We recently released an update to Hooktheory I: Music Theory for Songwriting. It mostly involved format changes and minor copy edits. However, a small section on pedal harmony was removed from the chapter on inverted chords. We thought we’d post this material to our blog for all to benefit from (and so that previous owners of the web version still have access to the content). Enjoy!
Chris Sutton and our friends over at Easy Ear Training have published a great review of our books. You can find Hooktheory I review here and the follow up review of Hooktheory II here. Chris does a good job discussing the concepts that are covered and talking about the type of people that stand to benefit the most from the book:
He writes that “it is essential reading for any musician who wants to grasp music theory in an intuitive way, understand how songs are put together, and start recognising notes and chords by ear. Highly recommended!”
Thanks for the positive and in depth review Chris!
Would a hit song written in a major key still be a hit song if it were written in a minor key instead? You can be the judge.
When an artist begins writing a new song, one of the first choices they must make is whether to write in a major or minor key. Songs in minor have a fundamentally different sound from songs in major.
Today we are announcing several big new features for our songwriting software, Hookpad: MIDI export, sheet music export, guitar tab export, magic chord, lyrics, recording, and live MIDI input.
Last week, Ryan was called in as the resident popular music theory expert to discuss the “songs of the summer” with Marty Moss-Coane. Also part of the discussion was Bonnie McKee, the songwriter behind 8 #1 singles in the US, as well as Dan Deluca of the Philadelphia Enquirer.
I recently stumbled across John August‘s podcast, ScriptNotes, and thought this was worth sharing. For those of you who don’t know who John is, he’s the screenwriter behind Charlie’s Angels, Go, Corpse Bride, Charlie and the Chocolate factory (the one with Johnny Depp, not Gene Wilder) and bunch of stuff you’ve almost certainly heard of.
It turns out he’s a Hooktheory fan.
…And he wrote a really nice review that made me smile. Thanks John! (if you’re into screenwriting and movies check out his podcast).
Last year, we discussed the first results of a long term effort to study the patterns found in the chords of popular songs. The reception that we got was incredibly positive, and we received a ton of great feedback.
The two most common questions we’ve gotten from people have been:
- “I really like the sound of chords X Y Z together. What other songs use this same progression?“
- “After I’ve written a few chords that sound good together, I need help knowing what a good next chord might be. Can you show me what the next chord is likely to be given a starting set of chords?“
Happy New Year everybody. Today we pushed several new features to Hookpad that we hope you like: time signatures, modes, and looping.
This article is Part 3 of a multipart series looking at the statistics gathered from 1300 choruses, verses, etc. of popular songs to discover the answer to some interesting questions about how popular music is structured. Click here to read Part 1.
In this article, we’ll continue our exploration into the patterns evident in the chords and melody of popular music. First we will look at the relative popularity of different inversions (e.g. a C/E chord vs. G/B, etc.) based on the frequency that they appear in chord progressions found in the Hooktheory Analysis Database. Then we will take a statistical look at how inversions are most often used. For example, if an inverted chord is found in a song, what can we say about the probability for what the next chord will be that comes after it? This will be compared with how the non-inverted counterpart of the chord is used (e.g. a C/E vs. a C).
The internet has been abuzz recently with reports of the deterioration in quality of music. Of particular note: a recent Spanish study which purportedly proved it, scientifically no less.
We want to set the record straight about pop. In this article we’ll respond to some of the common complaints that are being made about popular music and show that, in reality, things just aren’t all that bad.
It’s the 4th of July, and, along with fireworks and flags, that means patriotic music (at least for our American readers). In that spirit, we will be analyzing a famous 4th of July tune and looking at how some of the chords it uses show up in modern music. The song we’ll be looking at is the beautiful Battle Hymm of The Republic.
This article is Part 2 of a multipart series looking at the statistics gathered from 1300 choruses, verses, etc. of popular songs to discover the answer to some interesting questions about how popular music is structured. Click here to read Part 1.
In Part 1, we used the database to learn what the most frequently occurring chords are in popular music and also started looking at the likelihood that different chords would come after one another in chord progressions.
In Part 2 of this series, we’ll continue this exploration into the patterns evident in the chords and melody of popular music. First we’ll look at how popular music ends musical ideas and discuss a surprising difference between popular music and classical music. Then we’ll talk about the most popular chord progression used by songs in the database and discuss the ubiquity of this progression. Finally we will revisit the question of “which chords occur most frequently in popular music” and look at the reasons for why this is the case.
For many people, listening to music elicits such an emotional response that the idea of dredging it for statistics and structure can seem odd or even misguided. But knowing these patterns can give one a deeper more fundamental sense for how music works; for me this makes listening to music a lot more interesting. Of course, if you play an instrument or want to write songs, being aware of these things is obviously of great practical importance.
In this article, we’ll look at the statistics gathered from 1300 choruses, verses, etc. of popular songs to discover the answer to a few basic questions. First we’ll look at the relative popularity of different chords based on the frequency that they appear in the chord progressions of popular music. Then we’ll begin to look at the relationship that different chords have with one another. For example, if a chord is found in a song, what can we say about the probability for what the next chord will be that comes after it?