Michael Horn compares interdependent and modular system designs using IBM mainframes versus Android phones, then plays Bach's Fugue No. 2 to show tight coordination and Freddie Hubbard's "Little Sunflower" to show how a clear framework enables improvisation. Neither wins; it depends on whether you want maximum performance or maximum flexibility.
One of the big questions that I often get is this, Is it better to be vertically integrated? That is, you control everything you do, you make all the parts. You have a proprietary architecture, or is it better to be modular? That is horizontally integrated? You're just one step or part that fits neatly into a whole that others also contribute to in clearly defined, predictable ways. And basically what we've learned is that, contrary to what Apple or anyone else might tell you, the answer is it depends. The theory of interdependence and modularity says that when you're trying to improve the raw performance or functionality of a product, a system, a service composition, you need an interdependent architecture. And the reason is you can't specify in advance how one part works and functions in the way another part works and functions, because they're interdependent with each other. If you make changes in one, it changes the other, and vice versa. And so when you're trying to wring out every last ounce of performance from something, you need to wrap your hands around everything and really embrace this interdependent architecture. IBM mainframes are a classic example, highly interdependent product. IBM did everything they built the logic circuitry, the operating system, the memory, they manufactured it, they did the sales, everything. But frankly, most Apple products are very interdependent as well. And we can make this idea of interdependence come alive in music as well, because it's a confusing concept. And I thought if we did something very outside of the bounds of how we normally think about it, it might come alive a little bit more for folks. And I'm going to do it by demonstrating something by Bach. It's his fugue number two in C minor, and it's a great example of an interdependent architecture. And by having it, he really optimizes the overall raw functionality of the composition. I'm going to illustrate it here on this keyboard, and I'll apologize in advance. It's not a weighted keyboard. It's not going to be a beautiful grand piano sound. It's clunky here and there, but I think you'll get the idea. And essentially what Bach has done in this fugue is that he's going to have three subjects come in. You can almost think of them like melodies. And then there's going to be counter subjects that respond to it with movement and opposition. And he specifies, in essence, by writing down music everything in advance to create this incredibly rich composition together. And it starts with this first subject, which is the alto part which you'll hear here. And I'll just play it. It's very elegant and simple. We'll use a Steinway grand piano sound so you can get the ide. Elegant, simple. And then the soprano in the right hand is going to play that subject as well, the second subject in the very next set of measures. And it goes like this. Okay. And while it's doing that, we're going to have the left hand introduce the counter subject that's going to move in opposition. And it's at this point, it's still in that alto range, but I'll let you hear what it sounds like and then we'll put them together. Okay, let's put it together with the right hand so you can start to get a sense for how they're interweaving and responding and moving in opposition to each other to understand that interdependence. So you can see how the counter subject, it's literally moving in opposition in many ways to that subject. And it's starting to create this real richness. And just a bit later, then we're going to get a third subject that's going to be in the bass part in the left hand again, it's that repeat of the melody, if you will. And then the right hand, of course, will be doing its own counter subject at that time. And you're going to start to get a really cool exposition as these three parts start to play with each other in intricate interdependent ways that optimize the overall composition. Rather than play each of the parts, I'm just going to play the whole together, just a little bit of it, so you can start to see the beauty of that interdependence. You get the idea. Okay. Now, on the other hand, sometimes we're not worried about the raw performance or functionality of something. What we really, in those instances, want is speed and customization, personalization, and really the ability to improvise within all the different components. And there you need a modular architecture where the ways that these different parts come together, the interfaces are specified in advance in very tight ways. In other words, how they fit together, very predictable ahead of time, no surprises, but a lot of freedom within the different parts themselves on the other side of the interfaces to really freelance and customize and make sure that you can meet different demands and so forth. And so there's no right or wrong way to be on these different spectrums. Interdependence versus modularity. When we're talking about modularity, you know, instead of an IBM mainframe We're thinking about a Dell personal computer instead of an Apple iPhone. We're thinking about an Android phone. Much more modular architectures that allow for customization. Now, of course, we can illustrate this again through music. And in this case, you probably know where I'm going, but jazz, the ultimate in customization through improv. And I'm going to use a specific type of jazz composition to really show the modularity. I picked out a piece here called Little Sunflower. It's written by the great trumpeter Freddy Hubard. And it's what we call a modal piece. Almost sounds like modular in the key of D minor Dorian. And basically what that allows me to know is that in the bulk of the music, when we're in D minor, I can play any note in that D minor Dorian scale as I'm improvising and the note going to work. There's a clean interface which gives me a lot of freedom to improvise with melodies in the scale itself and have some fun. Now, when I go into the bridge, there's going to be a D major for four bars and an E flat Lydian first for four bars and then those will repeat. So, you know, I'll work through those. But just to give you a sense for how Hubbard really creates these modular interfaces, I pre recorded a simple bass line on the D minor Dorian, just so you can get a sense of the. The texture of that, what we're going to lay down over which we can improvise and what it sounds like. So let's go ahead and mute these drums and we'll play this bass line. You get the idea? Very straightforward, simple. And then we're going to just add some drums on top of that. It would really be a Latin medium, Latin sort of groove if you were playing it. But just for the sake of this, I just chose a simple rock beat just so you can get the idea of how these two parts come together. I put this together ahead of time. This is what it sounds like. You get the idea. And then the melody is going to go on top of that and we'll. We'll choose a basic classic electric piano. And I'll do a little vamping in the left hand. Because the interface is clear. I know I can play different variations of D minor chords. And the right hand melody, it's going to sound very simple. It's just. I'll play it in fourths just to give it a little bit more texture. Again, I can do that with a melody because it's a modular interface. I know as long as I stay within the D minor, Dorian, no problem. Gives me a lot of room for improvisation. And what I'll do is I'll play the basic melody with the drums and bass behind it, and then I'm just going to start improvising earlier than you normally would. Just to give you a sense of how this modular architecture allows you to really customize, improvise in the different parts themselves and create a very cool piece, very different from Bach and that interdependence, but awesome in its own way as well, and far more customizable. So let's lay those first eight bars down, and then. And then I'll start to improvise. Sa.
