Chapter 7: Popular Music
- Page ID
- 232618
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 7.1: Rhythm and Meter in Pop Music
- This page explores straight syncopation in contemporary pop/rock music, detailing the concept of shifting notes early. It distinguishes between beat-level and division-level syncopation while identifying metrical levels for rhythm notation. The tresillo pattern (3+3+2) is highlighted for its common usage in pop music, with examples for recognition and differentiation from true triplets. The discussion concludes with suggested resources and assignments for practicing rhythm transcription.
- 7.2: Drumbeats
- This page covers essential drumming techniques and rhythms in pop and jazz music, including the significance of the backbeat, various drum patterns, and components of an acoustic drum kit. It discusses examples from songs by artists like Ella Fitzgerald and Metallica, showcases syncopation, and illustrates triple and quadruple meters.
- 7.3: Melody and Phrasing
- This page explains the structure of sections in pop/rock music, highlighting two-part (aa′), three-part (aa′b), and four-part (srdc) formats. Examples include "Livin’ on a Prayer" for two-part and "Dream Lover" for four-part. It also suggests assignments for students to identify these musical patterns.
- 7.4: Introduction to Form in Popular Music
- This page examines foundational concepts of musical form in pop and rock music, detailing the structure of sections typically ranging from 8 to 24 bars. It differentiates between core sections like verses and choruses, and auxiliary sections such as intros and outros. The chapter also discusses terminology for lyric and music variation, harmonic closure, and song endings, along with notational conventions to clarify musical functions and phrases.
- 7.5: AABA Form and Strophic Form
- This page analyzes musical forms, particularly strophic (AAA) and AABA structures, frequently found in blues, rock, and early pop. It explores key components such as strophes, bridges, and refrains, with examples from notable songs. Additionally, it discusses song forms in works like "Rals," "Faded Love," and "I Want to Hold Your Hand," and suggests further reading on hip-hop's lyrical improvisation. An assignment is included, encouraging the creation of form diagrams for pop songs.
- 7.6: Verse-Chorus Form
- This page discusses the verse-chorus form commonly used in rock-and-roll since the 1960s, outlining its key components: verses, choruses, prechoruses, bridges, and postchoruses. It highlights how songs like Bon Jovi's "Livin’ on a Prayer" utilize this structure, with verses telling stories and choruses serving as hooks. Prechoruses add tension, bridges offer variation, and postchoruses wrap up the sections. The page also clarifies the differences between choruses and refrains.
- 7.7: Introduction to Harmonic Schemas in Pop Music
- This page explores pop harmony via harmonic schemas, highlighting recurring chord progressions in pop and rock music. It emphasizes the significance of these patterns for ear training and musical recognition. Various categories of schemas, such as blues-based, four-chord, classical, puff, and modal schemas, are introduced, preparing for more in-depth analysis in later sections.
- 7.8: Blues-Based Schemas
- This page discusses blues-based schemas that feature plagal motion, notably the I–IV chord vamp prevalent in R&B and soul. It mentions variations like the plagal sigh schema and double-plagal progressions, which create extended harmonies. These patterns evoke nostalgia and sentimentality, especially in pop music, with notable examples from artists like Sam and Dave, Wilson Pickett, Green Day, and The Beatles showcasing these structures.
- 7.9: Four-Chord Schemas
- This page highlights the importance of four common chords (I, IV, V, vi) in pop music and explores various schemas like doo-wop, singer/songwriter, and hopscotch progressions, each with distinct characteristics and variations. The singer/songwriter schema offers tonal ambiguity, while the hopscotch schema's popularity has increased recently.
- 7.10: Classical Schemas (in a Pop Context)
- This page covers two musical schemas: the lament schema, characterized by a descending four-chord progression associated with sorrowful classical music, and the circle-of-fifths schema, involving chords descending by perfect fifths with diverse tonal interpretations. Examples from Dire Straits and Muse are provided to illustrate these concepts, along with assignments encouraging students to identify these schemas in various songs.
- 7.11: Puff Schemas
- This page discusses Puff schemas, which commonly use the I–iii–IV chord progression, with variations like I–III♯–IV and i–III–iv. Examples include "Puff, the Magic Dragon" and "Let’s Get It On." The III♯ chord functions as a V/vi, providing unique deceptive resolutions, seen in "Creep" and "Weekend Wars." These schemas are foundational in music structure, facilitating diverse chord explorations within phrases instead of being repetitive patterns.
- 7.12: Modal Schemas
- This page explores modal music theory in pop songs, focusing on diverse harmonic progressions beyond major and minor scales. It highlights modes like Dorian and Lydian, showcasing unique sound characteristics and challenges in aurally identifying specific chords. Examples from artists such as Daft Punk, Fleetwood Mac, and Taylor Swift illustrate these concepts.
- 7.13: Pentatonic Harmony
- This page discusses the pentatonic scale's role in popular and rock music, its link to the blues, and its use in harmonic progression. It explores concepts like "scale degree conflict" and includes examples, such as Jimi Hendrix's “Hey Joe.” Additionally, it addresses "quintuple plagal" harmonies, encouraging analysis of tonic, chord roots, and pitch collections for deeper understanding.
- 7.14: Fragile, Absent, and Emergent Tonics
- This page explores tonal ambiguity in pop music through three techniques: fragile tonics, which convey vulnerability; emergent tonics, which delay the tonic chord for climactic effect; and absent tonics, hinting at the tonic without direct reference. These methods, exemplified in songs like "Let It Go" and Katy Perry's "Last Friday Night," add complexity to the harmonic simplicity often found in pop music.