Category Archives: baroque composers

Getting From Here To There – Go Fourth…

In the last post, we examined the verse of Jerome Kern’s All The Things You Are – which, while not especially memorable from a melodic standpoint when compared to what follows (Oscar Hammerstein’s lyrics here do set up the refrain … Continue reading

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Posted in baroque composers, baroque era, cadence, changing keys, chord progression, common tone diminished, common tones, diminished chords, dissonance, dissonant intervals, Great American Songbook, guide tone lines, harmonic structures, Improvisation, key change, modal scales, modes, music theory, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

The Mathematics of It All

If you are anything like me, you struggled with math in school. Oh, I could write like Faulkner or Hemingway, play the saxophone like Jimmy Dorsey, draw like Rodin or Picasso….but when it came to numbers, I was lost. Eventually, … Continue reading

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Posted in baroque composers, changes, chord progression, contrary motion, counterpoint, Great American Songbook, guide tone lines, harmonic structures, mathematics, music theory, Orchestration, percussion, rhythm, rudiments, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , , | 3 Comments

Point and Counterpoint – and Being Contrary

Before we attempt to apply counterpoint to the second ending of the “A” section of our example,  I’m going to go through a brief refresher course (or introduction, for you newbies) as to what counterpoint actually is. After all, “counterpoint” … Continue reading

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Posted in baroque composers, baroque era, canon, contrary motion, counterpoint, fugue, guide tone lines, harmonic structures, js bach, pachelbel, Shenkerian Analysis | Tagged , , , , , , , , , , , , , | 2 Comments