Tag Archives: Glenn Miller

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

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

Guide Tone Lines In Action, Part 2

It is said that the only thing two music theorists can agree on is how a third got his analysis wrong. I’ll start out with a disclaimer: this is not  a true Shenkerian analysis of the Harry Warren classic. I … Continue reading

Posted in big band singers, Big Bands, changes, chord progression, common tones, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , , , , , , , | 1 Comment

Guide Tone Lines in Action, Part 1

Today, let’s start off with a short musical interlude: The song of which this is the definitive recording will be the example used for the next  couple of posts. But before going much further, I want to talk about someone … Continue reading

Posted in Big Bands, changes, chord progression, Great American Songbook, guide tone lines, harmonic structures, Hollywood Scores, Improvisation, neighbor tones, Orchestration, Shenkerian Analysis | Tagged , , , , , , , , , , , , , | 6 Comments