The I-IV-V chord progression is one of the cornerstones of Western music, uniting everything from Mozart to Missy Elliott. Bob Marley’s “Stir It Up” is as clear and concise an introduction to I-IV-V as you could ask for.
The song uses three chords: A, D, and E. They’re shown in the diagram below as turquoise, blue, and pink lines respectively.
Björk did the music theory world a huge favor by writing a pop hit entirely in Locrian mode, since it’s really hard to find a good real-world example of it otherwise.
You don’t see too many melodies written entirely, or even partially, in Locrian mode. It’s not a friendly scale. That mostly has to do with its fifth degree. In a typical Western scale, the fifth note is seven semitones above the root (or five semitones below, same thing.) In the key of C, that note is G. Almost all scales starting on C will have a G in them somewhere. But not Locrian. It has the note on either side of G, but not G itself.
This is confusing to the Western listener. So confusing, in fact, that it’s hard to even hear C Locrian as having a C root at all. Depending on the phrasing, it quickly starts feeling like D-flat major, or A-flat Mixolydian, or B-flat natural minor, all of which are way more stable.
“Once In A Lifetime” is a simple but remarkable tune based on a simple but remarkable scale: the major pentatonic.
https://www.youtube.com/watch?v=98AJUj-qxHI
Like its cousin the minor pentatonic scale, major pentatonic is found in just about every world musical culture. It’s also incredibly ancient. In Werner Herzog’s documentary Cave Of Forgotten Dreams, a paleontologist plays an unmistakeable major pentatonic scale on a replica of a 35,000 year old flute made from a vulture bone.
If you had to explain funk to a visitor from outer space, Stevie Wonder’s “Superstition” would be a great place to start.
Aside from the refrains at the end of each verse, the entire tune consists of variations on a single two-bar clavinet riff on the E-flat minor pentatonic scale. The scale might have a daunting name, but it’s extremely easy on the piano: just play the black keys.
The minor pentatonic scale is found in almost all world musical cultures. It’s no great mystery why everyone likes it: you can play the five notes in any order and any combination and nothing will ever sound bad. Notice that the scale notes are right next to each other on the circle of fifths above. Each note shares a lot of its constituent overtones with its neighbor, so it’s no wonder they all feel so closely related to each other.
I’m a proud member of the NYU Music Experience Design Lab, a research group that crosses the disciplines of music education, technology, and design. Here’s an overview of our many ongoing projects.
Continue reading “Here’s what’s cooking with the NYU MusEDLab”
I have struggled for years to articulate why I like the music descending from Africa so much better than the music descending from Europe. I’m a typical American in this respect. Every genre that the mainstream enjoys takes its rhythms and loop structures from the African diaspora: rock, hip-hop, and EDM, of course, but country too, and pop, which blends together all of the above. The music academy remains firmly rooted in the Western European classical tradition, but even in Europe, popular music is dominated by loops of heavy percussion. Why?
Timothy Brennan gives a compelling answer in his book Secular Devotion: Afro-Latin Music and Imperial Jazz. White dudes like me are attracted to the music of the African diaspora because it’s a way for us to unconsciously enact traditional African religious practices. And why would we want to do enact African religious practice? Because it helps us resist Judeo-Christian morality and industrial capitalism.
Continue reading “Resisting imperialism through secular devotion”
The most appalling song that appears on Mad Men is over the closing credits of the fifth season episode “Mystery Date.” It is not Carole King and Gerry Goffin’s finest work.
It’s easy to cluck your tongue at 1962. They were so primitive back then! Surely we’re doing better now. Right? Well…
The folks at Olympia Noise Co recently came out with a new circular drum machine for iOS called Patterning, and it’s pretty fabulous.
The app’s futuristic look jumps right out at you: flat-colored geometric shapes with zero adornment, in the spirit of Propellerhead Figure. There’s nothing on the screen that doesn’t function in some way. It’s a little dense at first glance, but a complex tool is bound to have a complex interface, and Patterning reveals itself easily through exploration.
I love SoundCloud. I love it for being an exceptionally easy way to share my music with people all over the world. I love the community aspect, especially the Disquiet Junto. I have all of my students host their portfolios there. But like a lot of the electronic musicians who form the heart of the SoundCloud userbase, I’m running into some problems with copyright.
Recently, I needed to unwind from a stressful morning, so I fired up Ableton, put in some Super Mario Bros mp3s and James Brown breaks, and went to town. I uploaded the results to my SoundCloud page, as usual, but got one of their increasingly frequent copyright notices.
I’ve uploaded a lot of material to SoundCloud that violates copyright law in various ways, and for the most part, no one has made any objection. I’ve occasionally used some long intact samples that triggered takedown notices, but my remixes and mashups are usually transformative enough to slip through the filter. Lately, however, I’m finding that SoundCloud has dramatically stepped up its copyright enforcement. A few months ago, I could have posted my Super Mario Bros/James Brown mashup without any trouble. Not any more.
There has been a dramatic shift in American popular music’s grooves over the past sixty or so years. To understand it, you need to know what swing is. Here is a piece of music played without swing:
Here is that same piece of music played with swing:
