{"id":601,"date":"2023-05-11T19:03:30","date_gmt":"2023-05-11T19:03:30","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmony-in-pop-rock\/"},"modified":"2025-08-14T19:38:48","modified_gmt":"2025-08-14T19:38:48","slug":"harmony-in-pop-rock","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmony-in-pop-rock\/","title":{"raw":"Harmony in pop and rock","rendered":"Harmony in pop and rock"},"content":{"raw":"<div class=\"harmony-in-pop-&amp;-rock\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 22<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Some common ways harmonic progressions are structured in popular music recordings<\/li>\r\n \t<li>How to aurally identify different harmonic progressions in popular music recordings<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Some common methods of organization of harmony in pop and rock\"><\/a>Some common methods of organization of harmony in pop and rock<\/h1>\r\n<blockquote>\r\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">\u201cDespite frequently voiced assertions and their underlying presumptions, there is no single sort of tonal behavior common to all rock music, but rather a spectrum of approaches to scales, harmonic function and voice leading.\u201d[footnote]Walter Everett, \u201cMaking Sense of Rock\u2019s Tonal Systems,\u201d <em>Music Theory Online<\/em> 10, no. 4 (December 2004), <a class=\"rId324\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html<\/span><\/a>.[\/footnote]<\/p>\r\n<\/blockquote>\r\n<p class=\"import-Normal\">Although this list is not exhaustive, the following harmony types represent the most common methods of harmonic organization in popular music recordings:<\/p>\r\n\r\n<ul>\r\n \t<li style=\"list-style-type: none\">\r\n<ul>\r\n \t<li>[pb_glossary id=\"2734\"]Functionally tonal[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2749\"]Functionally modal[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2737\"]Riff[\/pb_glossary]-based<\/li>\r\n \t<li>[pb_glossary id=\"2750\"]Shuttle[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2738\"]Chord loops[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2753\"]Power chord[\/pb_glossary]s<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Not all categories are mutually exclusive. For example, a recording that uses a chord loop may also be functionally tonal, and a riff-based recording may also use power chords.<\/p>\r\n\r\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL<\/span><span class=\"import-SubtitleChar\"> (T-P-D and<\/span><span class=\"import-SubtitleChar\">\/o<\/span><span class=\"import-SubtitleChar\">r harmonic sequences)<\/span><\/h2>\r\n<p class=\"import-Normal\">[pb_glossary id=\"2734\"]Functionally tonal harmony[\/pb_glossary] draws from major or minor keys and uses tonic-predominant-dominant [pb_glossary id=\"2735\"]T-P-D[\/pb_glossary] type progressions and\/or [pb_glossary id=\"2148\"]harmonic sequences[\/pb_glossary] that conform to European classical models. The verses of the recording featured in Example 22-1 use a simple, repeating T-P-D progression in F major: I \u2013 IV \u2013 V. We studied this example previously in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/\" target=\"_blank\" rel=\"noopener\">Chapter 16<\/a> when learning about harmonic function.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20111. George Harrison, \u201cSet on You,\u201d 0:19\u20130:32<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3\"][\/audio]\r\n\r\nListen to the full track on<span>\u00a0<\/span><a href=\"https:\/\/open.spotify.com\/track\/1ukHtC2BBs51jmSGaxoEeL?si=80671b1cad49452f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English musician and former Beatle,<span>\u00a0<\/span><strong>George Harrison<\/strong><span>\u00a0<\/span>(1943\u20132001) by reading this<span>\u00a0<\/span><a class=\"rId204\" href=\"https:\/\/www.britannica.com\/biography\/George-Harrison-British-musician\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Britannica<\/span><span class=\"import-Hyperlink\"><span>\u00a0<\/span>article<\/span><\/a><span>, <\/span>revised and updated by Alicja Zelazko.\r\n\r\n<\/div>\r\n<\/div>\r\nJoni Mitchell's \"California,\" featured in Example 22-2, uses another T-P-D progression in E major: I \u2013 IV \u2013 V\/V \u2013 V. We will study the V\/V chord, which has predominant function like the IV chord, in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-dominants\/\" target=\"_blank\" rel=\"noopener\">Chapter 31<\/a>.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20112. Joni Mitchell, \u201cCalifornia,\u201d 0:11\u20130:22<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.2-joni-mitchell.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/youtu.be\/l6tlDUqRMUo?si=wuerwlPPztR27jmG\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.\r\n\r\nLearn about Canadian singer-songwriter\u00a0<strong>Joni Mitchell\u00a0<\/strong>(b. 1943) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45943\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Dai Griffiths.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-3 uses a repeating loop of the [pb_glossary id=\"675\"]circle-of-fifths[\/pb_glossary] [pb_glossary id=\"2148\"]harmonic sequence[\/pb_glossary] in C major: ii7 \u2013 V7 \u2013 I7 \u2013 IV7. The first half of the audio example uses just bass and drums, articulating chord roots, and the second half introduces other instruments that articulate the full chords of the progression.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20113. 26 BATS!, \u201cDo What You Do,\u201d 0:00\u20130:26<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.3-26-BATS.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4jLcO4ROwmdf47QklqMpX8?si=aeb4809e04c742ed\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 21st-century American circus-pop band <strong>26 BATS!<\/strong> by reading their <a href=\"https:\/\/26bats.com\/about\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the band's official website.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL<\/span><span class=\"import-SubtitleChar\"> <\/span><span class=\"import-SubtitleChar\">(alternative progressions)<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\r\n<p class=\"import-Normal\"><span>Functionally tonal harmony may also use alternative progressions that differ from European classical model, while still drawing from major or minor keys.<\/span> Example 22-4 uses the [pb_glossary id=\"1921\"]primary diatonic chords[\/pb_glossary], but places the V chord before the IV chord, with a repeating chord progression in G major: I \u2013 V \u2013 IV \u2013 I. This progression is common in a lot of popular music. This chord progression, which some music theorists call a \"[pb_glossary id=\"2747\"]retrogression[\/pb_glossary],\" is common in a lot of popular music.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20114. Nathaniel Rateliff &amp; The Night Sweats, \u201cI Need Never Get Old,\u201d 0:14\u20130:43<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.4-nathaniel-rateliff.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YfEvtwpQwGAWZBWzNmoIw?si=028a9a39e9ae447a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about American singer-songwriter\u00a0<strong>Nathaniel Rateliff<\/strong> (b. 1978) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/nathaniel-rateliff-mn0001982299\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a> at allmusic.com, written by Thom Jurek.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-5 features a repeating progression in E major: ii \u2013 IV \u2013 I. This example features what some music theorists call a \"[pb_glossary id=\"2748\"]plagal expansion[\/pb_glossary],\" using the supertonic chord followed by the subdominant to extend predominant function before resolving to tonic.<small>\u00a0<\/small>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20115. Radiohead, \u201cHigh and Dry,\u201d 0:05\u20130:28<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.5-radiohead-high-and-dry.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5jafMI8FLibnjkYTZ33m0c?si=a9851987996b47c5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-6 uses another type of plagal expansion, one that uses a major-minor supertonic seventh chord before moving to the minor subdominant triad. Here the progression appears in F[latex]\\sharp[\/latex] major: II7 \u2013 iv \u2013 I.[footnote]Brad Osborn examines this progression in <em>Everything in Its Right Place: Analyzing Radiohead <\/em>(Oxford and New York: Oxford University Press, 2017), 13.[\/footnote]<small><\/small><small><\/small>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20116. Radiohead, \u201cVegetable,\u201d 0:34\u20130:48<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.6-radiohead-vegetable.