This semester I am once again teaching pop theory and aural skills at NYU. I have done some previous reflections on these classes. The students are undergrads, mostly studying instrumental and vocal performance, songwriting and music technology. They range in stylistic background from pop to rock to jazz to R&B to hip-hop to musical theater, and there …
Continue reading “The plan for Pop Theory II and Pop Aural Skills II this semester”
The other night, the family and I went to a Handel’s Messiah singalong at Lincoln Center. This is an enjoyable holiday tradition where professional singers, conductors and musicians perform the Messiah, and the audience sings along for all the choral parts. You have to bring your own score, and this attracts a very specific kind …
Continue reading “Is there a way to teach counterpoint that is less of a drag?”
I just concluded my first semester teaching Advanced Popular Music Transcription in NYU’s new pop theory and aural skills sequence. The students transcribe recorded music into notation, and also analyze production techniques and timbre. Learning by ear is an essential skill for pop musicians. Even when you are using charts, accurate ones are rarely available. …
My Advanced Pop Transcription class has started our rap unit, where the students have to pick a verse and transcribe eight bars of it into notation. In preparation for that project, we are listening to and analyzing tracks from various styles and eras, and also talking about the larger social and political context of the …
Continue reading “Five songs that show the evolution of rap from 1986 to 2000”
Almost all Anglo-American pop music is in 4/4, aside from occasional 6/8 ballads. However, dancers tend to count off “five, six, seven, eight.” Why are they counting like this? Is it because they are thinking in 8/4 or 8/8? If so, they are right to do so. I think everybody should be counting pop music …
Continue reading “We should be counting most pop music in 8/4”
I have been teaching at NYU for eleven years. For most of that time, I taught music tech and pop songwriting to music education majors. Recently, the music theory program did a hard pivot from the traditional Eurocentric sequence I went through as a grad student, and they started offering a diverse range of classes …
Continue reading “Advanced Pop Transcription at mid-semester”
Next week, my NYU graduate seminar on technology in music education is supposed to start talking about AI: large language models, prompt-based generators, stem separation and so on. I am not feeling much enthusiasm for this unit, for a couple of reasons. First of all, we are currently talking about YouTube, which is a richly …
This is a seemingly dry music theory topic, but it gave me an excuse to sing “You Never Give Me Your Money” and “Fly Me To The Moon” over the instrumental to “I Will Survive”. Should I sing more on the podcast? Chord progressions on the circle of fifths part one by Ethan Hein The …
Continue reading “Circle of Fifths sequences on the pod (also me singing)”
I continue to work through the greatest hits of my classroom practice. It’s fun and easy making episodes using material that I have presented many times in many contexts, informed by student discussions. Eventually I will run out of this stuff and my pace will slow down significantly, but for now, the episodes are pretty …
I have written about the Funky Drummer break several times here before, but this podcast episode is my best explanation of it. The main thing that’s new is the connection between this break and Afro-Latin tresillo patterns. I also programmed a bunch of variations on the groove for comparison purposes. The name of this tune …
Continue reading “The name of this tune is The Funky Drummer”
