Peterik Chapter 11 From Country to Rock and Everything in Between: The Genres
Table of Contents
Introduction
Yes, I'm back at it again already. Even though Chapter 10 was just a few days ago, I wish to hurry up and get through the next chapter, since summer break is almost over. Chapter 11 shows us how to compose songs in different genres.
Rapoport Question of the Day
On her Daily Epsilon of Math, Rebecca Rapoport writes:
Today is the xth Sunday in 2022.
To solve this problem, we only need to count all the Sundays that have elapsed so far this year:
Thus today is the 31st Sunday of 2022 -- and of course, today's date is the 31st. This raises an interesting calendar question though -- how many dates in a Gregorian year do the day number (within the month) and week number (within the year) match? We see that July 31st is in Week 31. July 29th just barely misses it since it's the last day of Week 30 -- as does July 30th, the first day of Week 31.
Of course, January 1st is in Week 1. It follows that there must be at least one such day in each month from February to June as well -- in each month the week number is ahead of the day number, but the days catch up as there are seven days in a week. There are no such days in August or any later month, since that's when Week 32 is, and the days never catch up to 32.
It remains to count which day in the remaining months matches the month number:
More on Classroom Management
Today isn't just the 31st Sunday in 2022 -- it's also Harry Potter Day. Actually, it's the birthday of JK Rowling, the creator of the the Harry Potter franchise. If I were to ask most people when their favorite author's birthday is, most wouldn't be able to tell you -- unless that author happens to be Rowling, only because she places her protagonist's birthday on her own special day.
It's a good day to think about classroom management. On the old blog, I often used Hogwarts teachers to refer to the three types of classroom managers -- Flitwick, McGonagall, and Snape. (The theorist Lee Canter uses other names for these categories -- Flitwick = nonassertive, McGonagall = assertive, and Snape = hostile.) Most errors in classroom management occur when a teacher is too far on the Flitwick or Snape sides, instead of staying close to the McGonagall middle.
I want to start thinking about classroom management in my upcoming teaching position -- but there are still too many unknowns. For example, I wrote a little about cell phones in my March 23rd post. Middle schools tend to have stricter phone policies than high schools -- but I don't know where I'll be teaching, so I don't know whether I need to be middle school strict or high school lax on phones. Other policies, such as eating in the classroom, might depend on how strict COVID protocols will be this year -- but I don't know what they'll be either. Masks were set to be required in LA County starting on Friday, but due to strong opposition, mandatory masks have been delayed indefinitely. So I don't know whether I'll need to be strict on masks this year either.
So until I get more information about my new job, I don't know what my management will be like. But I do have one thing to say -- regardless of where I work, this year will be tougher than last. Once again, I'll likely have larger classes, and the students won't all be mature magnet kids. So what might pass for McGonagall-level management last year will become Flitwick-like at my new school, unless I'm prepared to step up and strengthen my management.
The other thing I get from the Harry Potter books is that I know more about the British education system, where Rowling got many of her ideas. For example, Hogwarts students take O.W.L.s at the end of their fifth year -- this comes from O-levels (now called GCSEs) in the real (Muggle) schools. And likewise, wizarding N.E.W.T.s taken in the last year correspond to Muggle A-levels.
This matters because many traditionalists get their ideas from the British (or European) system. For example, American seniors almost never take standardized tests, unlike their British peers who are sitting for their A-levels. (That's why I thought it was odd when our seniors last year had to take the state science test.) Traditionalists often wonder why the state math tests end at Algebra II instead of including Grade 12 math -- the reason is that the math test is taken at the end of junior year. On the other hand, British A-levels are more rigorous because they include that last year of math.
For Bruce -- the traditionalist I mentioned in my last post -- his favorite European model isn't the British system, but the German one. Here students either attend the academic high school, which ironically has an athletic-sounding name, Gymnasium -- or a vocational school. In order to complete Gymnasium, students must pass a hard test in the final year, the Abitur, which includes Calculus. So much of Bruce's ideas involving getting as many students as possible to Calculus in Grades 11-12, so that they can prepare for an Abitur-like exam.
(The AP exams are the closest American equivalent to the Abitur. Indeed, when I was participating in an online AP Calculus seminar, one of the other participants was a Northern California teacher who taught at a German-based private school. She was preparing her students not for AP, but for Abitur.)
Not all students take Abitur or A-levels -- in Germany, not all students attend Gymnasium, and in Great Britain, students can leave school at any time after GCSEs. (Indeed, in Harry Potter, the Weasley twins dramatically leave Hogwarts, flying away on their brooms before sitting for N.E.W.T.s.) But the students who wish to attend university must complete Abitur or A-levels.