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/11qDTSr3Dj4TkPnBcIOqEJ?si=8184942ef386466a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about English rock band <strong>Radiohead<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\nAnother common alternative progression uses the subtonic ([latex]\\flat[\/latex]VII) triad in a major key. Example 22-7 features a repeating chord progression in D major: I \u2013 [latex]\\flat[\/latex]VII \u2013 IV. We can also consider this progression an example of a [pb_glossary id=\"2749\"]modally functional[\/pb_glossary] progression (see below), derived from the [pb_glossary id=\"1192\"]mixolydian[\/pb_glossary] mode.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20117. Lynyrd Skynyrd, \u201cSweet Home Alabama,\u201d 0:03\u20130:26<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.7-skynyrd.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7e89621JPkKaeDSTQ3avtg?si=1aa8371f83ac4823\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 20th-century American rock band <strong>Lynyrd Skynyrd<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267092\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by J. Michael Butler.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T48 Harmony in pop and rock, part 1: functionally tonal progressions (10:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/vimeo.com\/997841872?share=copy<\/p>\r\n<p class=\"import-Normal\">This video, the first in a series of three on systems of harmonic organization in popular music, focuses on examples of functionally tonal progressions, both diatonic and chromatic, in the music of George Harrison, Joni Mitchell, 26 BATS!, Nathaniel Rateliff &amp; The Night Sweats, Radiohead, and Lynyrd Skynyrd.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY MODAL<\/span><\/h2>\r\n<p class=\"import-Normal\">[pb_glossary id=\"2749\"]Functionally modal harmony[\/pb_glossary] draws upon modal scales to create functional harmonic progressions. Example 22-8 features a repeating progression in the E [pb_glossary id=\"1564\"]aeolian[\/pb_glossary] mode: i \u2013 [latex]\\flat[\/latex]VII \u2013 [latex]\\flat[\/latex]VII \u2013 i. Since this progression also alternates between two chords, we consider it to be an example of [pb_glossary id=\"2750\"]shuttle[\/pb_glossary] as well.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20118. The Gap Band, \u201cYou Dropped a Bomb on Me\u201d 0:13\u20130:36<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-the-gap-band.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1VKPiQJnV15flF5B3zeocD?si=cee71d9380924e77\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 20th-century American band\u00a0<strong>The Gap Band<\/strong> by reading this <a href=\"https:\/\/www.okhistory.org\/publications\/enc\/entry.php?entry=GA009\" target=\"_blank\" rel=\"noopener\">article<\/a>, written by Hugh W. Foley, Jr.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-9 uses a progression in G mixolydian: I \u2013 IV \u2013 I \u2013 [latex]\\flat[\/latex]VII \u2013 I.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u20119. The Beatles, \u201cA Hard Day\u2019s Night,\u201d 0:00\u20130:17<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.9-the-beatles.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5J2CHimS7dWYMImCHkEFaJ?si=1a9497187c2b4aed\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>The Beatles<\/strong> and their music by reading this <a class=\"rId320\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.\r\n\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL or MODAL with ABSENT TONIC<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\r\n<p class=\"import-Normal\">This category includes harmony that is drawn from major, minor, or modal systems but implies the presence of tonic without articulating it, or significantly delays its appearance.[footnote]For more on this topic, see Mark Spicer, \u201cFragile, Emergent, and Absent Tonics in Pop and Rock Songs,\u201d <em>Music Theory Online<\/em> 23, no. 2 (June 2017), <a href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html\" target=\"_blank\" rel=\"noopener\">http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html<\/a>.[\/footnote]<\/p>\r\nExample 22-10, a verse of Prince's \"Little Red Corvette,\" uses the following repeating progression in D major: IV \u2013 V \u2013 vi \u2013 IV7. While the submediant chord does substitute for tonic function in the verse, the tonic chord does not sound until the chorus section 49 seconds into the recording.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201110. Prince, \u201cLittle Red Corvette,\u201d 0:16\u20130:49<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.10-prince.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4iozhXt27eMl39W5z7R8H6?si=d6cf7d37163b48f3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter, musician, and producer <strong>Prince<\/strong><strong> (Rogers Nelson)<\/strong> (1958\u20132016) by reading this <a class=\"rId321\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353394\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Griffin Woodworth.\r\n\r\n<\/div>\r\n<\/div>\r\nWhile Prince delays the appearance of the tonic chord (Example 22-10), the entirety of Fleetwood Mac's \"Dreams\" never uses it at all. Example 22-11 features an excerpt from this recording, which uses a repeating [pb_glossary id=\"2750\"]shuttle[\/pb_glossary] progression in C major: IV \u2013 V.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201111. Fleetwood Mac, \u201cDreams\u201d 1:13\u20131:45<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.11-fleetwood-mac.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1lbXEepatjRVjoG8pZMtdp?si=abe9084ca0784fce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>Fleetwood Mac<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46634\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Covach.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T49 Harmony in pop and rock, part 2: functionally modal and absent tonic progressions (5:45)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">https:\/\/vimeo.com\/998236532?share=copy<\/p>\r\n<p class=\"import-Normal\">This video, the second in a series of three on systems of harmonic organization in popular music, explores functionally modal and absent tonic progressions. Examples include music by The Gap Band, The Beatles, Prince, and Fleetwood Mac.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">RIFF-BASED<\/span><span class=\"import-SubtitleChar\"> <\/span><\/h2>\r\n<p class=\"import-Normal\">Riff-based harmony emerges from the continuous use of short repeated melodies (called \u201c[pb_glossary id=\"2737\"]riffs[\/pb_glossary]\u201d). Example 22-12 uses a repeating riff in the bass, from which the harmony of the recording is generated. The riff takes its pitches from the F[latex]\\sharp[\/latex] [pb_glossary id=\"1388\"]major pentatonic[\/pb_glossary] scale, and spans C[latex]\\sharp[\/latex] to F[latex]\\sharp[\/latex].<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201112. Riff from Moses Sumney, \u201cCut Me,\u201d 0:00\u20130:34<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-1024x216.png\" alt=\"image of melody in bass clef: C-sharp D-sharp F-sharp F-sharp\" width=\"1024\" height=\"216\" class=\"alignnone size-large wp-image-6748\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YheRoPUnQc0mXiWBUiQz5?si=c094f07e3bd24bbd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about Ghanaian-American singer-songwriter\u00a0<strong>Moses Sumney<\/strong> (b. 1992) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/moses-sumney-mn0003284526\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Timothy Monger.<span style=\"font-size: 1rem\"><\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nLike Example 22-12, Example 22-13 also uses a riff drawn from a pentatonic scale. In this case, it draws from A [pb_glossary id=\"1392\"]minor pentatonic[\/pb_glossary] using a synthesized cello sound.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201113. TOOL, \u201cFear Inoculum,\u201d 0:11\u20130:33<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.13-TOOL.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/39zWYYZStDgWi32sOU9AX4?si=4306263798c94fc8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about American alt-metal band <strong>TOOL<\/strong> by reading their <a href=\"https:\/\/www.last.fm\/music\/Tool\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">SHUTTLE<\/span><\/h2>\r\n<p class=\"import-Normal\">The term \"[pb_glossary id=\"2750\"]shuttle[\/pb_glossary]\" refers to the repeating alternation of two chords. We have already listened to shuttle progressions in Examples 22\u20118 and 22-11. Example 22-14 offers another repeating shuttle progression in G[latex]\\flat[\/latex] major: I \u2013 ii.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201114. Leon Bridges, \u201cComing Home,\u201d 0:25\u20130:49<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.14-Leon-Bridges.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5EA06TsQmqmQXZiEhr1AaM?si=2dd519b7bff94e03\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about American R&amp;B singer-songwriter <strong>Leon Bridges<\/strong> (b. 1989) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/leon-bridges-mn0003380137\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Andy Kellman.