I learned the terms “beginning-accented melody” and “end-accented melody” from The Musical Language of Rock by David Temperley. The terms mean what they sound like: a melodic phrase whose accent is either at its beginning or its end. This seems like the definition of a purely academic theory concept, but it turns out that end-accentedness …
Continue reading “End-accented phrases make melodies sound cool”
This week in aural skills, we are covering embellishing tones. This topic is tough, because I can never remember the difference between an appoggiatura and an escape tone without looking it up, but it’s on the syllabus, so I have to try. In previous semesters, I have approached it by having students identify examples from …
Here’s a simple-seeming song that is a subject of a lot of music-theoretic controversy. “Dreams” by Fleetwood Mac only has two chords (plus a third chord that only appears once), so it seems like it would be easy to analyze its harmony. And yet, no one can agree what key it’s in. The two chords …
Continue reading “What key is “Dreams” by Fleetwood Mac actually in?”
I took a break from analyzing the Grateful Dead while working on other things, but now it’s time to resume, with a tune that is deeply loved by Deadheads and not of conceivable interest to anyone else. Terrapin Station is a weirdly disjointed album, reflecting the conflicted motivations behind its creation. After their record label …
I am mildly obsessed with this recording, both as a work of art and as a music teaching resource. While I have mentioned this track several times on here, I haven’t really dug into the details. So it’s time to change that. There’s a lot to talk about: the genre, the chords, the melody, the …
I have Bob Dylan on the brain, because my socials are saturated with ads for the Timothee Chalamet movie, and because MusicRadar used the movie as the news hook for a column about Bob. I rewatched Don’t Look Back for the first time in forever. It’s a sign of my advancing age that Bob came …
To tie in with the new Dylan movie, MusicRadar asked me to analyze “Don’t Think Twice, It’s Alright.” My first choice would have been “It’s Alright Ma (I’m Only Bleeding)”, my favorite Dylan song and one of my favorite songs by anyone ever, but I was happy to go with their request too, it’s a …
Continue reading “MusicRadar column on one of Bob Dylan’s greatest hits”
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 …
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 …
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.
