonically, this interval is bigger than the fifth.
But in the melodic realm, the notes come out only two half steps apart.
Here’s the split screen version of the major second:
The major second is close in the melody and distant in the harmony. Notice how the major second sounds more dissonant than the fifth?
The word “interval” is also used to describe two notes sounding at once. An interval is the simplest harmony. Three or more notes is a chord, or a collection.
One note, all by itself, doesn’t have much of a personality, besides the timbre or sound of the instrument it’s played on. Without harmonic context, one pitch sounds pretty much like another. Some are higher, some lower, but that’s about the only distinction.
When two notes are played together, they create something new. Intervals have personalities, and each one is different from the others.
I think of intervals as the atoms of harmony. Intervals can be combined into larger collections, or molecules with more complex properties. Intervals and chords look entirely different on the lattice than they do on the keyboard, and I find that the patterns they form deepen my understanding of harmony. The lattice gives a window into harmonic space.
A few weeks ago, I unexpectedly recorded a charming version of Real Girl. I’d been plugging away at the song all afternoon, taking videos to watch and critique, when my housemate walked in. She and I always make each other laugh, no matter what is going on. I don’t know why, we just look at each other and laugh.
So when Joey came home, I knew it’d be a fun take. I added harmony vocals, bass and guitar.
I’m pleased with this video, and I think I’ll do more. Also planning more lattice stuff soon.
I wrote this song during a long weekend visit with an old and dear friend in Coupeville, Washington. We did laundry, and then went for a walk. I vividly remember the day, the view out over Puget Sound, the texture and color of the grass we were walking on. Somehow, suddenly, this melody was going through my head and I started to dance and sing it. Words came soon after. Priceless.
This performance is from a couple of weeks ago at Sacred Grounds in SF. The full show can be found on Mr. Natural’s channel on YouTube.
More fun with the Q2HD. Bug Zapper is a co-write with my friend Scott Bryson. I’ve reworked it endlessly, and this is where it sits right now. For years, there’s been a major II chord in the chorus, clinging like the kitten in the “Hang in there, Baby” poster. I finally got over it and went to good old V-IV-I.