In a previous post, I listed examples of melodic suspensions. But I didn’t do a very good job of explaining how they work. So I will rectify that here.
Tag Archives: music theory
What key is “Dreams” by Fleetwood Mac actually in?
Here’s a simple-seeming song that is a subject of a lot of music-theoretic controversy. “Dreams” by Fleetwood Mac only has two chords (plus a third chord that only appears once), so it seems like it would be easy to analyze its harmony. And yet, no one can agree what key it’s in. The two chords …
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Visualizing secondary dominants
In my MusicRadar column honoring Roberta Flack, I thought of a new analogy for secondary dominant chords, and I figured that I should work it into a new explainer with some new graphics. So, if you are having trouble understanding how these chords work, read on. Secondary dominant chords solve a specific problem: how to …
Harmonic rhythm in two-chord shuttles
We devote a lot of attention in music theory pedagogy to chords. But it isn’t enough to look at what the chords are; you have to consider when they are too. The placement of chord changes in musical time is called harmonic rhythm. The easiest way to understand this idea is to look at songs …
My year in pop music theory teaching
See also: my year in pop aural skills teaching This year I taught my first theory class in NYU’s new popular music sequence. It was not my first music theory class, or my first pop music class, but it was the first one in a university-level sequence dedicated specifically to pop. I think it mostly …
Jason Yust on the racist history of tonality
I haven’t done any culture war material lately, but Jason Yust recently published an article in the Journal of Music Theory with the title “Tonality and Racism“, and I couldn’t not respond. The arguments in the paper are relevant to my teaching life in NYU’s new and wonderful pop theory and aural skills sequence. These classes …
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Stormy Monday
Sometimes you find a song that is so full of clear examples of music theory concepts that you want to build your whole syllabus around it. The Allman Brothers version of “Stormy Monday”, which they adapted from Bobby Bland’s arrangement of a T-Bone Walker song, is a case in point: it has extended chords, augmented …
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.
The melodic-harmonic divorce in pop
This week in pop theory class, we are talking about the melodic-harmonic divorce, where the chords and melody to a song are all from the same major or minor key, but do not necessarily agree with each other at the local level. This is a common feature of current pop. It’s so common, in fact, …