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 pop, the main melody notes are (usually) found within the underlying chords. For example, if the song has a C chord, then the main melody notes over that chord will (probably) be the notes C, E, or G. Any other melody note will be an embellishing tone.

There are many different kinds of melodic embellishments, but we will be dealing with just four: passing tones, neighbor tones, appoggiatura, and escape tones. Continue reading

Identifying phrase structure

It’s easy to understand what a section of a song is: an intro, a verse, a chorus, a bridge. It is less easy to understand phrases, the components of a song section. Usually a song section contains between two and four phrases. But what is a phrase? No one seems totally sure. This is important to figure out, because if you aspire to write or improvise music, having control over your phrasing might be the most important thing you need. If you can organize your phrases, you can have limited technique and knowledge of theory and still sound good. If you can’t organize your phrases, all the technique and theory in the world won’t be much help.

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Identifying harmonized basslines

We are wrapping up the harmony unit of pop aural skills class with harmonized basslines. These sound more “classical” than the other material we’re covering, and for good reason. Long before Western Europeans thought in terms of chords, they saw harmony as something that emerged from the interaction of multiple simultaneous melodies. Baroque composers frequently wrote pieces using ground bass, formulaic basslines that act as a foundation for counterpoint. (Bach used ground bass for the Passacaglia and Fugue and the Chaconne.) Galant composers used schemas, short figures combining basslines and contrapuntal melodies that you use as points of departure for larger compositions. And many European composers in the 17th and 18th centuries honed their skills with partimento, basslines that you improvised counterpoint on top of according to particular rules.

Some the Baroque ground bass patterns and galant schemas persist in the vocabulary of Anglo-American pop, though with fewer rules about the correct way to harmonize them. Continue reading

Identifying added-note chords

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 not from jazz. You could also call them extended chords, or complicated chords, or fancy chords, or cool chords. It’s easy to get overwhelmed by all the numbers and symbols. My preferred way to organize all this information is to think of chords as vertically stacked scales. It is intimidating to try to learn to distinguish between C7, C9, C13, C7sus4, C9sus4 and C13sus4, but they are really just different combinations of the notes in C Mixolydian mode, and they all convey a similar “Mixolydian-ness”. But before we get to those, let’s start with extended chords you can make from regular old C major.

Major scale chords

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Whisper Not

When I was in college, I picked up a cassette of Legacy by Jon Faddis from the dollar bin at the record store. It’s a kind of greatest hits of jazz trumpet, and it was one of the best dollars I ever spent. The last three tunes were especially wonderful: “A Child Is Born” by Thad Jones, “Lil’ Darlin’” by Neal Hefti, and “Whisper Not” by Benny Golson. I have to give it up to the producer for that sequencing; the obvious move would have been to end the album on “Lil’ Darlin'”, but instead, just when you’ve been lulled into a peaceful slumber, “Whisper Not” opens up a whole new and unexpected atmosphere of nocturnal mystery. I rewound this part of the tape endlessly.

Here’s a live performance of Benny Golson playing “Whisper Not” with the Jazz Messengers in France in 1958, along with Art Blakey on drums, Lee Morgan on trumpet,  Bobby Timmons on piano and Jymie Merritt on bass.

Golson gives some insight into his compositional process in this Jazzwax interview with Marc Meyers. Continue reading

The Beastie Boys, James Newton, and phonographic orality

One of the most complicated copyright situations covered in my Musical Borrowing class is the landmark sampling lawsuit Newton v. Diamond. “Newton” is jazz flutist and composer James Newton, not to be confused with James Newton Howard. “Diamond” is Michael Diamond, aka Mike D of the Beastie Boys. The song at issue is the Beasties’ “Pass the Mic” (1992).

The flute sample in the intro and throughout comes from James Newton’s piece “Choir” (1982).

If you want to sample legally, you need two separate licenses: one from the owner of the audio recording (typically a record label) and one from the owner of the underlying song or composition (typically the songwriter or composer, or their publisher.) The Beastie Boys got permission to use the recording of “Choir” from James Newton’s label, ECM, and paid a license fee. They did not, however, seek permission from Newton himself. ECM didn’t ask Newton either, and he didn’t even find out about the sample until eight years later, at which point he sued the Beasties for copyright infringement.

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Bemsha Swing

I have “Bemsha Swing” on the brain for no special reason. It’s one of Thelonious Monk’s most persistent earworms, and every once in a while it wakens from its dormant state to occupy my music circuitry for a week or two or three. When I am jamming on the guitar, my fingers constantly find their way into it, and I walk around humming or whistling it  too. I like to think of my relationship with the tune as more symbiotic than parasitic, but either way, the tune is well and truly embedded in me. I don’t know how it was able to take such firm root, but maybe over the course of writing the post, some ideas will suggest themselves.

Monk co-wrote “Bemsha Swing” with drummer Denzil Best. KUVO explains that they originally copyrighted it under the title “Bimsha Swing”, referring to “Bimshire”, a nickname for Denzil Best’s family home of Barbados. Monk first recorded it in 1952 with Gary Mapp on bass and Max Roach on drums. 

Shame on Prestige Records for not bothering to tune the piano! But this happened to Monk a lot in the early days. I wonder how much of his style was driven by the need to make out-of-tune pianos sound good? He always managed to make them sing. In a Yamaha showroom, I saw a demo of their Spirio system, where they had extracted the piano notes from a video of Monk playing live, and they were being played back on a Disklavier. It was uncanny to hear that distinctive Monk-ian touch on a perfectly in-tune brand new grand piano right there in the room with me.

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Polymeter vs polyrhythm

As I continue to build groove pedagogy resources, I want to clear up some persistent confusion about polymeter and polyrhythm. If you don’t feel like reading the whole post, it can be summed up in this image:

The most concisely I can put this into words: in polymeter, the grid lines are aligned, but the downbeats aren’t. In polyrhythm, the downbeats are aligned, but the grid lines aren’t.

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Little Simz and Ramsey Lewis

In 1973, the Ramsey Lewis Trio performed their arrangement of “Summer Breeze” by Seals and Crofts on German television. This performance has been viewed an astonishing 1.6 million times on YouTube.

I learned that fact from Paul Thompson‘s analysis of the performance, which includes transcriptions of several of Cleveland Eaton’s basslines. Paul’s YouTube channel is one of the most valuable music education resources on the internet.

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The saddest chord progression ever (revisited)

First, let’s get this out of the way: the title of this post is a joke. No chord progression has any inherent emotional quality. Musical sadness is a matter of cultural convention, and even within a culture or subculture, sadness is the result of harmony interacting with melody, rhythm, tempo, timbre, phrasing, articulation and other intangibles. The listener produces as much of the music’s meaning as the music does, if not more. That said, everything else being equal, there are some chord and voice leading combinations that reliably evoke sadness in Anglo-American listeners. The saddest chord progression that I know of comes from a short passage near the end of Vasily Kalinnikov‘s Symphony No. 1, 2nd movement. Listen at 6:16.

I mean, right? So the question is, what makes this so sad? Some of it is the orchestration and dynamics and so on. But even if you strum these chords on a guitar with minimal expressiveness, they are still sad. Let’s find out why.

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