Imagine you have a synth bass line that’s a combination of a sine and a saw wave instrument. You like the vibe, but when you turn them both up you aren’t feeling the fatness. That’s likely because the low frequencies of the combined signal are suffering from destructive interference.
“The Middle”: Maybe that Drake one from before was just messing with my head, but I’m pretty sure this one is in Lydian, too. Either that, or again, there may be “multi-modal” possibilities here. The melody is definitely rocking the G major pentatonic, but on the other hand, the changes return to the C chord on the stronger beats all the time, so there’s that. And the fact that the song ends on a D chord (not G or C) doesn’t give us any tie-breakers. It’s almost like both the G and C tonics just “met” somewhere, like… in the…
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The great thing about studying pop tunes is that they very rarely stray from a given key. They like to keep things rather diatonic. This means that with just a small bit of practice, you can start to recognize these chord progressions for yourself, even without your instrument in hand. We will go much deeper into our understanding of how these chords function in later articles, but for now let’s just get comfortable with what we get from “Sorry.”
Surprising! There is absolutely nothing sexy about the way that people perform the Bach chaconne. Alex Ross goes on to detail the ways that composers like Bach combine the groove of repetitive dance forms with the descending bass lines from laments to make a romantic form of sadness.
Like any piece of machine-learning tech, you’re bound to run into some bugs and kinks. What problems have appeared in beta versions of the tech that have needed to be worked out in further iterations?
I love both songs though. When I was growing up in the ’90s, there weren’t enough Lizzos in the world. The Spice Girls and Destiny’s Child had their own version of “girl power,” it came from a different place I think. But something about Lizzo’s execution is way more authentic, more believable, and more of what I want to rally behind right now.
We look at Ligeti’s famous composition in order to decide how much, or how little, the use of music’s foundational parameters really matter in composing.
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Cole Porter’s standard, “I Love You,” sung below by Sarah Vaughan, provides a broad, sweeping plunge into the major seventh interval. Listen as Vaughan sings “Love” and “You” after briefly holding on the “I” around 0:21.
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A lot of pop, hip-hop, and electronic tracks are skipping the bridge these days. You can hear this song form or something similar in the following tracks:
Sitting up in your chair, hold the djembe between your legs, angled behind them and underneath your chair. Your hands should be held out flat, parallel to the ground, with thumbs angled up to the ceiling a bit so they’re elevated from the rest of your hand.