Identifying tritone substitutions

This is one of those jazz theory ideas that gets explained endlessly online and in texts and is relatively rare in a typical American’s listening experience. But when you do hear it, it does sound cool. I made an interactive explainer, because as with so many jazz theory concepts, tritone substitutions make more sense when you hear them than when you see them represented symbolically.

Tritone substitutions by ethanhein1

Here’s the verbal explanation, for what it’s worth. Say you have a V7-I cadence in C major, that is, G7 resolving to C. The active ingredient in G7 is the tritone between the third, B, and the flat seventh, F. This same tritone is also present in Db7; its third is F and its flat seventh is C-flat (the same pitch as B.) For jazz purposes, this means that you can substitute Db7 for G7 and it will function the same way, but with an edgier and more chromatic sound. This is called tritone substitution because the substitute chord’s root is a tritone away from the original chord. The practical consequence is that you can precede any chord with the dominant seventh chord whose root is a half step higher and it will create a nice resolution.

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Identifying modulations

In class we have been talking about secondary dominants, where you temporarily treat a chord as a new key center before returning to the main key. In a modulation, you move to a new key center and stay there (for a while, anyway). Modulations were a common songwriting technique in pre-rock popular music, and a somewhat less common one in the rock era. They have become increasingly rare in the Anglo-American pop mainstream, though they are still a feature of game and film scores.

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Improvising over secondary dominants

This week in aural skills we are improvising sung countermelodies over various chord progressions. The goal is to help the students feel the voice leading, the chromatic alterations and so on. This is especially important for playing over secondary dominants or “applied chords” as classical theory folks call them. I won’t explain these chords in any depth here; I’ll just refer you to this chart I made showing all the chord roots on the circle of fifths in grey and their associated dominant chords in purple.

In any major key, there are seven chords that are diatonic to the key (meaning, built entirely from that major scale). You can precede each of these chords with a dominant seventh chord whose root is a fifth higher, to create a nice tension-release sequence. For the tonic chord, you use the regular old V7 chord. The other chords get secondary dominants. This post lists examples of the most commonly used ones. Continue reading “Improvising over secondary dominants”

Improvising countermelodies

How do you improvise a countermelody? Listen to things in the music and respond: imitate, vary, fill in gaps. Which tracks, though? Start with music that is harmonically uncomplicated enough that you can predict where it’s going, but with enough rhythmic interest to give you something to react to. I do not recommend the blues for this purpose. It’s a popular strategy among well-meaning music educators, and I get why, but blues improvisation is not a beginner-level skill. So what should you use?

I like the first three and a half minutes of “God Make Me Funky” (or the shorter single version.) The tune is in E, and you can use Mixolydian, major pentatonic, minor pentatonic or any combination of the above. Try following and responding to the guitar.

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Identifying blues melodies

This is an exciting week of class for me, because we are analyzing blues melodies, and that is a music-theoretic subject that is close to my heart. Given its impact on the past hundred years of Anglo-American popular culture, the blues has been the subject of a shockingly small amount of musicological analysis. The best resource I know of is Early Downhome Blues: A Musical and Cultural Analysis by Jeff Titon. I collect lots of other references of widely varying quality here. It’s wonderful that NYU is centering the blues in its new pop theory sequence, but how do we actually teach it? Western tonal theory is no help here, and jazz theory doesn’t have much to add. If there isn’t a systematic framework we can use, where do we even begin?

The first question we have to answer is, what constitutes a blues melody? Are we only going to count Delta blues, or other kinds of blues, or are we going to open up our inquiry to blues-derived musics like jazz, country, R&B or rock? I think we can draw on any kind of music that uses blues tonality, so my answer is all of the above, but that does not make my job any easier.

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Identifying melodic motives

Motivic development is more of a classical music thing than a rock/pop thing. If you want to hear a motive carried through a series of elaborations and variations, you should look to Beethoven rather than the Beatles. Pop songs are a few riffs, repeated or strung together. But there are some songs out there whose riffs are organized in ways that you could understand in terms of motivic development.

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Identifying embellishing tones

We’re getting started on melody in pop aural skills by talking about embellishing tones. The word “embellish” is from the Old French embelliss-, meaning to make something beautiful by ornamenting it. To understand what embellishing tones are, you first need to know about the tones they are embellishing. In Western tonal music and (non-blues-based) Anglo-American pop, the main melody notes are (usually) found within the underlying chords. For example, if the song has a C chord, then the main melody notes over that chord will (probably) be the notes C, E, or G. Any other melody note will be an embellishing tone.

There are many different kinds of melodic embellishments, but we will be dealing with just four: passing tones, neighbor tones, appoggiatura, and escape tones. Continue reading “Identifying embellishing tones”

Identifying song forms

Song structure is a strange music theory topic, because there is not much “theory” beyond just describing it. Why are some patterns of song sections so broadly appealing? The answer has something to do with the balancing of surprise and familiarity, of predictability and unpredictability, but if someone has a systematic theory of why some structures work so much better than others, I am not aware of it. The best approach I can recommend is to examine the most widely used structures across styles and eras and try to internalize them. Transcribing songs at the structural level is a great way to do that. Staff notation is not the right tool for the job, because you can’t easily zoom out and see the big picture. I like to use Ableton Live to annotate and color-code audio and MIDI. Here’s “Burning Down The House” by Talking Heads. 

I also like the bubble diagrams you can make with Audio Timeliner, because it lets you group sections together at multiple levels. The downside is that you can’t easily zoom into the bars and beats level, or show meter and hypermeter.

In this post, I’ll talk through examples of three common structures: strophic form, AABA form, and verse-chorus form (the one that “Burning Down The House” uses). Then I’ll get into the difficult question of form in groove-based music.

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Identifying phrase structure

It’s easy to understand what a section of a song is: an intro, a verse, a chorus, a bridge. It is less easy to understand phrases, the components of a song section. Usually a song section contains between two and four phrases. But what is a phrase? No one seems totally sure. This is important to figure out, because if you aspire to write or improvise music, having control over your phrasing might be the most important thing you need. If you can organize your phrases, you can have limited technique and knowledge of theory and still sound good. If you can’t organize your phrases, all the technique and theory in the world won’t be much help.

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Identifying harmonized basslines

We are wrapping up the harmony unit of pop aural skills class with harmonized basslines. These sound more “classical” than the other material we’re covering, and for good reason. Long before Western Europeans thought in terms of chords, they saw harmony as something that emerged from the interaction of multiple simultaneous melodies. Baroque composers frequently wrote pieces using ground bass, formulaic basslines that act as a foundation for counterpoint. (Bach used ground bass for the Passacaglia and Fugue and the Chaconne.) Galant composers used schemas, short figures combining basslines and contrapuntal melodies that you use as points of departure for larger compositions. And many European composers in the 17th and 18th centuries honed their skills with partimento, basslines that you improvised counterpoint on top of according to particular rules.

Some the Baroque ground bass patterns and galant schemas persist in the vocabulary of Anglo-American pop, though with fewer rules about the correct way to harmonize them. Continue reading “Identifying harmonized basslines”