4 for IV, Part I: Secondary Plagal Progressions

Before beginning my analysis for this project, I didn’t really know much about The Go-Go’s. I knew they were an all female band from the 80’s that had some cheesy hits, but that was about the extent of it.   Knowledge and perspective can be funny things. I’m not ready to anoint them as successors to The Beatles or anything, but knowing what I do now, I certainly have a much greater respect for their musicianship.   As the introduction to this series discussed, the IV chord has a crucial role in rock/pop music harmonic progressions, particularly in relation to how the harmony is used in concert music. Songwriters have grown to love the chord so much that they have pioneered ways of using it that have given its function fresh vitality and have helped to further distinguish this genre from others.   Understanding Secondary Plagal Function   Perhaps the most common of these unique applications of the IV chord (and, specifically, its plagal function) is the use of secondary plagal progressions. A plagal progression results from a chord built on the fourth degree of the scale resolving directly to the tonic chord, with the root of the former being more »

Best Albums of 2012

As has been the case in recent years, there was a lot of fine music being made in 2012.  New technologies have not only changed the accessibility of music, they also seem to have inspired a venerable geyser of creativity and experimentation.  Some big names forged exciting new directions for themselves, while others far less heralded blazed trails in uncharted territory.  I hardly consider this list to be absolute, but based on what I heard this year, these are the 15 albums that stood out to me: 15) Cloud Nothings, Attack On Memory – In one of the most schizophrenic albums of the year, Cloud Nothings segue from the sprawling gothic instrumental coda of “Wasted Days” to the tight radio-friendly punk jam “Fall In”.  And that’s just the end of the third track.  They pull it off, though, largely because they cultivate the same pleasant angst in their sound in every song. Essential Listening: “Fall In”, “Wasted Days” 14) Beach House, Bloom – In some ways, the name “Beach House” is very fitting for this Baltimore duo.  The guitars often use tinny, chasmy surf-rock timbres, and Victoria Legrand’s haunting vocals sound as if they’re processed through a seashell.  Bloom nestles more »