Is it art or just simply crap?

Several years ago around the time she released “Vespertine”, Bjork mentioned in interviews how she had become bored with how new digital electronic devices work so precisely without wavering. Using the example of a CD player, she explained how it produces the exact same sound each time whereas vinyl is riddled with slight imperfections. When a CD however is scratched and damaged, she continued, the sound it can produce is wild and unpredictable.

I was recently reminded of these comments when my girlfriend Natasha took a Casio digital guitar that she found in the trash, and I tried playing it. Perhaps the strings weren’t tight enough because they wouldn’t always respond. While trying to play some fairly simple songs, I would have to ignore how sometimes notes just wouldn’t sound and just continue playing. Like the damaged CD in Bjork’s example, this digital guitar produced music that was unpredictable, or at the very least somewhat difficult to predict.

Taking this very idea of faulty machinery to yet another level, I want to pose this question: Can the music created with the use of faulty electronics be considered chance or aleatoric music much like that of John Cage? This would of course take the idea of a prepared piano to the electronic world, but one with similar results nonetheless.

But then I had some other ideas too. For example, is it also aleatoric music if you have a faulty (i.e. un/under-skilled or a drunken) musician playing a piece? Or does this border on trying to legitimize shitty music?

Here's some music theory for you (apologies in advance)

It’s been a while since I have truly loved what can be classified only as an indie rock song without any of categorical flourishes that make it possible to straddle numerous stylistic boundaries. I’m talking about what can undeniably be placed solely into the realm of indie rock. However, all that has changed. I can now put off the complete immersion into minimalist music and its more contemporary offshoots for maybe a couple of weeks; we’ll see. No matter. For now I have on repeat “The Funeral” by Band of Horses.

My surrender to the bandwagon of horse/wolf/assorted animal bands happened just the other day. Checking out some free downloads I had spotted on the Internet, I fell in love instantly how this song does everything right – that is follow conventions to a T, then throw in a few moderate twists. Actually, fall in love depicts pretty accurately what I thought of the supporting falsetto vocals. Simple and slow vocal movement with the occasional anticipation or suspension hanging over a pulsing distortion that is often typical of bands such as Built to Spill pulled me in instantaneously.

After a few more listens, which was of course inevitable, I noticed a few of the subtle twists that for me make a good song an outstanding one. For starters, the IV-I-V-vi chord progression that carries most of the song is actually 5 measures long considering you count in cut time. This lack of symmetry keeps the listener from letting his attention stray from the music for too long. Keeping in mind that anyone can get used to a 5 measure-long pattern with enough listens, Band of Horses changes the pattern length in the bridge to six measures. These quirks in the length of cycles the chord progression passes through not to mention the length of melodic phrases and rests adds currency to how gripping and enduring this song is to the listener.

One other twist that makes a significant difference is how the IV-I-V-vi chord progression that characterizes so much of the song changes oh so subtly in the end to IV-I-V-I. With this seemingly small adjustment, all tonal ambiguity disappears. Having a progression mostly in a major tonality end with a deceptive cadence to vi each and every time creates tension between the tonalities and also ambiguity as to which is the strongest and dominates the song. As that sixth scale tone in the vi chord lowers to the fifth scale tone, the progression makes a sudden transformation to one that signals a release and ultimately closure. Though I actually miss that ambiguity after a couple of passes through the new chord progression, I appreciate immensely how it brings the song to a close.

Looking at the band’s use of inversions and chord voicings also confirms how the “The Funeral” at times uses very simple ideas, but at others adds subtle, unexpected twists to them. Beginning the song is a set of arpeggios outlining the IV-I-V-vi chord progression that characterizes most of the song. What stands out is how each arpeggio is the first, third, and fifth scale tone of each chord. With such an overly simple collection of arpeggios, one may begin to imagine that the band simply does not know anything of inversions at all. This impression however is quashed by the use of inversions in the final chord progression of the song where it changes over to IV-I-V-I. Where the use of a deceptive cadence once added interest to a fairly simply progression, now a heavy emphasis on the third and fifth in the bass of the harmonies has the same general effect. As a songwriting strategy, this move allows the band to create a sense of resolution without oversimplifying its music.

Basically, it’s these little quirks that allow the song to occupy what I imagine is a coveted space between formulaic songs and snobbish arrogance. Being able to be characterized as classic and clever simultaneously makes “The Funeral” work on numerous levels and allows it to remain interesting after having it on repeat for entire days straight.




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