It’s pentatonic scales week in aural skills class. This would seem to be the easiest thing on the syllabus, but I discovered while doing listening exercises with the students that even these simple scales have their subtleties. Major Pentatonic You can understand the C major pentatonic scale to be the C major scale without scale …
Category Archives: Music Theory
Identifying added-note chords
My NYU aural skills students are working on chord identification. My last post talked about seventh chords; this post is about chords with more notes in them, or at least, different notes. My theory colleagues call them added-note chords. They are more commonly called jazz chords, though many of the examples I list below are …
Call Me Maybe
For the first day of my new pop-oriented Aural Skills II class at NYU, we analyzed “Call Me Maybe” by Carly Rae Jepsen. I have been using this song as a listening example in music tech classes for many years because it is the apex of maximalist brickwall-limited caterpillar-waveform 21st century pop production. In the …
Whisper Not
When I was in college, I picked up a cassette of Legacy by Jon Faddis from the dollar bin at the record store. It’s a kind of greatest hits of jazz trumpet, and it was one of the best dollars I ever spent. The last three tunes were especially wonderful: “A Child Is Born” by …
NYU Steinhardt is assigning this blog in its music theory and aural skills core classes
Last night I went to a holiday party for NYU Steinhardt’s music education program, where I got my PhD and where I have been teaching the Technology and Pop Practicum courses for several years now. Steinhardt has been overhauling its core music theory and aural skills curricula, and while I am highly interested in this …
Love Rollercoaster, Genius of Love, and nonsensical chord loops
I have a hypothesis about harmony in loop-based music: if you have a good groove going, then any repeated chord progression at all will start to make sense and sound good after a few repetitions. In this post, I demonstrate the idea using two dance floor classics. “Love Rollercoaster” by Ohio Players (1975) is from …
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Polymeter vs polyrhythm
As I continue to build groove pedagogy resources, I want to clear up some persistent confusion about polymeter and polyrhythm. If you don’t feel like reading the whole post, it can be summed up in this image: The most concisely I can put this into words: In polymeter, the grid lines are aligned, but the …
Pusherman
I am always on the lookout for clear examples of blue thirds, pitches in between the standard equal-tempered major and minor thirds. I heard Curtis Mayfield’s “Pusherman” recently, and the vocal melody grabbed my ear. (Be advised that the first verse uses the n-word.) You can hear the pitches in the vocal melody even more …
I made a new track for teaching swing
When I teach swing, I like to play examples of the same piece of music with and without swing for ease of comparison. My favorite comparison is between “Dance of the Sugar Plum Fairy” from the Nutcracker Suite and “Sugar Rum Cherry” by Duke Ellington. This isn’t an exact comparison, though, because Ellington does more …
Absolute Beginners
As my older kid’s Bowie obsession continues, he is digging deeper into the corners of the catalog and finding songs that I hadn’t even heard of. This week we’re learning “Absolute Beginners”, which Bowie wrote for the movie of the same name. The song is as richly weird as all Bowie songs are. The instrumentation …