Music theory is hard. Its naming conventions make it harder. Scale names are especially confusing. For example, the diatonic modes are named after places in and around ancient Greece. I’m sure that Aristoxenes found these names memorable and meaningful in 300 BC, and maybe medieval European theorists felt that way too, but now they are …
Continue reading “Let’s rename the scales something more memorable”
In this post, I talk through my favorite Grateful Dead prog epic, the three-song suite of “Help on the Way,” “Slipknot!” and “Franklin’s Tower.” The Dead wrote many of these epic suites, which usually consist of a few short through-composed sections that act as anchor points within long open-ended modal jams. “Help>Slip>Frank” is the most …
Continue reading “Help on the Way -> Slipknot! -> Franklin’s Tower”
The Well-Tempered Clavier is a book of JS Bach compositions for keyboard instruments in each of the twelve major and twelve minor keys. The name refers to Bach’s preferred tuning system, which made it possible to play (sort of) in tune in every key. This was a big deal, because in the usual tuning systems …
Continue reading “What does the Well-Tempered Clavier sound like in actual well temperament?”
Diatonic chords from the C major scale:
In both music theory and music tech classes, I ask the students to pick songs and analyze their structure. This semester, one student chose “Eleanor Rigby” by the Beatles. She had a hard time with it–understandably! It’s not a complicated song, but it is an unconventional one. In this post, I’ll talk through the tune’s …
Struggling to comprehend Bach has been a reliable treatment for my quarantine blues. I’m guiding my listening with scholarly articles about his use of rhythm. Joseph Brumbeloe wrote a good one: “Patterns and Performance Choices in Selected Perpetual-Motion Movements by J. S. Bach.” By “perpetual motion,” Brumbeloe means unbroken streams of uniform note values. In …
Continue reading “Perpetual motion in the Presto from Bach’s G minor Violin Sonata”
It’s a cliché to say that jazz is European harmony plus African rhythm. For example, this lesson plan from Jazz in America says that jazz got its rhythm and “feel” from African music, and its harmony and instruments from European classical. This is not untrue, but it’s an oversimplification. A substantial amount of jazz harmony …
I struggle with the rhythms of rubato-heavy classical pieces, and no one loves rubato more than the Impressionists. When I started listening in earnest to recordings of Debussy’s “Clair de Lune,” I couldn’t even guess the time signature, much less place notes in the bar. This piece is therefore an excellent use case for aural …
John Lennon supposedly thought that “Dear Prudence” was his best song. I agree. I have spent more time playing and remixing it than anything else in the Beatles catalog, and I continue to find new layers.
I have been creating a series of beat-driven remixes of canonical classical works. I have mostly done this for my own enjoyment, because I like hearing the pieces with some groove to them. But I also sense that there might be pedagogical applications for this method as well. I finally found a good example: the …
Continue reading “Rhythmic ambiguity in the Bach E major partita prelude”
