Therefore, I use many musical genres such as blues, classical, hiphop, jazz, rap, or rock, among others, to introduce musical techniques. I believe it is crucial to strike a balance among many various genres and styles, insofar as all feature elements of music-dance, embodiment, form, gesture, improvisation, meter, mode, pitch, rhythm, ritual, scale, and timbre, for example-that are crucial to the study of music and music theory. By putting all compositions and music-theoretical concepts I discuss into a cultural and historical context, I expect my students to be able to grasp not only the technical elements of a musical composition, but also the broader trends that may have led to the creation of those elements. In my courses, fun and relaxed yet rigorous and challenging, I strive to make students think profoundly and critically about music, and I make sure to include all students in the learning process. To this end, my goal in the classroom is to maximize my students’ learning potential. Portions of Eric Satie's "Gymnopedies" come to mind.I believe my mandate as a music teacher is to help my students become better musicians. What piece of classical music does this most resemble? Well, using the term "classical" in a very broad sense, which is pretty much the way it's generally used, I'd suggest any music that rocks back and forth in a dreamy way between chords that do not include V. In this case a really simple one during the instrumentals. Pop music makes a lot of use of "ostinato" - a constantly repeating melodic pattern (think "I can't get no satisfaction" and countless others) and also of what might be called a form of "passacaglia," a repeating harmonic pattern. But when it reaches the improvisation G becomes the primary chord. It's kind of nice that the song begins with the impression that A minor is coming first, then G. That contributes to a relaxed dreamy sort of feeling, because the chords don't really "go" anywhere most of the time, they don't get to the dominant V but keep repeating this inconclusive pattern. The long guitar improvisation later on also spends a lot of time repeating I and ii, or I, iii, ii. The chord progression gets more complicated than this during the vocals, but the character of the song is in that opening riff. Two guitars of identical tone color build a seemingly intricate pattern that really is basically just two alternating chords: A minor and G. If we knew exactly what makes a particular piece of music appealing then hit songs would be easy to produce, but I'd describe what I like about that this way: It's not the melody exactly it's the sound: liquid, with a deep reverb and long sustain, the lead guitarist extending the life of the long notes with his tremolo bar. That's complicated by two guitars playing similar things at the same time, overlapping, one tending to arpeggiate the chords more. But hey.īy the "riff" I think you might be referring to the recurring little bit that opens the song and is played something like this: Otherwise I might I thought I was being asked to write a review. Question: What is it that makes listening to the guitar riff in Impossible Germany by Wilco so interesting/appealing to the ear and what piece of classical music does this portion most resemble, theoretically? -A.C.Īnswer: Good thing you put that "theoretically" in there at the end. Impossible Germany A Guitar Riff in Impossible Germany
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