In preparation for making a bunch of new YouTube videos, I have been thinking about Anne Danielsen’s distinction between songs and grooves. It’s a useful scheme for thinking about pop, but it doesn’t cover everything in Western music. We need a third category for linear through-composed music. So here’s my proposal: all of the music …
Category Archives: Music Theory
Chain of Fools
“Chain of Fools” by Aretha Franklin is a song I loved for many years just for listening and enjoying, but then I started to love it even more as a music theory teaching example. It’s emblematic of blues tonality, one-chord changes, and groove structure. The released version is edited down from its original arrangement, which …
Oye Como Va
Santana’s recording of “Oye Como Va” is one of the most outrageous grooves I’ve ever heard. David Welna describes it as “a Cuban cha-cha composed by a Puerto Rican New Yorker and performed by a Mexican immigrant and his San Francisco rock band.” It’s red-hot from its opening seconds. As the organ starts the montuno, …
Bach’s Passacaglia and Fugue in C Minor
A passacaglia is a Baroque dance that is a lot like the chaconne. One of Bach’s greatest hits is his Passacaglia and Fugue in C minor. Like the Chaconne, the Passacaglia is a long series of variations on a short, simple dance form. Also like the Chaconne, it’s pretty awesome. Bach got the first half …
What if the Bach Chaconne was modal jazz?
As I struggle my way through the Bach Chaconne on guitar, I’m having to work around the fact that I am great at music theory but terrible at note reading. So before I could play the piece, I had to completely understand it and be able to feel it by ear. The only way I …
Continue reading “What if the Bach Chaconne was modal jazz?”
Deep dive into the Bach Chaconne
You can now read this post in Spanish on Deviolines I have been spending much of my free time during the pandemic learning how to play the Bach Chaconne on guitar, drawing heavily on Rodolfo Betancourt’s transcription. Here’s Christopher Parkening doing my favorite interpretation by a guitarist (I do not sound remotely like this): This …
Art of Fugue – Contrapunctus VIII
In this post, I’m digging deeper into Bach’s The Art of Fugue with Contrapunctus VIII. It’s way more complex and intense than Contrapunctus I. I used Ableton Live to line up a MIDI file of the piece with Angela Hewitt’s recording, and then color-coded and annotated it to show the structure, the harmony, the subjects …
The Art of Fugue – Contrapunctus I
JS Bach’s last set of works, collectively titled The Art of Fugue, was published shortly after his death. It was not a big hit. Dense counterpoint was deeply unfashionable at that time, as Western European aristocratic tastes shifted toward singable melodies over block chords. The first published edition of The Art of Fugue only sold …
Sonnymoon for Two
Sonny Rollins is a justifiably famous for his improvising, but he has also written several jazz standards that are as catchy as anything on top 40 radio: “St Thomas,” “Pent Up House,” “Doxy,” and the stickiest earworm for me personally, “Sonnymoon for Two.” Here’s an early studio recording: Here’s the really famous version, from the …
Repetition legitimizes, funk beautifies
David Bruce made a delightful video about the role of repetition in Stravinsky’s The Rite of Spring. While this piece is hair-raisingly dissonant, it’s also remarkably popular (by classical music standards, anyway.) David explains this fact by showing how repetition makes the previously inexplicable seem more meaningful and less threatening. A crunchy chord might be …