I really have been meaning to update this blog on a regular basis. Oh well.
I’ve been putting a lot of time and effort into trying to throw up videos on YouTube more frequently. I have a bunch of guitar instructional content in the pipeline. In the meantime, here are my most recent videos. cheers!
This blog post marks a unique occasion. During grad school I wrote two unpublished white papers detailing a number of intricate design systems that I use to generate chord progressions and melodies for formal composition work. The systems outlined in these papers represent ideas that I came across as early as 1984, and continue to make use of in my current composition and analytical work along with new and revised systems that I have not yet committed to paper.
In particular, the second of these two papers (completed in 2006) shows the origins of a process I call “serial encryption.” Serial encryption is a revolutionary discovery. I do not view it so much as an invention of my own, but rather as a point of contact with the natural world that was waiting to be found.
Music theory hit a wall of sorts in the early part of the 20th century. Schoenberg’s exposition of serialism has been perceived for nearly a century as a kind of outer mathematical limit for organizational principles of pitch choice. The possibilities of 12-tone serialism were exhausted very quickly by Berg, Webern, and other compositional descendants of Schoenberg. Xenakis, Messiaen, Stockhausen, Cage, Reich et al made use of stochastic procedures and non-serial determinate systems with greater prevalence than serialism. In the digital age many composers have turned to random number generators as the utilitarian alternative to serialism.
In the later part of the 20th century, compositional techniques based on derivatives of serialism opened up in a sort of lateral evolution. Joseph Straus has very thoroughly documented the serial explorations of 20th century composers in his 2009 book “Twelve-tone Music in America (Cambridge University Press, 2009).” In particular, this quote by Straus is illuminating:
“Instead of a rigid orthodoxy one finds in American twelve-tone serial music a flexible, loosely knit cultural practice. Composers within this culture share certain tastes and proclivities, and these in turn establish the vague and permeable boundaries of the culture.” (Preface, pp. xx-xxi)
This quote, to me, summarizes the heart of the issue, which is that composers and music theorists at this time in the earliest days of the 21st century have to some extent accepted serialism as a boundary beyond which there are no further real pitch organization discoveries to be made in the same realm of inquiry.
This is not the case. I humbly submit that the next great field of exploration for principles of pitch organization, the natural successor to serialism, is encryption. Specifically, what I have discovered in my own work is that a twelve-tone row may be transformed and permutated by passing it through a modified Vigenere cipher matrix such that a seemingly endless stream of harmonies mathematically related to the original row may be generated without exhausting the repetitive nature of the row structure itself.
There are [12!] (479,001,600) twelve-tone rows. By introducing a simple Vigenere cipher to the process, I submit that there are [(12!)!] possible combinations of all twelve tone rows, and it is the *combinations* that yield endless new and fascinating, non-repeating harmonic progressions, all interrelated to one another. [(12!)!] is a simply staggering number of possible combinations. It is a number estimated to be larger than [2x(10^3,000,000,000)] (go here and enter 479,001,600, then click submit):
Who would not want to explore a pitch space that large?
Furthermore, I am not a cryptographer. The Vigenere cipher is hardly state-of-the-art encryption, having been documented as early as 1553. Imagine what composers and music theorists could discover about new determinate pitch organization outcomes if partnered with actual cryptanalysts, working with the most state-of-the-art algorithms available in the field.
(Which raises an interesting aside, by the way: calling all mathematicians and cryptanalysts interested in music, please email me: <firstname.lastname@example.org> I am simply dying to codesign additional algorithms to explore new cryptographic methods of generating harmonic progressions.)
And finally, who can say what applications the interface of music and cryptography may have beyond music theory and composition? I have no way of saying, but the possibilities are surely substantial.
To conclude: the basic foundations of serial encryption are laid out in the second of my two white papers: “Techniques for Algorithmic Composition, part II.” There are some very interesting ideas in the first paper as well, but part II represents the core of my life’s work as a theorist and an algorithmic composer.
I am in the midst of writing a new paper on the subject showing my revision and automation of the procedure using an elaborate Excel spreadsheet (special thanks to my uncle Tom Jones for the suggestion to make use of Excel). For prospective universities who may be interested in employing me in any capacity, I would be glad to discuss releasing new writings and composition work in this field under your imprint.
The links to both papers are as follows:
I owe my very good friend Tiffany Plunkett and my father Dennis Shere for their very well-reasoned and compelling arguments to release these papers (and my father in particular for his endless patience, having made this argument to me with tireless persistence for over a decade to date).
I owe the community of Music Center of the Northwest (https://www.musiccenternw.org/) more than I can say for their endless support of, and enthusiasm for, my jazz theory classes. I owe executive director Chas Arnold, assistant director Kendal Keyes, Michael Alstad, and Kevin Fox for their friendship and administrative partnership.
And finally, I owe my graduate school mentors Jeremy Haladyna and Curtis Roads an endless debt of gratitude for showing me how to approach precompositional algorithms with scientific rigor.
Thanks for reading!
-David Matthew Shere, Ph.D.
Dec. 31, 2018
Two of my all-time favorite songs are “Sunny Came Home” by Shawn Colvin, and “Feels Like Rain” by John Hiatt. Had an opportunity sitting in my studio after a lesson to video both. Here they are! Enjoy.
I should really start updating this blog on a semi-regular basis. Anyhow here’s my latest YouTube video. Enjoy!
Just uploaded a whole bunch of new acoustic covers to YouTube, here’s a link to the playlist. Enjoy! 🙂
Here’s another video I threw together recently noodling through blues chord progressions. Cheers!
Hi all! Sorry it’s been so long since my last blog update. I will try get on some sort of schedule and post more consistently in the future.
Here’s a video I threw together this past weekend for a buddy on Guitarwar.com. Hope you find it helpful!
Last night I had the privilege of playing with my recently formed jazz group, Z Trio, at a benefit concert for a wonderful local organization, a cat shelter named Purrfect Pals. They’re a fantastic group of people; the kitties they’re rescuing are just heartbreaking and adorable, and Purrfect Pals is really worth supporting. Here’s their website:
And here’s a playlist of some of our music from the event:
David Shere, guitar
Greg Domingo, bass
Charles McNary, percussion
If you’re looking for a good jazz guitar trio to complete your event, Z Trio would love to play for you! You can contact me at email@example.com if you’re interested.
Cheers as always,