Although the “Mother of all Funk Chords” video hits way closer to home in content, I’m going to feature this one because I CAN’T STOP LOVING the groove.

This is truly some virtuosic film and audio editing, but it starts from a fantastic idea. As far as I can tell, the constituent videos’ authors have made their initial recordings with no intention of having them used thusly; we can thank the producer for bringing them together. 

The two things that strike me most about this:

How effective the production is even though it is for the most part recorded through terrible on computer microphones. It’s safe to assume Kutiman has done some serious crunching and EQing, but even so… as much of an audiophile as I am I have to admit not being to bothered by the poor quality of some of the samples. It even gives it a somewhat rugged authenticity.

and:

What this type of thing means for collaborative production. Everybody remembers the Postal Service, but soon and very soon distance will simply NOT be a barrier anymore, in any way. I imagine this will result in a lot more and a lot better music and art in general, or at least I would hope this to be the case. It will be an enlightening time for those who choose to utilize it.

For real, I made a boat mixlist made up of only that track. Andy Samburg, you tickle me.

~How would you write out parts for someone who doesn’t read music?

~How do you teach an Alto2 if they don’t understand how quarter notes work?

~How do you put together an a cappella arrangement without writing down any notes?

Ponder that while I’m on a boat.

Not as easy as A and B

While it’s well and good to know what your group is about, who your target audience is, where you want to take the group, and if your 2nd soprano is single, that doesn’t actually pick your songs. This article is geared towards the practicality of picking songs, and several methods with their pros and cons. Naturally, you can adapt these archetypes to suit the ensemble; you’re the one making the sauce.

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Turns out that the world-famous 1985 hit, Take On Me, was a remixed rerelease of a version made in 1984 — and it only took off after a studio dropped the money to make the classic video.  Listen closely for the Bowser’s Castle music in the breakdown section.

This fellow is halfway between Screech from Saved By The Bell and every friend I’ve ever had.  Combined.  Also, the head bob at 0:14 is fantastic.  The consonants “f” and “ck” are both unvoiced, so a beep in the middle sounds fantastically realistic.  Very smart.  I love keytars.