Using the guitar fretboard as a template, music theorist Dean Olivet has redesigned harmonic notation in a colorful, intuitive methodology for learning.
“Don’t Cry”: Holy loop choppidies! Watch out in the middle of the verses at 0:46 and 1:37, where they slice out just a sliver of the track — you hardly notice it. Then, marvel as they start the bridge (at 1:53) with a bolder half-beat chop-out. And then at 2:10, just in case you were getting used to these chops, they trip you up by adding half a beat instead!
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Soundfly is a new kind of music school for today’s musician. We create creative courses and daily articles for the curious musician. Meet the whole Soundfly Team here.
Ethan Hein is a Doctoral Fellow in Music Education at New York University. He teaches music technology, production and education at NYU and Montclair State University. With the NYU Music Experience Design Lab, Ethan has taken a leadership role in the creation of new technologies for learning and expression, most notably the Groove Pizza. He is the instructor of the free Soundfly course series called Theory for Producers. He maintains a widely-followed and influential blog, and has written for various publications, including Slate, Quartz, and NewMusicBox.
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In order to get access to your Spotify metrics, you need to be a verified artist. Fortunately, the process is now much simpler than it was before — just go here and fill out the short form. Once you’re verified, you’ll be able to log into Spotify for Artists and see all of your data.
“Look Alive”: Aaand we’ve got more Drake. Aaand we’ve also got another somewhat subjective tonality. What we’ve got is three intervals, A and E (an A5 chord), A and D (D5/A), and B♭ and D (B♭ no fifth), and a bass line that adds an F in there (for a♭VI chord, arguably). There’s also no singing to help us establish tonality, and so I first heard it in D minor, but after repeated listening, I realized it was just my brain filling in gaps to meet my tonal bias. It would actually be truer to classify this as A Phrygian because with the A F D B♭ bass line, and without any concrete triads, it’s best to leave it up to the musical scale that matches the sound, and the Phrygian scale here clicks better than anything else.
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