Lonely Woman

I have always had a hard time with Ornette Coleman, but I love “Lonely Woman”, because it manages to be both extremely weird and extremely catchy. Notice that at 2:09 during Ornette’s solo, someone goes “Woo!” Rightly so.

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 …

Seventh chords in just intonation vs 12-TET

I enjoy listening to Jacob Collier explain his music more than I enjoy the music itself. His arrangement of “Moon River” is mostly exhausting. However, Miles Comiskey pointed me to an interesting moment in this explainer video at the 1:04:22 mark where Jacob talks about how Kontakt enables you to change your instrument tuning on …

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 …

Smokestack Lightning

The twelve-bar blues is not the only blues form. There is also a whole world of one-chord blues grooves over drones, pedal tones and static riffs. Howlin’ Wolf has several classic songs that follow this model, including “Spoonful“, “Wang Dang Doodle“, and “Smokestack Lightning.” Guitarist Hubert Sumlin came up with the iconic riff. The track …

How guitarists learn music theory

This is me, rehearsing an Allman Brothers song with my stepbrother Kenny for my stepdad’s funeral last summer. If you are a music theory teacher interested in reaching guitarists, here’s some background on my own music learning that might be illuminating. My journey is a pretty typical one for a rock guitarist, except for the …

The blues and the harmonic series – a visual guide

Does the harmony of the blues come from the natural overtone series? Is it a just intonation system that later got shoehorned into Western twelve-tone equal temperament? Whether the blues comes from just intonation, or just intonation happens to sound like the blues, this is a rich and promising avenue of inquiry, both for understanding …

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 …

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 …