I got interested in tuning theory because of the blues. The first instrument I learned to play well was the harmonica, and an essential part of blues harmonica is bending notes to make them go flat. The same is true for blues guitar, though there you are bending notes sharp rather than flat. For several …
Continue reading “Maceo Parker’s blue notes in a James Brown classic”
In a previous post, I suggested that we think of an expanded major key universe that includes the major scale, Mixolydian mode, Lydian mode, and maybe also Mixolydian b6. In this post, I present a similar approach to minor keys, by extending the logic of Western European tonal theory to cover some additional minor scale …
The basic idea of tempo is simple: how many beats there are per minute. More beats per minute means the music is faster, fewer beats per minute means the music is slower. The image below shows a tempo map of “Dear Prudence” by the Beatles that I made with Ableton Live. The song’s tempo ranges …
(Meta-level note: I rewrite this explainer every few years and now that I have a couple of new music theory gigs, I am rewriting it yet again.) Syncopation is to rhythm what dissonance is to harmony: conflict, surprise, defiance of expectation. If you place your rhythmic accents where listeners expect them, then the music gets …
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 …
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 …
This week in aural skills, we are practicing identifying pop schemas, that is, chord sequences and loops that occur commonly in various kinds of Anglo-American top 40, rock, R&B and related styles. We previously covered the permutations of I, IV and V and the plagal cadence. Now we’re getting into progressions that bring in the rest …
Continue reading “Identifying standard pop chord progressions”
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 …
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 …
Continue reading “Love Rollercoaster, Genius of Love, and nonsensical chord loops”
For the hip-hop unit in the Song Factory class at the New School, I want to start things off by clarifying the difference between hip-hop and rap. People use these terms interchangeably, but they really describe two different things: hip-hop is a culture, and rap is a musical expression of that culture. But rapping is …