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nThe intro and verse sections in \"Hard to Kill\" by Bleached uses a repeating shuttle progression in D minor: i \u2013 III, as shown in Example 22-15.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201115. Bleached, \u201cHard to Kill,\u201d 0:00\u20130:32<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.15-bleached.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2W830GhisPFzMAZOlKNBcY?si=378ca0f7eed34620\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 21st-century American pop band\u00a0<strong>Bleached<\/strong> by reading their <a href=\"https:\/\/www.allmusic.com\/artist\/bleached-mn0002766601\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Heather Phares.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">CHORD LOOPS<\/span><\/h2>\r\n<p class=\"import-Normal\">[pb_glossary id=\"2738\"]Chord loops[\/pb_glossary] are repeating successions of chords (usually four), and they are ubiquitous in popular music.[footnote]For more on this topic, see Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d <em>Music Theory Online<\/em> 25, no. 4 (December 2019), <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>; and Christopher Doll, <em>Hearing Harmony: Toward a Tonal Theory for the Rock Era (<\/em>Ann Arbor: University of Michigan Press, 2017), 110\u201325.[\/footnote] Example 22-16 features a repeating chord loop in G major: I \u2013 V \u2013 vi \u2013 IV.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201116. Journey, \u201cAny Way You Want It,\u201d 0:37\u20130:52<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.16-journey.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4UVKy0DI1hOlL8xF99Ba5j?si=efbf611a87ee4064\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 20th-century rock band\u00a0<strong>Journey<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2266977\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Michael Ethen.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-17 uses a similar, but rotated, repeating chord loop in G major: vi \u2013 IV \u2013 I \u2013 V.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201117. The Cranberries, \u201cZombie,\u201d 1:35\u20132:10<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.17-cranberries.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7EZC6E7UjZe63f1jRmkWxt?si=bc5f252a24cb4a8c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about Irish alt-rock band <strong>The Cranberries<\/strong> by reading the <a href=\"https:\/\/www.cranberries.com\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the band's official website.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-18 reproduces Ben Duinker's transcription of the repeating D major chord loop in in The Chainsmokers &amp; Coldplay's \u201cSomething Just Like This\u201d: IVadd9 \u2013 Aadd4 \u2013 Bmi7 \u2013 Aadd4. This is also an example of a recording with [pb_glossary id=\"2751\"]absent tonic[\/pb_glossary], if you hear D as the tonal center.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201118. Transcription of chord loop in The Chainsmokers &amp; Coldplay, \u201cSomething Just Like This,\u201d 1:05\u20131:24 [footnote]Transcription by Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d <em>Music Theory Online<\/em> 25, no. 4 (December 2019), <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>, example 1. Used with the permission of the author.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142.png\" width=\"1000\" height=\"250\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.18-chainsmokers.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1dNIEtp7AY3oDAKCGg2XkH?si=818031cfa8da4888\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about this collaboration between American electronic rock duo <strong>The Chainsmokers<\/strong> and British rock band <strong>Coldplay <\/strong>by reading this Wikipedia <a href=\"https:\/\/en.wikipedia.org\/wiki\/Something_Just_Like_This\" target=\"_blank\" rel=\"noopener\">article<\/a>.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h2><span class=\"import-SubtitleChar\">POWER CHORDS<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\r\n<p class=\"import-Normal\">[pb_glossary id=\"2753\"]Power chords[\/pb_glossary] are open fifth chords, played by electric guitar, often amplified with distortion. Example 22-19 uses a repeating progression in F minor with the following power chords: 1<sup>5<\/sup> \u2013 4<sup>5<\/sup> \u2013 [latex]\\flat[\/latex]3<sup>5<\/sup> \u2013 [latex]\\flat[\/latex]6<sup>5<\/sup>.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201119. Nirvana, \u201cSmells Like Teen Spirit,\u201d 1:07\u20131:24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.19-nirvana.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ghIJDpPoe3CfHMGu71E6T?si=f086f7e3ff394cf9\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about 20th-century American grunge band <strong>Nirvana<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2257719\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Ryan Moore.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nExample 22-20 uses power chords in a repeating progression in C major: 1<sup>5<\/sup> \u2013 4<sup>5<\/sup> \u2013 1<sup>5<\/sup> \u2013 [latex]\\flat[\/latex]7<sup>5<\/sup>. This example also uses a [pb_glossary id=\"2757\"]composite meter[\/pb_glossary], which we will study in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composite-meters\/\" target=\"_blank\" rel=\"noopener\">Chapter 30<\/a>.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 22\u201120. Gorillaz, \"5\/4,\" 0:00\u20130:24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.20-Gorillaz.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5zbkoIgrBO5VjrQIEChlre?si=57e726cc1c2746e4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\n<p class=\"p1\">Learn about British virtual band <strong>Gorillaz<\/strong> by reading their <a href=\"https:\/\/www.last.fm\/music\/Gorillaz\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T50 Harmony in pop and rock, part 3: riff-based, shuttle, and power chords (8:34)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/aGCEkcQT7h8?si=lwqQmZXNyuQhY8dH\r\n<p class=\"import-Normal\">This video, the last in a series of three that explores harmony in popular music, examines riff-based harmony, shuttle, and power chords in music by TOOL, Bj\u00f6rk, Leon Bridges, Bleached, and Nirvana.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Identifying harmonic organization aurally\"><\/a>Identifying harmonic organization aurally<\/h1>\r\nWhile there is great variety in the ways harmony is organized in popular music recordings, you can follow a few steps to learn how to identify systems of organization by ear. First, many students like to identify chord roots. It may help to use an instrument and sing as you listen to first find tonic. Once you can identify the bass line, which often uses chord roots, try putting solfege syllables on the notes you hear. From there, use your knowledge to think about what Roman numerals or chord functions are most logical with the bass line you hear. You can also listen and study for patterns, such as [pb_glossary id=\"2148\"]harmonic sequences[\/pb_glossary], [pb_glossary id=\"2750\"]shuttles[\/pb_glossary], or [pb_glossary id=\"2738\"]chord loops[\/pb_glossary]. To determine mode or scale type, you can also try singing a scale in solfege from the tonic you have identified. This can be especially useful for recordings that use modal harmony. As you attempt to classify different recordings according to the types we've covered in this chapter, remember that the categories are not mutually exclusive, and multiple systems of organization are possible.\r\n<h1><a id=\"EXERCISE 22-1 Aural harmony in pop and rock ID\"><\/a>EXERCISE 22-1 Aural harmony in pop and rock ID<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 22-1 Aural harmony in pop and rock ID<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFirst, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=3083c0e2699d4144\">Spotify playlist for harmony in pop and rock<\/a>\r\n\r\nChoose a track and play a portion of it. While listening, first find tonic by singing it and\/or finding it on an instrument. Then work toward listening for the chord roots of the featured progression, and seek a match with one or more of the types we have studied. If you encounter an example that stumps you, simply choose a different track and try again. You can collaborate with a fellow classmate or follow up with your instructor to examine any tracks that are difficult to classify.\r\n\r\nOnce you have determined the type(s) of harmonic organization, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Selected-answers-to-EXERCISE-22.1-Aural-harmony-in-pop-and-rock-ID.pdf\" target=\"_blank\" rel=\"noopener\">Selected answers to EXERCISE 22.1 Aural harmony in pop and rock ID<\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex22.1-Aural-harmony-in-pop-and-rock-ID.pdf\">Ex22.1 Aural harmony in pop and rock ID<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Further reading<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nBiamonte, Nicole. 