The Music Theory Professor Articles
Latest stories and guides.
- The Role of Piano Reductions in Film Score Preparation and Analysis
- How to Maintain Harmonic Integrity in Piano Reductions of Jazz Big Band Arrangements
- Creating Unique Jazz Harmonies with Non-diatonic Chords and Scales
- Mastering the Use of Extended Dominant Chords for Expressive Playing
- The Significance of the Nineteenth Chord in Contemporary Jazz
- The Influence of Middle Eastern Scales on Jazz Chord Extensions
- Analyzing the Harmonic Language of Herbie Hancock’s Compositions
- Creating Unique Jazz Harmonies Using Non-diatonic Chords
- How to Use Suspended Chords to Add Color to Your Jazz Playing
- The Influence of Indian Classical Music on Jazz Chord Extensions
- How to Create a Rich Harmonic Palette with Quartal and Quintal Voicings
- Analyzing the Harmonic Language of John Coltrane’s Modal Work
- The Significance of the Nineteenth Chord in Advanced Jazz Harmony
- How to Use Bebop Extensions to Spicy up Jazz Chord Progressions
- The Role of Tritone Substitutions in Bebop and Beyond
- Exploring the Use of Pedal Points with Jazz Chords for Dynamic Tension
- How to Use Altered Dominant Chords for Tension and Resolution in Jazz
- The Art of Developing Variations on a Repetitive Ostinato Pattern
- Analyzing the Use of Ostinato in the Music of Philip Glass and John Adams
- Creating Ostinato Loops for Ambient and Meditative Music
- The Significance of Ostinato in Balkan and Eastern European Folk Music
- How to Integrate Ostinato Patterns into Your Music Production Workflow
- Innovative Approaches to Teaching Ostinato in Music Education
- The Relationship Between Ostinato and Tonal Center Stability
- How to Use Ostinato to Enhance a Minimalist Composition
- Using Ostinato to Teach Pattern Recognition and Musical Memory
- Developing an Ostinato-based Composition Using Loops and Samples
- The Use of Ostinato in Electronic Music Festivals and Live Sets
- How to Create a Dynamic Ostinato Line That Evolves over Time
- The Impact of Repetitive Ostinato on Emotional Response in Music Listeners