My new online music theory class with Soundfly launches in a few weeks. It’s a six-week mentor guided journey through advanced harmonic concepts like extended chords and modal interchange, with examples drawn from contemporary pop, hip-hop and electronica. Soundfly does great work and I’m proud to be working with them.
If you’re interested in learning more about chords and emotions, take my online course.
See also the saddest chord progression ever.
We think of descending melodies and chord progressions as being sad. But the happiest song of all time also has a descending progression: “I Want You Back” by the Jackson 5.
This recording was made just after Michael’s eleventh birthday. I do not approve of child labor, and making a prepubescent boy sing all these songs about romantic love ended up having some grim long-term psychological consequences. But god, what a performance.
The MusEDLab will soon be launching a revamped version of the aQWERTYon with some enhancements to its visual design, including a new scale picker. Beyond our desire to make our stuff look cooler, the scale picker represents a challenge that we’ve struggled with since the earliest days of aQW development. On the one hand, we want to offer users a wide variety of intriguing and exotic scales to play with. On the other hand, our audience of beginner and intermediate musicians is likely to be horrified by a list of terms like “Lydian dominant mode.” I recently had the idea to represent all the scales as colorful icons, like so:
Read more about the rationale and process behind this change here. In this post, I’ll explain what the icons mean, and how they can someday become the basis for a set of new interactive music theory visualizations.
I complain a lot on this blog about the traditional teaching of music theory. Fortunately, a better alternative exists: Everyday Tonality by Philip Tagg. Don’t be put off by the DIY look of the web site; the book is the single best explanation I know of for how harmony works across a broad spectrum of the world’s music.
Final paper for Approaches To Qualitative Inquiry with Colleen Larson
Section 1: Reflections on Received View of Research
I was raised by two medical researchers and a former astrophysicist, surrounded by stacks of quantitative journals. I rarely questioned the assumption that quantitative empirical research is the gold standard of truth, and that while subjective accounts are interesting and illuminating, they are not ultimately reliable. From scientists I learned that stories belong to mythology, while facts do not necessarily organize themselves in ways that can be apprehended so easily. Creation myths tell the story of a human-scale world in which humans are the most important element. Astrophysicists tell us that the universe is unfathomably vast and incomprehensibly old, and that we are insignificant in the grand scheme of things, while evolution teaches that we are more like mushrooms or daisies than unlike them. It is axiomatic for scientists that reality is empirically knowable, and while social and emotional considerations are a fact of life, they are noise to be filtered out.
This post documents my final project for User Experience Design with June Ahn
Overview of the problem
The aQWERTYon is a web-based music performance and theory learning interface designed by the NYU Music Experience Design Lab. The name is a play on “QWERTY accordion.” The aQWERTYon invites novices to improvise and compose using a variety of scales and chords normally available only to advanced musicians. Notes map onto the computer keyboard such that the rows play scales and the columns play chords. The user can not play any wrong notes, which encourages free and playful exploration. The aQWERTYon has a variety of instrument sounds to choose from, and it can also act as a standard MIDI controller for digital audio workstations (DAWs) like GarageBand, Logic, and Ableton Live. As of this writing, there have been aQWERTYon 32,000 sessions.
I’m delighted to announce that my new online music theory collaboration with Soundfly is live. It’s called Unlocking the Emotional Power of Chords, and it gives you a practical guide to harmony for creators of contemporary pop, R&B, hip-hop, and EDM. We tie all the abstract music theory concepts to real-world musical usages, showing how you can use particular chord combinations to evoke particular feelings. I worked hard with the team at Soundfly on this over the past few months, and we are super jazzed about it.
Like my previous Soundfly courses, the Theory for Producers series, the chords class is a blend of videos, online interactives and composition/production challenges. The musical examples are songs by people like Adele, Chance the Rapper, and Frank Ocean. You can download the MIDI files for each example, stick them in your DAW, and dive right into hands-on music making.
I’m working on a new music theory course with the good folks at Soundfly, a continuation of Theory For Producers. We were looking for contemporary songs that use modal interchange, combinations of different scales to create complex blends of emotion. Soundfly producer Marty Fowler suggested a Frank Ocean song, which I was immediately on board with.
Frank is one of the freshest musicians and songwriters out there–his song “Super Rich Kids” is one of my favorite recent tracks by anyone. For the course, Marty picked “Pink And White,” a simple tune with a deceptively complex harmonic structure.