To Mars, The Red Planet: Perfect For The Blues

mars approachHopefully you are enjoying the sensation of musical weightlessness after this past week of improvising! No written notes to hem you in, rather the opportunity to play almost anything you want, whenever you want. Within a few necessary guidelines (like keeping your spacesuit on), you are free to improvise, to create, to express yourself. You never have to play the same thing twice, if you don’t want to.

And now you want to reach higher, try out some other tools in your arsenal.

The next place to explore, the most logical next step on our odyssey is:

Mars.

The red planet. The god of war. The best movement of Gustav Holst’s “The Planets” and the home of Marvin the Martian.

Mars. The planet of strife, of clashing, and of dissonance. This is absolutely the best next place for us to go. Continue reading “To Mars, The Red Planet: Perfect For The Blues”

10 Ways To Use Silence In Your Songs

My brother-in-law, Steve Shelander, shot these night sky photos. He is quite the astronomer!
The silence of space inspires my imagination. My astronomer brother-in-law, Steve Shelander, shot these night sky photos. These galaxies are in the constellation Hercules, a scant 470 million light years distant. More or less.

It sounds counter-intuitive, but silence is quite possibly the most important part of our songs.

Silence? Not playing the right notes at the right time?

Yup.

Not using dynamics, tempo, and all the other artistic tools on our workbench? Silence? Really?

Correct.

We may think silence is a bad thing, like when a musician forgets what comes next, furrows his or her brow and stops playing. We know they’ve blown it big time.

Or we may look at silence as the holy grail our parents tried to get us to adopt. (”Be QUIET!” -remember those wonderful moments from your childhood?)

But the intentional use of silence in our music is good. In fact, it is necessary. And cool.

Reportedly, the world-renowned concert pianist Artur Schnabel, once made the statement (quoted in many places): “The notes I handle no better than many pianists. But the pauses between the notes, ah, that is where the art resides.”

(I found this again on brainyquote.com, but I’ve heard about the quote for many, many years. Not sure when he said it, but it nevertheless has the ring of truth in it! Great quote.)

Types of Silence

We should start with an understanding that silence is not always exactly, well, silent. There are several kinds of silence. And each has its place in our arsenal. So what kinds of silence are we talking about?

M51 is one of Steve's favorites. It's called a "globular cluster", also within the constellation Hercules.
M51 is one of Steve’s favorites. It’s called a “globular cluster” within the constellation Hercules.

I think of silence in three primary categories:

  • Rhythmic silence happens when a player doesn’t play for a moment but the music is still going on. This is always useful, whether you’re counting rests in the music or playing short, detached notes (staccato, spiccato, pizzicato).
  • Natural silence happens when you’re sitting in the doctor’s waiting room and the background music has stopped, or when you’re sitting in the audience when the lights dim, and you’re waiting for the Concert Master to walk out onto the stage. (Maybe when a tree falls in the forest with no one around to hear it. Jury’s still out on that one…)
  • Utter silence is to be found in the vacuum of outer space. It takes some work for us to really experience utter silence here.

The Ten Ways

And so, thinking about silence in these three ways, here are ten ways to take advantage of intentional silence in your own songs.

  1. Punctuating rhythms. Rests, particularly shorter ones, are inherently part of rhythm. They are to be found within phrases as well as at the end of phrases and should be counted just as deliberately as the notes themselves.
  2. Longer silences between phrases you play will help your music breathe. Just as sung lyrics may invite you to take a breath at the end of each line, leaving space between your instrumental phrases really helps you to shape and group your phrases. It also helps the listener to stay with you.
  3. Breathe between movements. When you finish a major section of the larger work, let silence help you take a breath, don’t rush it. Then start fresh into the next movement or section.
  4. Use silence as a surprise, like building up to a chorus and unexpectedly silencing everything on beat 4 before you crash into the downbeat of the chorus. Really fun, makes the band sound tight!
  5. Build anticipation through a longer period of silence. Particularly in a ballad or slower song, if you hold onto a moment of silence for just a little longer than expected, it can really add to the drama of the song.
  6. Use momentary silence to regroup after a long held chord. When you hold a chord or sing a long syllable as the music comes to a halt, take just a quick moment to be silent before you restart. Might only be a literal second. But an artfully placed moment of silence will make your song sound unhurried and relatable.
  7. Silence is your starting point before you play. The air is, to varying degrees, silent just before you begin. Even if you’re playing in a club, the disorganized sound of conversations and incidental noises in the room are the counterpoint to what you’re about to play. Use it to prepare yourself, expect the listener to be preparing themselves, anticipating something great. (Then it’s up to you to not let them down. Just sayin’.)
  8. Repeating periods of silence can add to a general pulsation of the music that feels like an unstoppable forward movement, like you’re in your kayak on the river, gradually getting closer to the rapids. As silences get shorter and shorter in a repeated fashion, the tension will build.
  9. Utter silence for a beat or a measure can make the listener feel like they are in a vacuum, with a complete absence of sound. It is unnatural and disconcerting. Utter silence can make you feel deprived, like something normal is missing. You long for the next sound to take away the discomfort. I’ve heard this used effectively on pop recordings, but it’s never used for very long. It can be a painful moment, followed by relief when the music comes back in.
  10. Explore silence as an experiment. John Cage always seems to enter the conversation about silence because he famously performed a piece in 1952 that he entitled, 4’33” (”Four Minutes, Thirty-Three Seconds”). No instruments were to play, the whole point was to discover the ambient sounds in the room. Silence, in his view (and mine) is not really silent.

How do you use silence in your own music? Please leave your comment below, or email any questions about music, music theory, and next-step musicianship to [email protected].

© 2014 Steve Case