New on MusicRadar, I take a mostly sympathetic look at Paul McCartney’s omnipresent and divisive earworm. I don’t generally like Christmas music, but this song is so goofy and odd that I can’t help but find it endearing. The main problem with it is that the tempo is too fast and the feel is too …
Author Archives: Ethan
Jason Yust on the racist history of tonality
I haven’t done any culture war material lately, but Jason Yust recently published an article in the Journal of Music Theory with the title “Tonality and Racism“, and I couldn’t not respond. The arguments in the paper are relevant to my teaching life in NYU’s new and wonderful pop theory and aural skills sequence. These classes …
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Stormy Monday
Sometimes you find a song that is so full of clear examples of music theory concepts that you want to build your whole syllabus around it. The Allman Brothers version of “Stormy Monday”, which they adapted from Bobby Bland’s arrangement of a T-Bone Walker song, is a case in point: it has extended chords, augmented …
A general theory of pop smashes
My latest MusicRadar column advances the theory that to be a truly generation-spanning pop colossus, a song has to be at least a little bit weird and annoying. This was a tricky thing to write, because I wasn’t looking for “popular songs that I personally find annoying.” That would be easy, I find most popular …
Uncle John’s Band
The most common entry point for Grateful Dead listeners is the acoustic folkie material, especially “Uncle John’s Band”. That makes sense; the song is fun, memorable, and relatively accessible. It seems like it would make a good campfire singalong. But then you get in there to try to learn it, and the song turns out …
Don’t Know Why
I needed a song with lots of secondary dominants in it for aural skills class, and I realized that Norah Jones’ adult-contemporary smash “Don’t Know Why” has a bunch of them. The song came out in 2002, though it could have been recorded at any time in the 50 years previous.
ii-V-I
My NYU pop theory class is going from non-functional harmony to the most functional harmony there is, the ii-V-I cadence. It’s subdominant to dominant to tonic, Western tonal harmony the way God and Beethoven intended.
The melodic-harmonic divorce in pop
This week in pop theory class, we are talking about the melodic-harmonic divorce, where the chords and melody to a song are all from the same major or minor key, but do not necessarily agree with each other at the local level. This is a common feature of current pop. It’s so common, in fact, …
Adding vocal harmony to a Tears for Fears song
My theory students are going to be writing vocal harmonies for one of their assignments. To give them guidance, I will be talking through one possible approach to adding harmonies to “Shout” by Tears for Fears. Here’s the original song: Here’s the acapella. I’m not arguing that this song needs harmony vocals; it’s just a …
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Identifying chromatic embellishments
Embellishing tones are non-chord tones that are still within the key or mode. Chromatic embellishments are notes from outside the key or mode. They are easy to spot because they sound characteristically “weird”, or, at least, more colorful than the other notes around them. Thus the “chromatic” part – the word comes from chroma, the …