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”
Lorde has a new song. If you are a George Michael fan, parts of it will sound very familiar! The guitar part in the first verse is strongly reminiscent of the one in “Faith.” But people seem to be mainly worked up about the similarities in the overall rhythmic groove and chord changes to the …
See also a study of groove melody Chords work differently in grooves than they do in songs and linear compositions. In his book Everyday Tonality, Philip Tagg proposes that chords in loops are mainly there to signpost locations in the meter. By his theory, the metrical location of a chord matters more than its harmonic …
The meaning of the word “producer” has changed significantly over the history of recorded music. Before the 1960s, most record producers were businesspeople, responsible for signing checks and making sure the musicians and engineers did their jobs. Some producers took a creative role in choosing repertoire, arrangements and takes, but others were hands-off. As recording …
I’m not a particular fan of U2, but I’ll make an exception for “With Or Without You,” their lushly beautiful ambient rock masterpiece.
This summer, I’m teaching Cultural Significance of Rap and Rock at Montclair State University. It’s my first time teaching it, and it’s also the first time anyone has taught it completely online. The course is cross-listed under music and African-American studies. Here’s a draft of my syllabus, omitting details of the grading and such. I welcome your questions, comments …
Continue reading “Prepping my rap and rock class at Montclair State”
The NYU Music Experience Design Lab is putting together a new online music theory resource, and I’m writing a lot of the materials. We want to keep everything grounded in real-life musical practice. To that end, we’ve been gathering musical simples: phrases, riffs, and earworms that beginners can learn easily. My criteria for a good …
