This week in aural skills, we are covering embellishing tones. This topic is tough, because I can never remember the difference between an appoggiatura and an escape tone without looking it up, but it’s on the syllabus, so I have to try. In previous semesters, I have approached it by having students identify examples from …
Tag Archives: jazz
Bring It On Down To My House
I came to Bob Wills and His Texas Playboys through my dad. He had the first volume of The Tiffany Transcriptions on CD, a series of live recordings that the Texas Playboys made for radio syndication. My dad was an impeccably highbrow opera fan, and aside from the Elvis Christmas Album, Bob Wills was the …
Don’t Know Why
I needed a song with lots of secondary dominants in it for aural skills class, and I realized that Norah Jones’ adult-contemporary smash “Don’t Know Why” has a bunch of them. The song came out in 2002, though it could have been recorded at any time in the 50 years previous.
ii-V-I
My NYU pop theory class is going from non-functional harmony to the most functional harmony there is, the ii-V-I cadence. It’s subdominant to dominant to tonic, Western tonal harmony the way God and Beethoven intended.
Mississippi Half-Step Uptown Toodeloo
Long before I knew who Duke Ellington was, I adored a Grateful Dead song vaguely named after one of his early hits. I was most attached to the Brent-era version on Without A Net: This is not the Dead at their absolute best. Jerry sounds like he’s about 95 years old, and some of those …
Russian Lullaby
When I was in college, I liked to dip into the dollar bin at the record store. That’s where I picked up Jerry Garcia’s second solo album. It was forgettable, even for an obsessive fan like me. Forgettable, that is, except for one song: I had never heard of Django Reinhardt at that point, and …
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 …
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 …
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 …
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 …