2011. \u201cTriadic Modal and Pentatonic Patterns in Rock Music.\u201d <em>Music Theory Spectrum<\/em> 32, no. 2 (Fall): 95\u2013110.\r\n\r\ndeClerq, Trevor. 2021. \u201cThe Logic of Six-Based Minor for Harmonic Analyses of Popular Music.\u201d <em>Music Theory Online<\/em> 27, no. 4 (December). <a href=\"https:\/\/mtosmt.org\/issues\/mto.21.27.4\/mto.21.27.4.de_clercq.html\" target=\"_blank\" rel=\"noopener\">https:\/\/mtosmt.org\/issues\/mto.21.27.4\/mto.21.27.4.de_clercq.html<\/a>.\r\n\r\ndeClerq, Trevor, and David Temperley. 2011. \u201cA Corpus Analysis of Rock Harmony.\u201d <em>Popular Music<\/em> 30, no. 1: 47\u201370.\r\n\r\nDoll, Christopher. 2017. <em>Hearing Harmony: Toward a Tonal Theory for the Rock Era<\/em>. Ann Arbor: University of Michigan Press.\r\n\r\nDuinker, Ben. 2019. \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music.\u201d <em>Music Theory Online<\/em> 25, no. 4 (December). <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>.\r\n\r\nEverett, Walter. 2004. \u201cMaking Sense of Rock\u2019s Tonal Systems.\u201d <em>Music Theory Online<\/em> 10, no. 4 (December). <a href=\"http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html\" target=\"_blank\" rel=\"noopener\">http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html<\/a>.\r\n\r\nNobile, Drew. 2020. <em>Form as Harmony in Rock Music<\/em>. Oxford and New York: Oxford University Press. See chapter 1, titled \u201cHarmonic Syntax,\u201d 1\u201338.\r\n\r\nOsborn, Brad. 2017. <em>Everything in Its Right Place: Analyzing Radiohead<\/em>. Oxford and New York: Oxford University Press.\r\n\r\nRichards, Mark. 2017. \u201cTonal Ambiguity in Popular Music\u2019s Axis Progressions.\u201d <em>Music Theory Online<\/em> 23, no. 3 (September). <a href=\"https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.richards.html\" target=\"_blank\" rel=\"noopener\">https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.richards.html<\/a>.\r\n\r\nSpicer, Mark. 2017. \u201cFragile, Emergent, and Absent Tonics in Pop and Rock Songs.\u201d <em>Music Theory Online<\/em> 23, no. 2 (June). <a href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html\" target=\"_blank\" rel=\"noopener\">http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html<\/a>.\r\n\r\nStephenson, Ken. 2002. <em>What to Listen for in Rock: A Stylistic Analysis<\/em>. New Haven and London: Yale University Press.\r\n\r\nTemperley, David. 2018. <em>The Musical Language of Rock<\/em>. New York: Oxford University Press. See chapter 3, \"Harmony,\" 41\u201365.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 22<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-pop-schemas\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes and Megan Lavengood's chapter on harmonic schemas in pop music<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"harmony-in-pop-&amp;-rock\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 22<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Some common ways harmonic progressions are structured in popular music recordings<\/li>\n<li>How to aurally identify different harmonic progressions in popular music recordings<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Some common methods of organization of harmony in pop and rock<\/h1>\n<blockquote>\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">\u201cDespite frequently voiced assertions and their underlying presumptions, there is no single sort of tonal behavior common to all rock music, but rather a spectrum of approaches to scales, harmonic function and voice leading.\u201d<a class=\"footnote\" title=\"Walter Everett, \u201cMaking Sense of Rock\u2019s Tonal Systems,\u201d Music Theory Online 10, no. 4 (December 2004), http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html.\" id=\"return-footnote-601-1\" href=\"#footnote-601-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/blockquote>\n<p class=\"import-Normal\">Although this list is not exhaustive, the following harmony types represent the most common methods of harmonic organization in popular music recordings:<\/p>\n<ul>\n<li style=\"list-style-type: none\">\n<ul>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2734\">Functionally tonal<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2749\">Functionally modal<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2737\">Riff<\/a>-based<\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2750\">Shuttle<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2738\">Chord loops<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2753\">Power chord<\/a>s<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p class=\"import-Normal\">Not all categories are mutually exclusive. For example, a recording that uses a chord loop may also be functionally tonal, and a riff-based recording may also use power chords.<\/p>\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL<\/span><span class=\"import-SubtitleChar\"> (T-P-D and<\/span><span class=\"import-SubtitleChar\">\/o<\/span><span class=\"import-SubtitleChar\">r harmonic sequences)<\/span><\/h2>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2734\">Functionally tonal harmony<\/a> draws from major or minor keys and uses tonic-predominant-dominant <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2735\">T-P-D<\/a> type progressions and\/or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2148\">harmonic sequences<\/a> that conform to European classical models. The verses of the recording featured in Example 22-1 use a simple, repeating T-P-D progression in F major: I \u2013 IV \u2013 V. We studied this example previously in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/\" target=\"_blank\" rel=\"noopener\">Chapter 16<\/a> when learning about harmonic function.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20111. George Harrison, \u201cSet on You,\u201d 0:19\u20130:32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on<span>\u00a0<\/span><a href=\"https:\/\/open.spotify.com\/track\/1ukHtC2BBs51jmSGaxoEeL?si=80671b1cad49452f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English musician and former Beatle,<span>\u00a0<\/span><strong>George Harrison<\/strong><span>\u00a0<\/span>(1943\u20132001) by reading this<span>\u00a0<\/span><a class=\"rId204\" href=\"https:\/\/www.britannica.com\/biography\/George-Harrison-British-musician\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Britannica<\/span><span class=\"import-Hyperlink\"><span>\u00a0<\/span>article<\/span><\/a><span>, <\/span>revised and updated by Alicja Zelazko.<\/p>\n<\/div>\n<\/div>\n<p>Joni Mitchell&#8217;s &#8220;California,&#8221; featured in Example 22-2, uses another T-P-D progression in E major: I \u2013 IV \u2013 V\/V \u2013 V. We will study the V\/V chord, which has predominant function like the IV chord, in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-dominants\/\" target=\"_blank\" rel=\"noopener\">Chapter 31<\/a>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20112. Joni Mitchell, \u201cCalifornia,\u201d 0:11\u20130:22<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.2-joni-mitchell.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.2-joni-mitchell.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.2-joni-mitchell.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/youtu.be\/l6tlDUqRMUo?si=wuerwlPPztR27jmG\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p>Learn about Canadian singer-songwriter\u00a0<strong>Joni Mitchell\u00a0<\/strong>(b. 1943) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.45943\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Dai Griffiths.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-3 uses a repeating loop of the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_675\">circle-of-fifths<\/a> <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2148\">harmonic sequence<\/a> in C major: ii7 \u2013 V7 \u2013 I7 \u2013 IV7. The first half of the audio example uses just bass and drums, articulating chord roots, and the second half introduces other instruments that articulate the full chords of the progression.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20113. 26 BATS!, \u201cDo What You Do,\u201d 0:00\u20130:26<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.3-26-BATS.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.3-26-BATS.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.3-26-BATS.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4jLcO4ROwmdf47QklqMpX8?si=aeb4809e04c742ed\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 21st-century American circus-pop band <strong>26 BATS!<\/strong> by reading their <a href=\"https:\/\/26bats.com\/about\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the band&#8217;s official website.