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 …
Continue reading “Jason Yust on the racist history of tonality”
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 …
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.
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.
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, …
My theory students are going to be writing vocal harmonies for one of their assignments. To give them guidance, I will be talking through one possible approach to adding harmonies to “Shout” by Tears for Fears. Here’s the original song: Here’s the acapella. I’m not arguing that this song needs harmony vocals; it’s just a …
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Embellishing tones are non-chord tones that are still within the key or mode. Chromatic embellishments are notes from outside the key or mode. They are easy to spot because they sound characteristically “weird”, or, at least, more colorful than the other notes around them. Thus the “chromatic” part – the word comes from chroma, the …
I met Dr Jim Frankel, the founder of MusicFirst, back when I was a grad student. We have been mutual admirers in a passive way since then. It was a pleasant surprise when, over the summer, he asked me to contribute to their new Modern Band curriculum, specifically, the music theory component. It’s now being …
Yesterday I was sitting in on a colleague’s theory class, and when she said that it was time to practice identifying key signatures, everyone groaned. I feel their pain and want to help. I myself learned the key signatures by reading and writing a lot of music in lots of different keys and eventually just …
Continue reading “I wrote a song to help my students with key signatures”
This post is a continuation of my explainer on the difference between F-sharp and G-flat. To sum that one up: in our present-day standard tuning system, F-sharp and G-flat sound the same; the only difference between them is notational. In historical tuning systems, however, they sounded quite different. Tuning is hard! In this post, I …