Indeed, in that debate thread from last post, Bruce wrote how even German primary school teachers must have taken Calculus. That's because before attending university, they must pass Abitur -- and in order to pass Abitur, they must take Calculus. I don't necessarily like the idea of making first grade teachers take Calculus.
(An argument could be made that perhaps Grade 3-4 teachers can benefit from some Calculus. Some traditionalists argue that around that age, elementary teachers push the subtle message that they hate math, and the students pick up that they should hate it as well, and thus they struggle around the time that they must learn fractions. Some of them grow up to become math-hating elementary teachers, thus perpetuating the cycle. Thus Bruce's Calculus idea would have upper elementary math classes be taught by teachers who passed Calculus -- such stronger math teachers are less likely to push subtle anti-math messages during those critical years, and those kids grow up to pass Calculus themselves.)
As someone who took French in high school, I've always been fascinated by the system in France. In that country, the equivalent of Gymnasium is called "lycee." The years are numbered backwards (so secondary school goes sixth, fifth, fourth, third, second, first, and finally "terminale" as the equivalent of senior year). The big test is called "le Bac" -- taken partly in "first" and mostly in "terminale." It is graded out of 20 -- but it's virtually impossible to get a perfect 20 score. ("It's often joked that scores of 20, and sometimes even 19, are "reserved for the professor only.") Ten is passing, and 16 is excellent.
I read that there have been some changes made to le Bac this year. Formerly, there were three types of le Bac -- ES (Economics/Social Science) L (Literature), and S (Science). Naturally, only the S form of the test required any Calculus. Now, it appears, there is a common form of le Bac, but students can elect to take any additional subjects. If I'm reading it correctly, Calculus only appears in the specialties, not the common test. Thus unlike Abitur, le Bac is passable without any Calculus.
I know -- I've migrated far from the original topic of Harry Potter's birthday. But note that in Rowling's world there are three magical schools -- Hogwarts (Britain), Beauxbatons (France), and Durmstrang (Germany) -- and I mentioned all three nations in this post.
Peterik Chapter 11 From Country to Rock and Everything in Between: The Genres
Chapter 11 of Jim Peterik's Songwriting for Dummies is called "From Country to Rock and Everything in Between: The Genres." It's the first chapter of Part IV, "Writing Songs in Different Styles." Here's how it begins:
"As a songwriter, you're presented with a broad menu of styles of genres from which to choose. Many songwriters settle on two or three musical directions that they want to specialize in -- usually mirroring their personal taste in music and drawing from their background and influences."
Yes, we already know that there are many different types, or genres, of music. In this book:
"We explain how to tailor your lyrics, melodies, and chord progressions to fit each genre. The various musical genres we take a look at, include the following:"
And I'll just list the genres here -- singer/songwriter, rock 'n' roll, pop, country, R&B/urban/hip-hop/rap, Gospel/Christian, and blues/folk. Peterik begins with singer/songwriter -- creating your own style:
"It may be a point of view, a complete diversity of musical styles, or the unique way you look at life. Whatever it is, you define this genre -- not the other way around."
The author proceeds with rock 'n' roll -- playing it cool:
"If this is your style of interest, take a look at the following subcategories of rock, and see where you might fit on the continuum, and how you can tailor your own writing to correspond. As Chapter 4 mentions, the musical riff (often played on guitar) is a component in the rock genre."
One type of rock is old-fashioned rock 'n' roll, which began in the 1950's. Another subgenre of rock is adult contemporary -- for example, Five for Fighting:
"Actually the creation of one man, John Ondrasek (the name was derived from the five-minute penalty for fighting in a hockey game), this music with its textures of acoustic 12-string guitar, upright bass, viola, B3 orgran, and other pleasing sounds that certain unusual or unexpected instruments make goes easy on the ears and tough on the soul."
Now we move from soft rock to hard rock. This includes:
- Heavy metal: For example, Megadeth, Metallica, Static X, Stereomud, and Ozzy Osbourne. This subgenre is defined by overdriven and distorted electric guitars generally playing a minor key, and an often classically inspired riff underneath manic, shouted vocals.
- Alternative rock: For example, Nirvana, Soundgarden, Mudhoney, Pearl Jam, Nine Inch Nails, REM, Stone Temple Pilots, and Smashing Pumpkins. Sometimes referred to by the media as Grunge (referring to both the grungy distortion present in the guitars and to the often negative themes of songs), this genre has been around for over 15 years [or 35 years, since Peterik wrote this book 20 years ago] and shows no signs of losing steam.