<\/p>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL<\/span><span class=\"import-SubtitleChar\"> <\/span><span class=\"import-SubtitleChar\">(alternative progressions)<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\n<p class=\"import-Normal\"><span>Functionally tonal harmony may also use alternative progressions that differ from European classical model, while still drawing from major or minor keys.<\/span> Example 22-4 uses the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_1921\">primary diatonic chords<\/a>, but places the V chord before the IV chord, with a repeating chord progression in G major: I \u2013 V \u2013 IV \u2013 I. This progression is common in a lot of popular music. This chord progression, which some music theorists call a &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2747\">retrogression<\/a>,&#8221; is common in a lot of popular music.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20114. Nathaniel Rateliff &amp; The Night Sweats, \u201cI Need Never Get Old,\u201d 0:14\u20130:43<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.4-nathaniel-rateliff.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.4-nathaniel-rateliff.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.4-nathaniel-rateliff.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YfEvtwpQwGAWZBWzNmoIw?si=028a9a39e9ae447a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about American singer-songwriter\u00a0<strong>Nathaniel Rateliff<\/strong> (b. 1978) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/nathaniel-rateliff-mn0001982299\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a> at allmusic.com, written by Thom Jurek.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-5 features a repeating progression in E major: ii \u2013 IV \u2013 I. This example features what some music theorists call a &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2748\">plagal expansion<\/a>,&#8221; using the supertonic chord followed by the subdominant to extend predominant function before resolving to tonic.<small>\u00a0<\/small><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20115. Radiohead, \u201cHigh and Dry,\u201d 0:05\u20130:28<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.5-radiohead-high-and-dry.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.5-radiohead-high-and-dry.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.5-radiohead-high-and-dry.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5jafMI8FLibnjkYTZ33m0c?si=a9851987996b47c5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-6 uses another type of plagal expansion, one that uses a major-minor supertonic seventh chord before moving to the minor subdominant triad. Here the progression appears in F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> major: II7 \u2013 iv \u2013 I.<a class=\"footnote\" title=\"Brad Osborn examines this progression in Everything in Its Right Place: Analyzing Radiohead (Oxford and New York: Oxford University Press, 2017), 13.\" id=\"return-footnote-601-2\" href=\"#footnote-601-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><small><\/small><small><\/small><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20116. Radiohead, \u201cVegetable,\u201d 0:34\u20130:48<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.6-radiohead-vegetable.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.6-radiohead-vegetable.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.6-radiohead-vegetable.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/11qDTSr3Dj4TkPnBcIOqEJ?si=8184942ef386466a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English rock band <strong>Radiohead<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<p>Another common alternative progression uses the subtonic (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>VII) triad in a major key. Example 22-7 features a repeating chord progression in D major: I \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>VII \u2013 IV. We can also consider this progression an example of a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2749\">modally functional<\/a> progression (see below), derived from the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_1192\">mixolydian<\/a> mode.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20117. Lynyrd Skynyrd, \u201cSweet Home Alabama,\u201d 0:03\u20130:26<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.7-skynyrd.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.7-skynyrd.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.7-skynyrd.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7e89621JPkKaeDSTQ3avtg?si=1aa8371f83ac4823\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 20th-century American rock band <strong>Lynyrd Skynyrd<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267092\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by J. Michael Butler.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T48 Harmony in pop and rock, part 1: functionally tonal progressions (10:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T48 Harmony in Pop &amp; Rock, part 1 functionally tonal progressions\" src=\"https:\/\/player.vimeo.com\/video\/997841872?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video, the first in a series of three on systems of harmonic organization in popular music, focuses on examples of functionally tonal progressions, both diatonic and chromatic, in the music of George Harrison, Joni Mitchell, 26 BATS!, Nathaniel Rateliff &amp; The Night Sweats, Radiohead, and Lynyrd Skynyrd.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY MODAL<\/span><\/h2>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2749\">Functionally modal harmony<\/a> draws upon modal scales to create functional harmonic progressions. Example 22-8 features a repeating progression in the E <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_1564\">aeolian<\/a> mode: i \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>VII \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>VII \u2013 i. Since this progression also alternates between two chords, we consider it to be an example of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2750\">shuttle<\/a> as well.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20118. The Gap Band, \u201cYou Dropped a Bomb on Me\u201d 0:13\u20130:36<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-the-gap-band.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-the-gap-band.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.8-the-gap-band.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1VKPiQJnV15flF5B3zeocD?si=cee71d9380924e77\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 20th-century American band\u00a0<strong>The Gap Band<\/strong> by reading this <a href=\"https:\/\/www.okhistory.org\/publications\/enc\/entry.php?entry=GA009\" target=\"_blank\" rel=\"noopener\">article<\/a>, written by Hugh W. Foley, Jr.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-9 uses a progression in G mixolydian: I \u2013 IV \u2013 I \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>VII \u2013 I.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u20119. The Beatles, \u201cA Hard Day\u2019s Night,\u201d 0:00\u20130:17<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.9-the-beatles.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.9-the-beatles.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-28.9-the-beatles.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5J2CHimS7dWYMImCHkEFaJ?si=1a9497187c2b4aed\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>The Beatles<\/strong> and their music by reading this <a class=\"rId320\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.<\/p>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\">FUNCTIONALLY TONAL or MODAL with ABSENT TONIC<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\n<p class=\"import-Normal\">This category includes harmony that is drawn from major, minor, or modal systems but implies the presence of tonic without articulating it, or significantly delays its appearance.<a class=\"footnote\" title=\"For more on this topic, see Mark Spicer, \u201cFragile, Emergent, and Absent Tonics in Pop and Rock Songs,\u201d Music Theory Online 23, no. 2 (June 2017), http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html.\" id=\"return-footnote-601-3\" href=\"#footnote-601-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<p>Example 22-10, a verse of Prince&#8217;s &#8220;Little Red Corvette,&#8221; uses the following repeating progression in D major: IV \u2013 V \u2013 vi \u2013 IV7. While the submediant chord does substitute for tonic function in the verse, the tonic chord does not sound until the chorus section 49 seconds into the recording.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201110. Prince, \u201cLittle Red Corvette,\u201d 0:16\u20130:49<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.10-prince.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.10-prince.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.10-prince.