Have you heard some of the songs on the Billboard Hot 100 this year?
Someone You Loved, Sunflower, Panini, and Senorita just to name a few.
They’re auto-tuned, generic, and cropped to fit the 3 minute attention spans of their Generation-Z listeners.
Don’t get me wrong, I’m not hating on modern music. There’s a lot of songs on the Billboard Hot 100 that are innovative in their respective genres. Take the Billy Ray Cyrus remix of Lil Nas X’s Old Town Road for example. It’s a refreshing combination of country and hip-hop — or country rap so to speak. Lil Nas X lays down a refrain that’s equal parts edgy and easygoing before Billy Ray Cyrus interjects with a rap that can only be described as red-hot and smoldering. Yeah, there are imperfections — some of the lyrics sound like they could’ve been written by a sixth grader — but the song itself is a groundbreaking experiment involving two undoubtedly American musical genres.
While the Hot 100 does give a glimpse into the latest musical innovations, it’s almost exclusively pop music. There are entire genres and sub-genres that the vast majority of American listeners will never experience: Brasshouse, New Orleans-style collective improvisation, or Shakuhachi jazz.
In a society dominated by popular culture, it’s difficult to place these intriguing genres within the context of modern music. Why listen to traditional Japanese flute music when the pulsating beats of the Jonas Brothers’ latest hit can turn any car ride or road trip into a mini-rave?
One reason: exposure. There’s no better way to immerse yourself in another culture than by listening to their music. Trips abroad, language courses, even exotic cuisine can put a serious dent in your wallet, but listening to music is free. Whether it’s Spotify, Apple Music, or Youtube, there’s an infinite number of road trips you can take without even having to leave the couch. These cyber-highways make music a window into a culture, a portal into a society’s rich history and development.
I wouldn’t entirely consider myself a musical ambassador, responsible for spreading the epic gospel of lesser known music, but I do enjoy touring these foreign art forms, usually by falling down a Youtube rabbit-hole. It only takes a few clicks before I’m led to the wonderful corners of the internet, featuring attractions such as “oscilloscope music”, which involves synthesizing music that displays images when interpreted by an oscilloscope. It’s probably easier to understand if your just watch the video:
But sometimes, listening doesn’t cut it. You need something more tangible. Therefore, I think the most entertaining form of musical exploration is to try playing it yourself. My main instrument is the alto saxophone. It’s pretty versatile, and lets me play both the smoothest jazz tunes and ultra-technical classical etudes, but it’s a very western instrument. To broaden my abilities as a wind player, I’ve experimented with traditional Chinese instruments such as the Hulusi.
The Hulusi holds a special place in my heart not only because it was a gift from my grandfather, but also because it’s a way to connect with my heritage, a culture that goes back thousands of years. The Hulusi produces an enchanting sound, one that encapsulates the image of a farmer taking his water buffalo to the creek at dawn, dew still glistening on the grass and weeds. Though some people say it sounds electronic, I think this ambiguity only adds to the immersive nature of listening to and playing different forms of music. But I’ll let you decide for yourself:
My curiosity for uncovering these musical niches is what has drawn me to take band all four years of high school. During this time, I’ve played everything from Australian military marches to Korean folk melodies. Outside of curricular band, I’ve performed popular hits ranging from Elvis to Bon Jovi with the Show Choir Combo, and almost every decade of Jazz since the 1920s with the Jazz Ensemble. After all this, I think my relative exposure to the wide world of music has only left me craving more.
Our latest repertoire in concert band consists of two pieces: Star Wars Saga, and Danzon no. 2. Star Wars Saga is a medley of music from the Star Wars movies that retains much of its original scoring, except transcribed for concert band. It’s essentially what you’d hear when you watch the movies, not the watered down versions middle school bands play at concerts to please the parents who reluctantly signed their kids up to play the trumpet.
The second song, Danzon no. 2, is a major tour de force. Composed by Arturo Márquez in 1994, the song is intended to reflect a Mexican and Cuban style of dance that has ingrained itself into regional folklore (Classical FM).
