I don’t know a lot about Afro-Caribbean rhythms, beyond the fact that they cause me intense joy whenever I hear them. My formal music education has focused almost exclusively on harmony, and I’ve had to learn about rhythm mostly on my own. That’s why it was so exciting for me to discover the work of …
Category Archives: Music Theory
How the heck do you know what scale you’re supposed to use for lead guitar?
There’s a broad diversity of harmonic practices being used out there in the world of blues-based popular music, rock in particular. While a given song may not use a lot of scales and chords, the relationships between those scales and chords is rarely simple or obvious. You really just need to learn all of them. …
Continue reading “How the heck do you know what scale you’re supposed to use for lead guitar?”
Do you need music theory to create music?
This question gets asked a lot. It’s really four questions: 1) What is music theory? 2) Does music theory really teach you what music is? 3) Does music theory teach you how to create music? And 4) how do you learn music theory? Let’s take these questions one at a time.
The poetics of rock
I’m teaching at Montclair State University because of Adam Bell, a fellow self-taught rock and pop musician turned academic. Adam loves to quote The Poetics of Rock by Albin Zak, and rightly so. Zak’s major point is that rock is an art form about making records, and that the creativity in making records is only …
Listening, hearing, and the infinite loop
Rob Walker wrote a blog post listing different strategies for how to pay attention. (Update: he later wrote a whole book about it, I’m quoted in it.) Deep attention makes the difference between looking at something and actually seeing it. Rob is talking mostly to visual artists and designers, but his methods work well for …
Continue reading “Listening, hearing, and the infinite loop”
How to tell funk from disco
Funk and disco overlap broadly, but they are not the same thing. Funk lovers like me instinctively know what the difference is. But how do we know? One thing we could do is point to the beat. Disco uses that iconic four-to-the-floor pattern, and funk doesn’t, so case closed, right? Well, it’s not so simple. …
What’s missing from music theory class?
In a recent comment, a reader posed a good question: I’m classically trained (I do recognize a blues progression when i hear it though) so i would like to hear more of your insights into the forms, styles and methods of pop music — your observation that “most of the creativity in pop lies in …
Pop musicians in the academy
Together with Adam Bell, I’m planning some in-depth writing about the phenomenon of pop musicians (like me) teaching in formal, classically-oriented institutional settings. This post is a loosely organized collection of relevant thoughts. What even is “pop music?” As far as the music academy is concerned, all music except classical or folk is “popular.” People …
What if music theory made sense?
Music theory is hard. But we make it harder by holding on to naming and notational conventions that are hundreds of years old, and that were designed to describe very different music than what we’re playing now. Here are some fantasies for how note naming might be improved. Right now, the “default setting” for western …
The saddest chord progression ever
See also the happiest chord progression ever. The short-lived Russian composer Vasily Kalinnikov is best known (to the extent he’s known at all) for this piece of music: If you listen to this piece at 6:16, there’s a particularly beautiful and tragic chord progression. It’s in the key of E-flat, but I transposed it into C …