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4iozhXt27eMl39W5z7R8H6?si=d6cf7d37163b48f3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter, musician, and producer <strong>Prince<\/strong><strong> (Rogers Nelson)<\/strong> (1958\u20132016) by reading this <a class=\"rId321\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353394\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Griffin Woodworth.<\/p>\n<\/div>\n<\/div>\n<p>While Prince delays the appearance of the tonic chord (Example 22-10), the entirety of Fleetwood Mac&#8217;s &#8220;Dreams&#8221; never uses it at all. Example 22-11 features an excerpt from this recording, which uses a repeating <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2750\">shuttle<\/a> progression in C major: IV \u2013 V.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201111. Fleetwood Mac, \u201cDreams\u201d 1:13\u20131:45<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.11-fleetwood-mac.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.11-fleetwood-mac.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.11-fleetwood-mac.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1lbXEepatjRVjoG8pZMtdp?si=abe9084ca0784fce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>Fleetwood Mac<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46634\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Covach.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T49 Harmony in pop and rock, part 2: functionally modal and absent tonic progressions (5:45)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T49 Harmony in Pop &amp; Rock, part 2: functionally modal &amp; absent tonic progressions\" src=\"https:\/\/player.vimeo.com\/video\/998236532?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video, the second in a series of three on systems of harmonic organization in popular music, explores functionally modal and absent tonic progressions. Examples include music by The Gap Band, The Beatles, Prince, and Fleetwood Mac.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">RIFF-BASED<\/span><span class=\"import-SubtitleChar\"> <\/span><\/h2>\n<p class=\"import-Normal\">Riff-based harmony emerges from the continuous use of short repeated melodies (called \u201c<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2737\">riffs<\/a>\u201d). Example 22-12 uses a repeating riff in the bass, from which the harmony of the recording is generated. The riff takes its pitches from the F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_1388\">major pentatonic<\/a> scale, and spans C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> to F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201112. Riff from Moses Sumney, \u201cCut Me,\u201d 0:00\u20130:34<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-1024x216.png\" alt=\"image of melody in bass clef: C-sharp D-sharp F-sharp F-sharp\" width=\"1024\" height=\"216\" class=\"alignnone size-large wp-image-6748\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-1024x216.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-300x63.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-768x162.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-1536x324.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-2048x432.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-65x14.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-225x47.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney-riff-rev-350x74.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.12-sumney.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6YheRoPUnQc0mXiWBUiQz5?si=c094f07e3bd24bbd\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about Ghanaian-American singer-songwriter\u00a0<strong>Moses Sumney<\/strong> (b. 1992) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/moses-sumney-mn0003284526\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Timothy Monger.<span style=\"font-size: 1rem\"><\/span><\/p>\n<\/div>\n<\/div>\n<p>Like Example 22-12, Example 22-13 also uses a riff drawn from a pentatonic scale. In this case, it draws from A <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_1392\">minor pentatonic<\/a> using a synthesized cello sound.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201113. TOOL, \u201cFear Inoculum,\u201d 0:11\u20130:33<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.13-TOOL.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.13-TOOL.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.13-TOOL.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/39zWYYZStDgWi32sOU9AX4?si=4306263798c94fc8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about American alt-metal band <strong>TOOL<\/strong> by reading their <a href=\"https:\/\/www.last.fm\/music\/Tool\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.<\/p>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">SHUTTLE<\/span><\/h2>\n<p class=\"import-Normal\">The term &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2750\">shuttle<\/a>&#8221; refers to the repeating alternation of two chords. We have already listened to shuttle progressions in Examples 22\u20118 and 22-11. Example 22-14 offers another repeating shuttle progression in G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major: I \u2013 ii.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201114. Leon Bridges, \u201cComing Home,\u201d 0:25\u20130:49<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.14-Leon-Bridges.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.14-Leon-Bridges.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.14-Leon-Bridges.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5EA06TsQmqmQXZiEhr1AaM?si=2dd519b7bff94e03\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about American R&amp;B singer-songwriter <strong>Leon Bridges<\/strong> (b. 1989) by reading his <a href=\"https:\/\/www.allmusic.com\/artist\/leon-bridges-mn0003380137\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Andy Kellman.<\/p>\n<\/div>\n<\/div>\n<p>The intro and verse sections in &#8220;Hard to Kill&#8221; by Bleached uses a repeating shuttle progression in D minor: i \u2013 III, as shown in Example 22-15.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201115. Bleached, \u201cHard to Kill,\u201d 0:00\u20130:32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.15-bleached.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.15-bleached.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.15-bleached.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2W830GhisPFzMAZOlKNBcY?si=378ca0f7eed34620\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 21st-century American pop band\u00a0<strong>Bleached<\/strong> by reading their <a href=\"https:\/\/www.allmusic.com\/artist\/bleached-mn0002766601\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a>, written by Heather Phares.<\/p>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\"><\/span><span class=\"import-SubtitleChar\">CHORD LOOPS<\/span><\/h2>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2738\">Chord loops<\/a> are repeating successions of chords (usually four), and they are ubiquitous in popular music.<a class=\"footnote\" title=\"For more on this topic, see Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d Music Theory Online 25, no. 4 (December 2019), https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html; and Christopher Doll, Hearing Harmony: Toward a Tonal Theory for the Rock Era (Ann Arbor: University of Michigan Press, 2017), 110\u201325.\" id=\"return-footnote-601-4\" href=\"#footnote-601-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a> Example 22-16 features a repeating chord loop in G major: I \u2013 V \u2013 vi \u2013 IV.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201116. Journey, \u201cAny Way You Want It,\u201d 0:37\u20130:52<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.16-journey.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.16-journey.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.16-journey.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4UVKy0DI1hOlL8xF99Ba5j?si=efbf611a87ee4064\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 20th-century rock band\u00a0<strong>Journey<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2266977\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Michael Ethen.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-17 uses a similar, but rotated, repeating chord loop in G major: vi \u2013 IV \u2013 I \u2013 V.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201117. The Cranberries, \u201cZombie,\u201d 1:35\u20132:10<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.17-cranberries.mp3?_=17\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.17-cranberries.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.17-cranberries.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7EZC6E7UjZe63f1jRmkWxt?si=bc5f252a24cb4a8c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about Irish alt-rock band <strong>The Cranberries<\/strong> by reading the <a href=\"https:\/\/www.cranberries.com\/biography\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the band&#8217;s official website.