Lin-Manuel Miranda certainly can write an infectious earworm. His songs from Moana were in constant rotation in my apartment (and in my head) for years, and as much as I tried to resist Hamilton, I fell pretty hard for those tunes too. But nothing by LMM has gripped me or my kids harder than this: …
Category Archives: Composition
Theory Hacks with Ableton
I’m happy to announce the release of my first project for the good folks at Ableton, a Classroom Project called Theory Hacks. It’s a set of free resources for educators who want to teach music theory and songwriting/composition to beginners using Live. In this post, I explain the pedagogical motivations for the project.
Living for the City
This Stevie Wonder classic is an iconic blues-based groove combined with some very non-blues-based harmony. Stevie sang all the parts and played all the instruments, including the sumptuous analog synth sounds designed with Malcolm Cecil and Robert Margouleff. Stevie’s brother Calvin Hardaway is the main character in the spoken interlude. Ira Tucker Jr of the …
Led Zeppelin, “Ten Years Gone”
I like to dip into Rick Beato’s YouTube channel once in a while. He’s too Boomer-ish and curmudgeonly about current pop music for my tastes, but when he rhapsodizes about the 70s rock that he loves, he’s delightful. His list of the top 10 Led Zeppelin riffs is especially pure Beato essence. Number six on …
Curb Your Enthusiasm
I’m currently enjoying a rewatch of the cringe-iest of TV shows and its theme song is one of the all-time greats. It’s a tune called “Frolic” by Italian film composer Luciano Michelini. Why is this so magically effective?
Nahre Sol introduces Billie Eilish to the classical canon
In this fascinating video, Nahre Sol composes accompaniment for an isolated Billie Eilish vocal in the styles of various canonical composers. The combination of Billie Eilish and Mozart is predictably weird, but not for any “musical” reason. There is not such a wide disconnect between Billie Eilish’s melody and classical music. The weirdness is due …
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Modes from light to dark around the chromatic circle
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 …
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The three diminished chords: blues, jazz and classical
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 …
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The Kronos Quartet play Jimi Hendrix
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 …
Defining key centers with rhythm
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 …