Learning Piano in the Metaverse

Last month I presented a seminar at The Music and Drama Education Expo in London with Ben Sellers and Sophie Amstell.

The seminar:

Background: Last year, I took part in some research conducted by The Royal College Of Music in collaboration with music hubs around the UK. The research focused on the effects of using augmented reality in piano tuition. At the Expo, we discussed our findings and presented the technology:

The response at the expo was very engaging. We presented to a room consisting of mostly piano tutors with many asking some really important questions. The topics discussed were around the existential (is a tutor needed?), learning trajectory (progress and sensory/memory learning) and the infamous obstacle for every musician: sightreading.

From taking part in the research as a tutor, my main takeaway is that the technology can provide great benefits and inspiration for absolute beginner pianists with or without a tutor. The visuals are incredible, the user has the option to place themselves in a virtual concert hall on a grand piano. The cascade of colours on the grid seem inspired by the much loved guitar hero franchise. There is also a useful gamification aspect too; the user can connect the headset to their keyboard via usb, allowing the app to track the correct notes you hit, giving you a total score at the end.

That said, as a pianist progresses to more challenging pieces, the addition of a piano tutor using more formal methods is paramount. Aspects such as technique and dynamics aren't currently covered by the technology, and can only really be guided by a tutor. However, that's not to say in years to come the technology can't provide this aspect of piano tuition.

Watch this space!

AI & Music

I attended the AI & Music Global Creators Summit hosted by Ivors Academy last week. With speakers ranging from composers, musicians, lawyers, software developers and politicians, we were given a thoroughly comprehensive day of discussions all things AI & Music.

I attended the AI & Music Global Creators Summit hosted by Ivors Academy last week. With speakers ranging from composers, musicians, lawyers, software developers and politicians, we were given a thoroughly comprehensive day of discussions all things AI & Music.

I also attended a demo hosted by DAACI - an AI powered music production and composition software company.

I met some of the DAACI team at another Ivors event in the summer. I later agreed to speak and consult with a member of their team about what I would like to use AI for in my own work. All of my feedback was generally about labour intensive tasks which rarely inspire me creatively (gain staging, automation, track naming etc). I'm not tech savvy enough to write codes and macros to make this task easier....couldn't AI just do that for me?

DAACI demo'd part of their music composition software, which was really impressive. We started by listening to a song in it's original form and then transformed into other genres and keys. I was impressed but not surprised by the software. Having slightly kept my ear to the ground this year about AI and music I'm gladly passed the state of shock.

It's easy for all of us to feel concerned, pessimistic or indeed nihilistic about the impact AI is having on humanity. There are definitely areas of concern which we could discuss until the AI cows come home to destroy us, but ultimately it's best to view this topic (as always) with nuance.

I personally think the way in which we engage with music on a human level is often overlooked. I believe it's one of the single most important reasons we all engage with music. From Taylor Swift, Ed Sheeran to Hans Zimmer - all of whom go on world tours to perform their music, the power of human connection through music is indisputable. We want to know the artist behind and beyond the music.

That said, there are undoubtedly areas of music which may feel a negative impact from AI. My personal opinion, is any music that is written for a purpose whereby the consumer isn't engaged or concerned about the human artist behind the work (library music, playlist music etc) will eventually be competing with machines. Where this leaves that part of the music making landscape, time will tell.

My advice to any composer, musician, artist - focus on the human element to your music making. Keep studying, keep improving and keep trying to expand out of the box (metaphor for computer or indeed the better known "box" of limitations).

Seagull

Two Cooks Productions are back at it again with another fantastic short film - Seagull.

As a big fan of the infamous Bond and Mission Impossible franchises, I couldn't wait for the opportunity to score this spy action film.

Director Anthony Ross wanted the score to pay homage to the classic spy movie soundtracks we all know and love, whilst also blending in something original.

Running at exactly 5mins, a lot happens in this film which gave me a lot to work with as the composer. I wanted to write a clear theme that gets recycled in different scenarios, each time with a different angle (time signatures, key changes etc) that ultimately leads to the complete theme in the closing moments. I particularly enjoyed scoring the phone call scene with Mother, a solo drum improv (nod to António Sanchez's brilliant score for Birdman).

The Wild Haggis

During lockdown in 2021, an old school friend of mine named Max Rawicz got in touch with me through instagram. We kept in touch loosely over the years, I was aware of the fact that he now worked as a cameraman out in Australia. Him and his friend (business partner) Anthony Ross (together Two Cooks Creative) were looking for a composer for a short film they were looking to make:

THE WILD HAGGIS - A Scottish woodsman is driven mad in his hunt for the wee beastie that attacked him one night in the Highlands.

After reading the script and talking to Anthony and Max I knew instantly that I wanted to be a part of this project. I felt very lucky to have the opportunity to work with these guys on such an ambitious film with an incredibly original subject.

Anthony's knowledge of music and indeed film music is second to none which made the collaboration even smoother for me as the composer. We looked to best to get some inspiration - Bernard Hermann, Wagner, Howard Shore, Prokoviev, James Horner etc.

The film is almost entirely narration with much of the story showing scenes from the protagonist's past. During the spotting session (when the composer goes through the film to sketch out where music is needed) I quickly realised that most of the film would need music. Over approximately 4 weeks between March and April 2022 I scored the entire film. As the film is a period piece, I wanted to draw inspiration from the classic composers by using big main themes, leit motifs, rich harmony and rhythm, large orchestration and so on.

After doing the rounds at multiple film festivals worldwide, the entire film is now available to watch on youtube. I hope you enjoy!