In class we have been talking about secondary dominants, where you temporarily treat a chord as a new key center before returning to the main key. In a modulation, you move to a new key center and stay there (for a while, anyway). Modulations were a common songwriting technique in pre-rock popular music, and a …
Tag Archives: aural skills
Improvising countermelodies
How do you improvise a countermelody? Listen to things in the music and respond: imitate, vary, fill in gaps. Which tracks, though? Start with music that is harmonically uncomplicated enough that you can predict where it’s going, but with enough rhythmic interest to give you something to react to. I do not recommend the blues …
Identifying blues melodies
This is an exciting week of class for me, because we are analyzing blues melodies, and that is a music-theoretic subject that is close to my heart. Given its impact on the past hundred years of Anglo-American popular culture, the blues has been the subject of a shockingly small amount of musicological analysis. The best …
Identifying melodic motives
Motivic development is more of a classical music thing than a rock/pop thing. If you want to hear a motive carried through a series of elaborations and variations, you should look to Beethoven rather than the Beatles. Pop songs are a few riffs, repeated or strung together. But there are some songs out there whose …
Identifying song forms
Song structure is a strange music theory topic, because there is not much “theory” beyond just describing it. Why are some patterns of song sections so broadly appealing? The answer has something to do with the balancing of surprise and familiarity, of predictability and unpredictability, but if someone has a systematic theory of why some …
Identifying phrase structure
It’s easy to understand what a section of a song is: an intro, a verse, a chorus, a bridge. It is less easy to understand phrases, the components of a song section. Usually a song section contains between two and four phrases. But what is a phrase? No one seems totally sure. This is important …
Identifying harmonized basslines
We are wrapping up the harmony unit of pop aural skills class with harmonized basslines. These sound more “classical” than the other material we’re covering, and for good reason. Long before Western Europeans thought in terms of chords, they saw harmony as something that emerged from the interaction of multiple simultaneous melodies. Baroque composers frequently …
Identifying standard pop chord progressions
This week in aural skills, we are practicing identifying pop schemas, that is, chord sequences and loops that occur commonly in various kinds of Anglo-American top 40, rock, R&B and related styles. We previously covered the permutations of I, IV and V and the plagal cadence. Now we’re getting into progressions that bring in the rest …
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Identifying plagal cadences
This week in aural skills, we’re working on various harmonic tropes based on IV-I root movements. This chord progression is technically called the plagal cadence, but is more memorably nicknamed the “Amen” cadence because it’s a traditional European hymn ending. (It has nothing to do with the Amen break, though they do sound good together.) …
Identifying I, IV and V chords
The I, IV and V chords are beginner-level music theory concepts. However, in my pop-oriented aural skills class, we are covering them in the context of the blues, where they are more complicated than they are in the standard tonal theory context. Let’s begin with a review of the basic I, IV and V from …