‘But I don't know anything about DJ-ing!’ is a frequent cry from music teachers upon noticing that DJ-ing is a possible option for GCSE performance. It seems like a great plan for widening the appeal of Key Stage 4 music courses and increasing uptake, but teachers often feel as though they don't know where to start.
Fear not – help is at hand. Future DJs, the organisation set up by this book's authors, has been providing DJ tutoring in schools across the UK since 2016, helping open up the possibilities for using DJ-ing in GCSE performance and bringing it further into the mainstream. With the publication of this book, there is now a truly excellent reference text that can be used by teachers and students alike.
How to DJ is beautifully laid out with plenty of helpful diagrams. It is also extremely thorough, covering every aspect of the art of DJ-ing. What I like most, though, is the emphasis it puts on the core values of a Future DJ: versatility, knowledge, modesty, humility, practice and perseverance, among others. It makes no bones about the knowledge, skills and sheer hard work that it takes to become a good DJ. This is no X-Factor get-famous-quick guide: it is about learning a craft.
The book is no substitute for tutoring: students will still much need lessons to acquire the necessary skills. For them, the book will be a useful reference resource; perhaps something that a very proactive student could use to advance their technique. An interested music teacher, with all their previously acquired musical knowledge, and kitted out with the relevant equipment, would be able to use the book to get to a point where they could use DJ-ing in their teaching.
There are interesting and well-written accounts of the history of DJ-ing and the different types of DJ. How to acquire and organise tracks is covered in detail, with an emphasis on precise and conscious listening and encouragement to develop your own style. The various components of electronic music are outlined, with readers being encouraged to work on their aural analysis skills to get to know their tracks really well.
The different types of equipment are described, together with setup and signal flow. The ‘getting to know your equipment’ section is upfront about the advantages and disadvantages of vinyl, CDJs and all-in-one equipment. No bias towards a particular setup or style is shown, and DJs are encouraged to be creative, reflective and aware of their audience. The importance of looking after your hearing is made extremely clear.
Audio tracks come with the book as a download, providing suitable material with which to practise the techniques described in the following chapters. These begin with the basics of mixing; understanding beats, bars and phrasing; matching levels of different tracks; and deciding where and how to cue-up. Next, beat-matching and different types of transition are described in detail, all with the help of handsome graphics. The basics of harmonic mixing are also covered: in fact, the importance of understanding different musical dimensions is emphasised throughout the book.
Advanced techniques, such as looping, beat juggling, scratching and use of effects are described in step-by-step format, communicating what you should be doing, seeing and hearing as you complete each exercise. The final section of the book provides guidance on constructing a mix, before some case studies and a fascinating breakdown of the different genres you are likely to be working with. At the back there is a helpful glossary of technical and musical terms.
I love how detailed and thorough this book is. It is never turgid or preachy, and the graphics complement the text in a way that makes every page a pleasure to look at. Icons for tips, cross-references, extra information and warnings provide cohesion.
If you are the kind of music teacher who wants to put an extra dimension into your teaching, or open up the provision in your department with a view to potentially increasing uptake at Key Stage 4 – or simply add to your own skills – I cannot recommend this book highly enough. With decent DJ controllers available for less than £300, DJ-ing is now very much a possibility for many.
Having read this book, my mind is buzzing with all sorts of ideas for mixes that I could create if I practised my DJ-ing skills. Early on, the question is asked: ‘Are the DJ decks really a musical instrument?’ If this book doesn't convince you that they are, nothing will.