- Punk rock: For example, The Clash, X, Sex Pistols, Black Flag, Fear, The Ramones, and Green Day. This subgenre is all about alienation from society, and music with all its rough edges left in. Punk songs usually contain anywhere from 1 to 3 chords and are arranged in a stripped down fashion. Tempos tend to be exceptionally fast. Vocals are generally sung at the edge of hoarseness.
- Modern rock: For example, System of a Down, Staind, Nickelback, Puddle of Mudd, or Linkin Park. This category is a modern blend of decades and genres combining the slick production values (big guitars) and song craft (big choruses) of the '80s, with the attitude and anger of the new millennium. Modern rock also samples from other genres such as rap, metal, and hip-hop.
The author proceeds with pop -- checking into the limelight. This includes contemporary pop:
"Usually represented by artists strong in the visual and performing arts (and not necessarily strong in the songwriting craft), it's an industry constantly searching for great songs to extend the careers of its stars."
Now we move from contemporary pop to dance pop. This includes:
"Dance pop and boy/girl band is one genre often controlled song-wise by the producer himself. It's difficult (though not impossible) to have an outside song considered one of these acts because their producer (who is usually a songwriter as well) will come into the project with songs in hand."
And here Peterik quotes Kurt Howell, Nashville writer/producer and member of Southern Pacific, who discusses how he convers songs from other genres:
"I then take it and add current sounds, affect, and rhythm patterns to make sure it keeps up with what is currently on the radio. A great song is a great song -- it's mainly the arrangement that changes from genre to genre."
The author proceeds with country -- singing it plain and simple:
"This broad and popular genre prides itself in being the heartbeat of the working class. Its common messages and plain language ("Write it like you talk it" is a popular saying among country songwriters) have been the benchmark of a form that started in the rural south and spread like a wildfire to all points North, East, and West."
We begin with traditional country -- for example, artists like Alan Jackson:
"In 2002, he won three Academy of Country Music awards, including: Top Male Vocalist of the year, and his song "Where Were You (When the World Stopped Turning)" won Song of the Year and Single of the Year. There are two types of traditional country."
And these types are country and western, and bluegrass. Now we move to pop country or new country:
"The hit song 'Amazed' (written by Marv Green, Chris Lindsey, and Aimee Mayo; performed by Lonestar) that crossed over into the pop charts actually uses three separate keys: one for the verse, one for the pre-chorus, and another for the chorus. The fact is that there is little difference between the structure of many pop country ballads and those sung by 'boy-band' groups such as the Backstreet Boys and 'N Sync."
And again, songs can straddle the genres:
"'I Swear' (written by Gary Baker and Frank Myers) was not only an R&B hit for All-4-One but a country hit for John Michael Montgomery as well."
Speaking of which, Peterik moves on to R&B, urban, hip-hop, and rap -- getting your grove on:
"All of these genres are united by one word: soul. This is music that touches the heart at the gut level, reaches inside of you, and twists."
We already alluded to R&B earlier, so let's proceed with urban:
"The kick drum (bass drum) samples used in the rhythm beds are big and bassy -- think of the low-end sound that threatens to shake your muffler loose when that certain car pulls up next to you at the stoplight."
Next up are hip hop and rap:
"OutKast's thought-provoking lyrics, clever phrasings, and incredible fashion statements have vaulted them to the forefront of the hip-hop scene. Rap music has been criticized has a boastful promotion of violence and negative attitudes towards women, while others admire it as an imaginative manipulation of cultural idioms and credit many rappers with a heightened social and political awareness."
The author now discusses the newer Christian singers -- going up to a higher level:
"Joining the more traditional Christian acts like Steven Curtis Chapman, Michael W. Smith, and Bill and Gloria Gaither on the contemporary Christian charts, this new breed of artist is helping to spread 'The Word' to a broad marketplace. It's not always necessary to use the words Jesus or Christ in every song in order for it to be Christian."
Peterik's next example is the closely related gospel genre:
"Take a look at the lyrics of the following song, and imagine being in a crowd of people filled with the spirit."
I won't post those here -- the song is "From the Depths of My Heart" by Ben and Sonya Isaacs. Instead, we'll move on to the author's last genre: blues and folk:
"Blues pioneers like Robert Johnson, Blind Lemon Jefferson, and Memphis Minnie inspired Howlin' Wolf, Muddy Waters, Big Mama Thornton (who wrote and performed the original version of the Presley smash, 'Hound Dog'), and T-Bone Walker, who lit the path for later blues greats like B.B. (blues boy) King, Buddy Guy, Albert King, Freddie King, Etta James, and Elmore James.
