People find the diatonic modes confusing. They are confusing! But they’re also wonderfully useful. So one of the goals of my music theory songs is to make the modes less confusing (or, at least, to make them confusing in a different way.) Some of the confusion comes from the fact that you conventionally see the …
Continue reading “Modes from light to dark around the chromatic circle”
Bach wrote The Well-Tempered Clavier as a showcase for a new tuning system that could play in all twelve major and all twelve minor keys. Up until that point, the various European tuning systems only worked for some keys, not all of them. If you were in or near the key of C, you were …
Continue reading “The Well-Tempered (and not-so-well-tempered) Clavier”
I am finishing my dissertation soon and am applying for full-time academic jobs. Here’s my teaching statement. It’s adapted from the first two chapters of Electronic Music School: a Contemporary Approach to Teaching Musical Creativity. Also see my research statement. I have taught as an adjunct at New York University’s Steinhardt School, The New School’s …
Western people like two things in harmony: intervals derived from the natural overtone series, and the ability to play in multiple keys. Unfortunately, it’s not possible to do both of these things within the same tuning system. If you want to use just intonation intervals derived from harmonics, then they will not work in every …
Diminished seventh chords are strange creatures: a cliche for Dracula’s castle, but also a cornerstone of the blues. They are also difficult to understand. The good news is that in any given key, there are only three possible diminished seventh chords: the one whose root is the tonic of the key, the one whose root …
Continue reading “The three diminished chords: blues, jazz and classical”
I have mixed feelings about the Kronos Quartet arrangement of “Purple Haze” by Jimi Hendrix. On the one hand, it’s cool that they even attempted it. On the other hand, is the attempt successful? It’s great that they’re taking advantage of the violin’s pitch continuum to do all the blue notes and guitaristic bends and …
Let’s say you have two chords, G7 and C. According to Western classical theory, these two chords establish that you are in the key of C. The G7 is tense and unresolved, and it makes you yearn for the calm stability of C. Music theory resources are full of language about how dominant seventh chords …
Ashanti Mills from my Patreon had a brilliant idea. He said, hey, you know how you combined interviews with Toni Blackman with hip-hop songs to explain hip-hop pedagogy? You should do that with music theory: have songs that explain their musical content to you. This is one of those ideas that seems obvious as soon …
One of the most powerful music theory concepts you can learn is how to make chords from scales. If you learn a few scales, then you get a whole bunch of chords for free. The specifics of all the chord names can be complicated and daunting. But the concept of constructing them is very simple. …
The Genius of the Electric Guitar is an aptly-named compilation of studio recordings that Charlie Christian made with Benny Goodman between 1939 and 1941. The album includes a couple of informal studio jams recorded while Goodman’s band was waiting for their leader to show up. Both jams have self-explanatory titles: “Blues in B” and “Waiting …