Just like Old Town Road, Danzon no. 2 is another musical synthesis — Afro-Caribbean rhythms mixed with western harmonies. It features both legato, lyrical phrases and pounding, percussive excerpts. But unlike Old Town Road, Danzon no. 2 is a 10 minute long piece. Despite being over 3 times as long, I would argue Danzon no. 2 is a far more exciting piece of music. Just listen to these runs: (listen about 30 seconds)
What makes Danzon no. 2 so special is Marquez’s manipulation of rhythmic organization and genre altogether within the span of several measures. Take this transition for example: (listen through violin solo)
We hear the winds playing syncopated rhythms layered over traditional Latin percussion while the strings break into irregular meters for several measures before the ensemble reconvenes and the piano jumps into this groovy montuno straight from the smoky depths of a midnight jazz club.
My appreciation for Danzon no. 2 is the culmination of all facets of musical enjoyment. Not only is it a blast to listen to — it’s a blast to play as well. To adequately perform Danzon no. 2, I’ve had to learn to play the soprano saxophone, the younger brother of my alto. Although they’re very much siblings, the soprano is a completely different animal. It sounds like the lovechild of a clarinet and a trumpet, and that’s exactly why I love it. The soprano is featured in the wind ensemble version Danzon no. 2 to replace the violin solo in the excerpt above. It’s an extremely expressive instrument, and I think it does the job perfectly:
https://youtu.be/9xA39ZzSgMU
Just like my Hulusi, the unique sound of the soprano saxophone has allowed me to venture into the undiscovered realms of performance music. It has unlocked countless new opportunities in the classical and jazz genres alike.
I know it sounds a little pretentious to say that my new favorite song is a piece of orchestral music, but I love Danzon no. 2 not only for how it sounds, but also for what it stands for: a contemporary work with a latin twist, and a testament to the truly infinite combinations of musical genres.
So I urge you — hit pause on that “Happy Hits!” playlist on Spotify you’ve heard a hundred times already. Try a little something new. Click on something that draws your eye and see where it takes you. Or better yet, take those Airpods out of your ears and make some music with your own hands.
The best road trips are those that go unplanned, just as the best songs are those you never expected to find.
Works Cited:
“Marquez – Danzon No. 2.” ClassicFM. Classic FM, 2019. Web. 8 Nov. 2019.
As someone who is playing Danzon No. 2 along with you in band, I have to agree with your assessment of the piece. Lots of times, when I have rests in the music, I’m barely counting–I prefer to listen. The Latin twist adds another layer to a technical, complex piece of music.
I have to disagree with some of your characterizations of current top hits, however. I’m a fan of what people might call “basic” pop music (I mean, it’s popular for a reason, right?), but also love to fill my playlists with slightly “older” pop songs (like “Counting Stars” and “I Write Sins, Not Tragedies”) from when we were a bit younger. I find it gives me a nostalgia factor, and along with it, an appreciation for some decent music as well.
All in all, I think musical taste is a deeply personal decision, but wherever you fall on the spectrum, you should still give Danzon a listen.
Hey Neil! I really enjoyed this blog about music! Just like you, I am also in band. I know, surprise! I really loved what you had to say about Danzon no 2. I believe other people in our band will back me up when I say this: Danzon is truly the classiest piece we have ever played. This comes the amount of flavor that is in the piece. The piece combines transitions of slow and fast music that makes you feel like you’re dancing in up in a ballroom (at least for me). It features the musicality of practically every single instrument in band. More-so, it does this through the multiple solos of different instruments. This piece allows us to develop our skills as a musician. It doesn’t matter whether or not you are playing a solo because when you play, you have to play like you are a soloist–putting dynamics and expressions in to really get the tastefulness of the piece.
Neil, I love your blog:) I think that playing Danzón has really brought our band together over a shared love of the melodic content and its complimentary rhythmic counter-parts. Normally, many of us are often divided over if we like the piece we are playing. The trumpets may groan upon rehearsing a piece, while the clarinets may love it. I think it is extremely interesting that we have such a collective love over the piece, especially one from another culture. You would think that most of us would have liked star wars better for the familiar melodies, but we have all bonded so much over Danzón. Thanks for the insight:)