Identifying plagal cadences

This week in aural skills, we’re working on various harmonic tropes based on IV-I root movements. This chord progression is technically called the plagal cadence, but is more memorably nicknamed the “Amen” cadence because it’s a traditional European hymn ending. (It has nothing to do with the Amen break, though they do sound good together.) The plagal cadence is the mirror image of the classical V-I authentic cadence.

Where does the word “plagal” come from? The Online Etymology Dictionary says that it’s probably from Greek plagios, meaning “oblique” or “side”, and that word in turn comes from the Proto-Indo-European root *plak-, “to be flat”. This root also gives us flag (a flat stone for paving), flake, and plank. Plagal probably shares an etymology with “flatness” because the important voice-leading element is scale degree four resolving down to three. While we’re talking about word origins, amen comes from a Hebrew word meaning “truth,” in this context meaning “an adverbial expression of agreement.” Continue reading

Identifying pentatonic scales

It’s pentatonic scales week in aural skills class. This would seem to be the easiest thing on the syllabus, but I discovered while doing listening exercises with the students that even these simple scales have their subtleties.

Major Pentatonic

You can understand the C major pentatonic scale to be the C major scale without scale degrees four and seven. These are the ones that create all the tension and dissonance, and without them, the major pentatonic sounds uncomplicatedly sunny and cheerful. (Or does it? More on that in a minute.) Click the image to play the scale in the aQWERTYon.

You can easily explore the G-flat major pentatonic scale: it’s the black keys on the piano. Guitarists will find that G major pentatonic is particularly easy to play. (Too bad they can’t so easily play it with the pianists.)

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Call Me Maybe

For the first day of my new pop-oriented Aural Skills II class at NYU, we analyzed “Call Me Maybe” by Carly Rae Jepsen. I have been using this song as a listening example in music tech classes for many years because it is the apex of maximalist brickwall-limited caterpillar-waveform 21st century pop production. In the music tech context, I tend not to talk much about the song itself, but it’s a perfect entry point into pop aural skills too. Here’s the video, in case you have been trapped in a well since 2012.

Delightful though the song is, at first it seemed to me to be too simple and repetitive to be interesting from a notes-on-the-page perspective. However, once I dug in, I found more going on than I had thought.

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NYU Steinhardt is assigning this blog in its music theory and aural skills core classes

Last night I went to a holiday party for NYU Steinhardt’s music education program, where I got my PhD and where I have been teaching the Technology and Pop Practicum courses for several years now. Steinhardt has been overhauling its core music theory and aural skills curricula, and while I am highly interested in this process, I have not been involved in it. I have a lot of opinions about this, but not much credentialing in music theory pedagogy. At the party, a student told me that her theory and aural skills teachers are assigning her a lot of material from this blog. This was news to me. I’m flattered, of course, but also sad, because no one has talked to me about it, much less invited me to teach any of the classes. Like I said, I know my formal CV doesn’t really support that, but if the blog is good enough to assign…

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Moonage Daydream

Over the weekend I went with the family to see the newly remastered 1973 David Bowie concert film, Ziggy Stardust and the Spiders from Mars. I can’t recommend it highly enough. The picture and sound quality are uneven at best, but Bowie is such a spellbinding performer that it doesn’t matter. One of the high points is his performance of this banger.

Like all the great Bowie songs of the era, this superficially sounds like a regular rock song, but it has a lot of peculiar songwriting and arrangement touches. Bowie plays acoustic guitar, but also saxophone and pennywhistle. Mick Ronson plays electric guitar and piano, and also wrote the string arrangement. Trevor Bolder plays bass and Woody Woodmansey plays drums.

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Melanie’s chords are usually sad

The Black Mirror episode “Loch Henry” features a song by Melanie called “People in the Front Row.”

In the last verse, she sings:

These chords that I’m using are usually sad
I had to use them, they’re the best chords that I have
Oh yeah, this progression is usually sad
But it felt my sorrow and I wanted it to feel me glad

This grabbed my ear immediately. I’m always interested in a song that describes its own musical content. But are these chords usually sad? In the context of the Black Mirror episode (it’s about the making of a true crime documentary), the song is incongruously cheerful. But let’s take Melanie at her word. What’s going on here?

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No one can agree what time signature “Row Row Row Your Boat” is in

“Row Row Row Your Boat” is one of the simplest songs in the world. Little kids sing it. It’s obvious what time signature it’s in. Or so you would think. But people are arguing about it on Reddit, and more people are arguing about it on Twitter, and there is no consensus. Is it in 4/4 with a triplet or swing feel? Is it in 3/4? Or 6/8? Or maybe 12/8? Some people have seen it notated in 2/4. A number of people say that the answer is obvious, but they don’t agree with each other what that answer is. I decided to settle the question once and for all. Using my Time Signature Song as a backing track, I recorded myself singing it in 4/4, 2/4, 3/4, 6/8, 12/8, 5/4, 5/8, 10/4, 7/4, 7/8, 9/4, 9/8, 11/8, and 13/8.  

Hope that clears things up. You can all go on with your lives now.

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A nice thing happened with my music theory songs

A Twitter acquaintance wrote me this series of DMs:

Screenshot of Twitter DM: "I'm trying to learn theory and basic keyboard skills (to justify my purchase of a synth) and I've been searching and searching for EXACTLY the resource inside the Music Theory Songs album on Bandcamp. 'It would be cool if as I walked around with headphones on I could...hear...the chords in context' I thought to myself many times. 'That would help me learn.' And of course HERE's GOOD OLD ETHAN HEIN having created a really solid pedagogic resource accessible in the form of music, right there in Bandcamp. Thank you!"

I am so glad he had that reaction. I haven’t been pushing my music theory songs too hard because I wasn’t sure about their value to anyone other than me. I did use some of them in my New School music theory class last semester, but I was hesitant about using the whole thing. This message was a helpful indication that I’m onto something and should lean into it. 

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