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-18 reproduces Ben Duinker&#8217;s transcription of the repeating D major chord loop in in The Chainsmokers &amp; Coldplay&#8217;s \u201cSomething Just Like This\u201d: IVadd9 \u2013 Aadd4 \u2013 Bmi7 \u2013 Aadd4. This is also an example of a recording with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2751\">absent tonic<\/a>, if you hear D as the tonal center.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201118. Transcription of chord loop in The Chainsmokers &amp; Coldplay, \u201cSomething Just Like This,\u201d 1:05\u20131:24 <a class=\"footnote\" title=\"Transcription by Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d Music Theory Online 25, no. 4 (December 2019), https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html, example 1. Used with the permission of the author.\" id=\"return-footnote-601-5\" href=\"#footnote-601-5\" aria-label=\"Footnote 5\"><sup class=\"footnote\">[5]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image142.png\" width=\"1000\" height=\"250\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.18-chainsmokers.mp3?_=18\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.18-chainsmokers.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.18-chainsmokers.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1dNIEtp7AY3oDAKCGg2XkH?si=818031cfa8da4888\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about this collaboration between American electronic rock duo <strong>The Chainsmokers<\/strong> and British rock band <strong>Coldplay <\/strong>by reading this Wikipedia <a href=\"https:\/\/en.wikipedia.org\/wiki\/Something_Just_Like_This\" target=\"_blank\" rel=\"noopener\">article<\/a>.<\/p>\n<\/div>\n<\/div>\n<h2><span class=\"import-SubtitleChar\">POWER CHORDS<\/span><span class=\"import-SubtitleChar\"><\/span><\/h2>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2753\">Power chords<\/a> are open fifth chords, played by electric guitar, often amplified with distortion. Example 22-19 uses a repeating progression in F minor with the following power chords: 1<sup>5<\/sup> \u2013 4<sup>5<\/sup> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>3<sup>5<\/sup> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>6<sup>5<\/sup>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201119. Nirvana, \u201cSmells Like Teen Spirit,\u201d 1:07\u20131:24<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-19\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.19-nirvana.mp3?_=19\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.19-nirvana.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.19-nirvana.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5ghIJDpPoe3CfHMGu71E6T?si=f086f7e3ff394cf9\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about 20th-century American grunge band <strong>Nirvana<\/strong> by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2257719\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Ryan Moore.<\/p>\n<\/div>\n<\/div>\n<p>Example 22-20 uses power chords in a repeating progression in C major: 1<sup>5<\/sup> \u2013 4<sup>5<\/sup> \u2013 1<sup>5<\/sup> \u2013 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>7<sup>5<\/sup>. This example also uses a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2757\">composite meter<\/a>, which we will study in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composite-meters\/\" target=\"_blank\" rel=\"noopener\">Chapter 30<\/a>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 22\u201120. Gorillaz, &#8220;5\/4,&#8221; 0:00\u20130:24<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-601-20\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.20-Gorillaz.mp3?_=20\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.20-Gorillaz.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-22.20-Gorillaz.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5zbkoIgrBO5VjrQIEChlre?si=57e726cc1c2746e4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"p1\">Learn about British virtual band <strong>Gorillaz<\/strong> by reading their <a href=\"https:\/\/www.last.fm\/music\/Gorillaz\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T50 Harmony in pop and rock, part 3: riff-based, shuttle, and power chords (8:34)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T50 Harmony in Pop &amp; Rock, part 3: riff based, shuttle, and power chords\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/aGCEkcQT7h8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video, the last in a series of three that explores harmony in popular music, examines riff-based harmony, shuttle, and power chords in music by TOOL, Bj\u00f6rk, Leon Bridges, Bleached, and Nirvana.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video (and more!) here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=4616f74c2cfa49fc\" target=\"_blank\" rel=\"noopener\">Spotify playlist for harmony in pop and rock<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Identifying harmonic organization aurally<\/h1>\n<p>While there is great variety in the ways harmony is organized in popular music recordings, you can follow a few steps to learn how to identify systems of organization by ear. First, many students like to identify chord roots. It may help to use an instrument and sing as you listen to first find tonic. Once you can identify the bass line, which often uses chord roots, try putting solfege syllables on the notes you hear. From there, use your knowledge to think about what Roman numerals or chord functions are most logical with the bass line you hear. You can also listen and study for patterns, such as <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2148\">harmonic sequences<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2750\">shuttles<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_601_2738\">chord loops<\/a>. To determine mode or scale type, you can also try singing a scale in solfege from the tonic you have identified. This can be especially useful for recordings that use modal harmony. As you attempt to classify different recordings according to the types we&#8217;ve covered in this chapter, remember that the categories are not mutually exclusive, and multiple systems of organization are possible.<\/p>\n<h1><a><\/a>EXERCISE 22-1 Aural harmony in pop and rock ID<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 22-1 Aural harmony in pop and rock ID<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, access the playlist here: <a href=\"https:\/\/open.spotify.com\/playlist\/0TspJe24PXArjn5xtsQRML?si=3083c0e2699d4144\">Spotify playlist for harmony in pop and rock<\/a><\/p>\n<p>Choose a track and play a portion of it. While listening, first find tonic by singing it and\/or finding it on an instrument. Then work toward listening for the chord roots of the featured progression, and seek a match with one or more of the types we have studied. If you encounter an example that stumps you, simply choose a different track and try again. You can collaborate with a fellow classmate or follow up with your instructor to examine any tracks that are difficult to classify.<\/p>\n<p>Once you have determined the type(s) of harmonic organization, check your answer with the key here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Selected-answers-to-EXERCISE-22.1-Aural-harmony-in-pop-and-rock-ID.pdf\" target=\"_blank\" rel=\"noopener\">Selected answers to EXERCISE 22.1 Aural harmony in pop and rock ID<\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex22.1-Aural-harmony-in-pop-and-rock-ID.pdf\">Ex22.1 Aural harmony in pop and rock ID<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Further reading<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Biamonte, Nicole. 2011. \u201cTriadic Modal and Pentatonic Patterns in Rock Music.\u201d <em>Music Theory Spectrum<\/em> 32, no. 2 (Fall): 95\u2013110.<\/p>\n<p>deClerq, Trevor. 2021. \u201cThe Logic of Six-Based Minor for Harmonic Analyses of Popular Music.\u201d <em>Music Theory Online<\/em> 27, no. 4 (December). <a href=\"https:\/\/mtosmt.org\/issues\/mto.21.27.4\/mto.21.27.4.de_clercq.html\" target=\"_blank\" rel=\"noopener\">https:\/\/mtosmt.org\/issues\/mto.21.27.4\/mto.21.27.4.de_clercq.html<\/a>.<\/p>\n<p>deClerq, Trevor, and David Temperley. 2011. \u201cA Corpus Analysis of Rock Harmony.\u201d <em>Popular Music<\/em> 30, no. 1: 47\u201370.<\/p>\n<p>Doll, Christopher. 2017. <em>Hearing Harmony: Toward a Tonal Theory for the Rock Era<\/em>. Ann Arbor: University of Michigan Press.<\/p>\n<p>Duinker, Ben. 2019. \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music.\u201d <em>Music Theory Online<\/em> 25, no. 4 (December). <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>.<\/p>\n<p>Everett, Walter. 2004. \u201cMaking Sense of Rock\u2019s Tonal Systems.\u201d <em>Music Theory Online<\/em> 10, no. 4 (December). <a href=\"http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html\" target=\"_blank\" rel=\"noopener\">http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html<\/a>.