A couple of weeks ago I posted about how a couple of NYU’s new progressive music theory and aural skills classes have been assigning this blog. Either coincidentally or as a result of the post, the department offered me a section of Aural Skills II – Popular Music. That feels good, and it’s an opportunity …
Continue reading “As it turns out, I will be teaching aural skills at NYU this semester”
After spending their first few years writing abstract psychedelic tunes, the Grateful Dead took a hard turn into Americana. They wrote a bunch of songs inspired by blues, country and folk, and in doing so, they massively expanded their listener base. Several of these songs involve outlaws and drifters in the Wild West. I think …
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 …
This year I wrote a bunch of groove pedagogy, including a book proposal and related materials aimed at future publications and teaching. So far, the only published part of all that work is 5 Pop Grooves for Orff Ensembles, a collection of educational music that I composed with Heather Fortune. But lots more is coming, …
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 …
I have a hypothesis about harmony in loop-based music: if you have a good groove going, then any repeated chord progression at all will start to make sense and sound good after a few repetitions. In this post, I demonstrate the idea using two dance floor classics. “Love Rollercoaster” by Ohio Players (1975) is from …
Continue reading “Love Rollercoaster, Genius of Love, and nonsensical chord loops”
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 the film composer). “Diamond” is Michael Diamond, aka Mike D of the Beastie Boys. The song at issue is the Beasties’ …
Continue reading “The Beastie Boys, James Newton, and phonographic orality”
Deb Chachra, one of the smartest people I have ever had the pleasure to meet, has a new book out. You should read it! It’s not directly related to the subject of this blog but, hey, it’s my blog, I can write about whatever I want. Besides, it’s Thanksgiving, and what better thing to be …
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 …
A while back, I made a mashup of many different versions of “Nature Boy”, one of the loveliest and weirdest jazz standards. Every so often I go back and add new versions to it. Here’s the latest update. Nature Boy Megamegamix by Ethan Hein I added Jon Hassell’s recording of the tune over the beat from …