And again, I know this book was written 20 years ago, so Peterik's mention of Big Mama Thornton here has nothing to do with the Elvis movie that came out this month, in which Thornton appears.
This takes us to the next "Practice Makes Perfect" section.
The Genres in My Math Class
Many of the songs from Square One TV already fit into the genres. For example, "Nine Nine Nine" and "Round It Off" are of the country genre -- and of course, "Count the Ways" was performed by the Judds, a country duo. "The Rappin' Judge" states right in its title that it's a rap -- and of course, The Fat Boys perform three songs, all of which count as '80s rap -- "One Billion Is Big," "Burger Pattern," and "Working Backward." Meanwhile, "Graph of Love," though written in the '80s, is in a '50s rock style. In other words, I'm already playing multiple genres in class just by performing Square One TV songs.
What genres should I perform more of in my classes? Well, with a Hispanic majority in many of my classes, perhaps I should lean more towards the Latin genre. Back at the old charter school, one guy in my seventh grade class (the only class I had that year with a Hispanic majority) was opening that I'd start my song counting uno, dos, tres, cuatro. I never did open any song that way, but perhaps I would have done so had I made it to Cinco de Mayo and performed the lone Square One TV song from the Latin genre -- "Sign of the Times."
Of course, I should be careful when adding Latin embellishments to my songs, even if the students are asking for it. It might be considered appropriation for someone with the last name "Walker" to start singing Mexican or other Latin-themed music. Certainly, I should wait some time before performing any song with some lines in Spanish -- deep into the year rather than during the Willis unit.
Another genre that some students have requested is rap. In addition to the Fat Boys songs from earlier, some songs that I've written sound better as raps, such as "The Packet Rap" and "Linear or Not?"
Indeed, since rap and hip-hop are often not melodic, it might be easier to compose such songs on the fly, when the focus needs to be on the lyrics and rhythm. Indeed, when it's time to compose with some of the trickier EDL's (such as 14EDL and 16EDL) in the second semester, I could compose just the chorus in that EDL and then rap for the rest of the performance.
Of course, any parody that I perform inherits its genre from the original version of the song. Thus my "No Scrubs" parody would be considered R&B, just like the original TLC version (although TLC could also be classified as a "girl group").
Once again, I'm focusing on songs that I won't perform until late in the year. After the opening Square One TV songs, I will most likely stick to simple tunes for the earliest 10EDL and 12EDL songs. That means the genre for those early songs will be "singer/songwriter" -- that is, the songs are my own style.
Conclusion
I know that the Track and Field World Championships ended last weekend. The reason I'm still writing about them now is because of an article I read during the week -- one which revealed that the ratings for Worlds were disappointing, to say the least.
Track was never among the most popular sports in this country. But if you could choose any week on the sports calendar to introduce a new sport to Americans, you couldn't do much worse than the week that Worlds were held. It was the week of MLB's All-Star break -- the deadest week in sports. The day before and after the All-Star Game are "sports solstices" in which no major sport is contested. The week of the All-Star Game also falls right after NBA free agency has mostly died down, while it's just before NFL training camps open.
And yet, according to this article, that wasn't enough to boost the TV ratings for Worlds. Both the Home Run Derby and the All-Star Game itself had their lowest ratings ever -- but that was still more than the track meet. And the fact that the home team did well -- the men sweeping the sprints races, and the women setting records in the hurdles -- wasn't enough to move the needle.
Unfortunately, Track is a sport that is only noticed during the Olympics. (Indeed, the current college realignment debate makes a sharp distinction between the "revenue sports" -- mainly football and basketball -- and the "Olympic" sports like Track.) That wouldn't be terrible, except that there's a current anti-Olympics movement. Every location of the Games draws protesters, and many believe that the Games cost too much money and should be abolished.
If the protesters were to get their wish -- no Paris in 2024, no LA in 2028, no Brisbane in 2032 -- then Track would technically still survive, as there would still be a World Championships. But, except for the families of the athletes or Track diehards like me, no one would watch them.
Another sport, Swimming, is an Olympic sport that's currently having its National Championships, held right here in Southern California. It's another sport that might struggle if the Olympics were abolished.
This is why I care so much about the Games -- it's a lifeline for those of us who participate in some of the less popular sports. This is why I hope that the Olympics will endure.
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