<\/p>\n<p>Nobile, Drew. 2020. <em>Form as Harmony in Rock Music<\/em>. Oxford and New York: Oxford University Press. See chapter 1, titled \u201cHarmonic Syntax,\u201d 1\u201338.<\/p>\n<p>Osborn, Brad. 2017. <em>Everything in Its Right Place: Analyzing Radiohead<\/em>. Oxford and New York: Oxford University Press.<\/p>\n<p>Richards, Mark. 2017. \u201cTonal Ambiguity in Popular Music\u2019s Axis Progressions.\u201d <em>Music Theory Online<\/em> 23, no. 3 (September). <a href=\"https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.richards.html\" target=\"_blank\" rel=\"noopener\">https:\/\/mtosmt.org\/issues\/mto.17.23.3\/mto.17.23.3.richards.html<\/a>.<\/p>\n<p>Spicer, Mark. 2017. \u201cFragile, Emergent, and Absent Tonics in Pop and Rock Songs.\u201d <em>Music Theory Online<\/em> 23, no. 2 (June). <a href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html\" target=\"_blank\" rel=\"noopener\">http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html<\/a>.<\/p>\n<p>Stephenson, Ken. 2002. <em>What to Listen for in Rock: A Stylistic Analysis<\/em>. New Haven and London: Yale University Press.<\/p>\n<p>Temperley, David. 2018. <em>The Musical Language of Rock<\/em>. New York: Oxford University Press. See chapter 3, &#8220;Harmony,&#8221; 41\u201365.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 22<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-pop-schemas\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes and Megan Lavengood&#8217;s chapter on harmonic schemas in pop music<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-601-1\">Walter Everett, \u201cMaking Sense of Rock\u2019s Tonal Systems,\u201d <em>Music Theory Online<\/em> 10, no. 4 (December 2004), <a class=\"rId324\" href=\"http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">http:\/\/www.mtosmt.org\/issues\/mto.04.10.4\/mto.04.10.4.w_everett.html<\/span><\/a>. <a href=\"#return-footnote-601-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-601-2\">Brad Osborn examines this progression in <em>Everything in Its Right Place: Analyzing Radiohead <\/em>(Oxford and New York: Oxford University Press, 2017), 13. <a href=\"#return-footnote-601-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-601-3\">For more on this topic, see Mark Spicer, \u201cFragile, Emergent, and Absent Tonics in Pop and Rock Songs,\u201d <em>Music Theory Online<\/em> 23, no. 2 (June 2017), <a href=\"http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html\" target=\"_blank\" rel=\"noopener\">http:\/\/mtosmt.org\/issues\/mto.17.23.2\/mto.17.23.2.spicer.html<\/a>. <a href=\"#return-footnote-601-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-601-4\">For more on this topic, see Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d <em>Music Theory Online<\/em> 25, no. 4 (December 2019), <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>; and Christopher Doll, <em>Hearing Harmony: Toward a Tonal Theory for the Rock Era (<\/em>Ann Arbor: University of Michigan Press, 2017), 110\u201325. <a href=\"#return-footnote-601-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><li id=\"footnote-601-5\">Transcription by Ben Duinker, \u201cPlateau Loops and Hybrid Tonics in Recent Pop Music,\u201d <em>Music Theory Online<\/em> 25, no. 4 (December 2019), <a href=\"https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html\" target=\"_blank\" rel=\"noopener\">https:\/\/www.mtosmt.org\/issues\/mto.19.25.4\/mto.19.25.4.duinker.html<\/a>, example 1. Used with the permission of the author. <a href=\"#return-footnote-601-5\" class=\"return-footnote\" aria-label=\"Return to footnote 5\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_601_2734\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2734\"><div tabindex=\"-1\"><p>system of harmonic organization that draws from major or minor keys and uses T-P-D type progressions and\/or sequences that conform to European classical models<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2749\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2749\"><div tabindex=\"-1\"><p>system of harmonic organization that draws its chords from any modal scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2737\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2737\"><div tabindex=\"-1\"><p>short repeated musical gesture<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2750\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2750\"><div tabindex=\"-1\"><p>system of harmonic organization in which two chords alternate for the entirety of a recording or section of a recording<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2738\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2738\"><div tabindex=\"-1\"><p>system of harmonic organization that uses a repeating chord progression, often four chords long<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2753\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2753\"><div tabindex=\"-1\"><p>open fifth chords, usually played on guitar with distortion<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2735\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2735\"><div tabindex=\"-1\"><p>abbreviation for tonic - predominant - dominant harmonic function<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2148\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2148\"><div tabindex=\"-1\"><p>process in which a repeating pattern of root motion appears in a harmonic progression<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_675\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_675\"><div tabindex=\"-1\"><p>a pattern that shows the system of key signatures in Western tonal music, whereby moving clockwise along the circle each key signature gains one sharp and moving counter-clockwise each key signature gains one flat; tonics of each adjacent key along the circle are related by P5; also refers to a harmonic sequence that features root motion by fifth<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_1921\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_1921\"><div tabindex=\"-1\"><p>the chords built on scale degrees 1, 4, and 5<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2747\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2747\"><div tabindex=\"-1\"><p>term used by some scholars to describe the progression I - V - IV - I<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2748\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2748\"><div tabindex=\"-1\"><p>progression that uses the supertonic chord followed by the subdominant to extend predominant function before resolving to tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_1192\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_1192\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - whole - half - whole - whole - half - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_1564\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_1564\"><div tabindex=\"-1\"><p>modal scale identical to the natural minor scale, with the following interval content: whole - half - whole - whole - half - whole - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_1388\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_1388\"><div tabindex=\"-1\"><p>five-note scale that uses scale degrees 1, 2, 3, 5, and 6 from the major scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_1392\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_1392\"><div tabindex=\"-1\"><p>five-note scale featuring scale degrees 1, 3, 4, 5, and 7 from the natural minor scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2751\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2751\"><div tabindex=\"-1\"><p>system of harmonic organization that draws chords from major, minor, or modal systems but implies the presence of tonic without articulating it, or significantly delays its appearance<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_601_2757\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_601_2757\"><div tabindex=\"-1\"><p>system of metric organization that combines two or more simple meters resulting in unequal, asymmetric beats; the most common composite meters have 5 or 7 as the top number in the time signature; also called \"asymmetric meters\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":22,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-601","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/601","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":96,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/601\/revisions"}],"predecessor-version":[{"id":7094,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/601\/revisions\/7094"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/601\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=601"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=601"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=601"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=601"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}