Visualizing secondary dominants

In my MusicRadar column honoring Roberta Flack, I thought of a new analogy for secondary dominant chords, and I figured that I should work it into a new explainer with some new graphics. So, if you are having trouble understanding how these chords work, read on.

Secondary dominant chords solve a specific problem: how to make functional tonal harmony more interesting while still keeping things functional. The first concept you need to understand is that every major and minor key has a chord built on its fifth scale degree, the V7 chord. In Western tonal theory, these are the dominant chords, so named because they dominate the key: they create tension and suspense, which is released when you resolve to the tonic chord. The circle of fifths is a useful visualization scheme for the keys and their dominant chords.

Now let’s consider the key of C major. It comprises the notes C, D, E, F, G, A, and B. You can combine these notes to form seven chords: C, Dm, E, F, G, Am, and B°. These chords sound good together in pretty much any order and any combination, but they are bland and lacking in drama. How can you introduce some more color into your C major harmony without throwing random notes and chords around?

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A year of writing for MusicRadar

I am now a year (plus a couple of weeks) into my first professional (non-academic) music writing job as a columnist for MusicRadar.

Most of the columns so far have been assignments from my editor Matt. Once I got the hang of things, I started pitching more ideas too, most of which Matt has agreed to. Continue reading “A year of writing for MusicRadar”

RIP Roberta Flack

I asked MusicRadar if I could do a Roberta Flack column in honor of her passing, and they agreed, so here’s an analysis of “Killing Me Softly With His Song” along with a broader appreciation of her. Before researching the column, I did not know her music beyond the greatest hits, how funky and political she could be, and generally what a profound artist she was.

There is a wide racial gap in Roberta Flack appreciation; I am not unusual among white people for having slept on her completely, while my black friends treat her as a canonical figure. She occupies a similar position to Patrice Rushen in that way. Like most white fans of black American music, I tend to be drawn to the more intensely raw sounds of people like Howlin’ Wolf or James Brown. I grew up being suspicious of musicians with smoother, more polished surfaces. As I have grown up, that has changed, but it’s still an aesthetic growth area for me.

Is music getting dumber?

For the first time, MusicRadar asked me to write about a couple of scientific papers rather than a song or album. The basic argument of both papers is that popular music is getting simpler over time. 

The papers have some limits to their data sets and methodology that should lead you to take their sweeping conclusions with a grain of salt. The meta-level point is that anytime anyone else wants to pay me to critically explain academic papers in plain language, I am open to it.

Update: a colleague pointed out that this post is ableist, which is true. I was trying to satirize the clickbait-y framing of the MusicRadar assignment and don’t think I succeeded.

Terrapin Station

I took a break from analyzing the Grateful Dead while working on other things, but now it’s time to resume, with a tune that is deeply loved by Deadheads and not of conceivable interest to anyone else.

Terrapin Station is a weirdly disjointed album, reflecting the conflicted motivations behind its creation. After their record label collapsed, the Dead signed with Arista, and both the band and the label wanted to move some units. Clive Davis hired Keith Olsen to produce, in the hope that he would bring some of that Fleetwood Mac magic to the table. However, the band brought in all kinds of odd material: Bobby’s reggae song in 7/4, Phil’s sarcastic parody of slick LA rock, Donna’s first original song ever, and Jerry’s 16-minute orchestral prog-rock suite with impenetrable lyrics. That did not add up to a recipe for heavy radio airplay.

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Doechii on Colbert

I’m having a busy week on MusicRadar! They had already assigned me the Kraftwerk column, but then Doechii won her Grammy, and like everyone, I got all fired up about her. So I convinced my editor to publish my take on Doechii’s breathtakingly great performance of “Boiled Peanuts” and “Denial is a River” on Colbert.

This was my first opportunity to write about hip-hop for MusicRadar, and I hope it won’t be the last.

Fahren fahren fahren auf der Autobahn

My latest assignment from MusicRadar was to look at “Autobahn” by Kraftwerk. My studies of electronic music history have seriously neglected these guys, so it was nice to have a reason to dig into their music.

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Ray Charles sings “You Are My Sunshine”

I am mildly obsessed with this recording, both as a work of art and as a music teaching resource.

While I have mentioned this track several times on here, I haven’t really dug into the details. So it’s time to change that. There’s a lot to talk about: the genre, the chords, the melody, the rhythm. Let’s take them in order. Continue reading “Ray Charles sings “You Are My Sunshine””

Harmonic rhythm in two-chord shuttles

We devote a lot of attention in music theory pedagogy to chords. But it isn’t enough to look at what the chords are; you have to consider when they are too. The placement of chord changes in musical time is called harmonic rhythm. The easiest way to understand this idea is to look at songs (or song sections) with only two chords. Philip Tagg calls these two-chord shuttles.

You can’t get much harmonic variety out of a two-chord shuttle by definition, but you can create interest by considering the timing of those two chords.

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Inside the Super MAGFest Jam Clinic

I spent this past weekend at Super MAGFest, where I led some sessions in their Jam Clinic. I was there at the invitation of Ashanti Mills, with whom I have had some great online conversations about participatory music cultures over the years.

Before I explain what I was doing there, I need to explain the video game music (VGM) scene, which I myself only found out about recently. It’s a thriving amateur community that gets together to play music from games, as well as game-adjacent genres like anime themes and vocaloid. The format resembles a jazz or blues jam, but with much wider stylistic variety. Continue reading “Inside the Super MAGFest Jam Clinic”