Breaking Barlines

Just another WordPress site

You are here: Home / Blog

Blog

By Aron Bernstein 5 Comments

Weekly Music Theory Challenge 6/14/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

This is from J. S. Bach’s Toccata and Fugue in D minor. What type of cadence is highlighted in red?

Listen to the Audio

Want to Learn More?

You can brush up on your cadences with all new lessons in the Diatonic Harmony Course!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

By Aron Bernstein 2 Comments

Weekly Music Theory Challenge 6/7/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

These are the octaves that open Beethoven’s last piano sonata, Opus 111 in C minor. What interval do they form, and what interval is enharmonic with this one?

Listen to the Audio:

Check back Friday, June 11th for the answer!

ANSWER for 6/7/21

This is a diminished seventh. It’s enharmonic with a major sixth, but the spelling of E flat down to F sharp makes it a seventh. Letter name spelling always determines what an interval is called. When naming an interval, always start with letter names before considering the flats and sharps. Any kind of E (E natural, flat, or sharp) down to any kind of F is a seventh. Then look at the number of half-steps in the interval. A major seventh is eleven half-steps, a minor seventh is ten, and a diminished seventh is nine. It sounds the same as a major sixth, but spelling is everything! It determines not only the interval’s name, but also how it functions in music.

Want to Learn More?

Intervals are like the atomic building blocks of music, and I have complete interval lessons in the Fundamentals Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

By Aron Bernstein Leave a Comment

Weekly Music Theory Challenge 5/31/21

Show off your theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

In this music, what rhythmic device is being used in the measure with the red brackets?

Listen to Audio

Brahms, Scherzo in C minor (from the F-A-E Violin Sonata)

ANSWER for 5/31/21

This is a HEMIOLA, a cross-rhythm that creates the effect of changing meter. The first three measures have a conventional 6/8 feel (two accents, on 1 and on 4). But in the fourth measure, we have three accents (on 1, 3, and 5). This makes the measure feel like 3/4, even though the time signature remains unchanged.

For a more modern example, check out “America” from Leonard Bernstein’s Westside Story. He constantly shifts back and forth between the 6/8 and 3/4 feel.

Want to Learn More?

Make your rhythm skills ironclad with a whole series of lessons in the Rhythm Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

By Aron Bernstein 1 Comment

Weekly Music Theory Challenge 5/24/21

Show off your music theory chops with my weekly challenge! You’ll find a new question here every Monday. Please comment to post your reply.

This week’s challenge:

Music Theory a la mode! Here are two of Bartok’s Romanian Folk Dances. Which mode is each piece written in?

Romanian Folk Dance No. 2 by Bela Bartok
Listen to Audio
Romanian Folk Dance No. 6 by Bela Bartok
Listen to Audio

Check back on Friday, May 28th for the answer!

ANSWER for 5/24/21

Romanian Folk Dance #2 uses the Dorian Mode. Dorian is identical to natural minor, except that the 6th note of the scale is raised a half-step. So in the key of D minor, the B natural is what gives it away:

This is what the Romanian Folk Dance No. 2 would sound like in Natural Minor, rather than Dorian:

Romanian Folk Dance #6 is in the Lydian Mode. Lydian is the same as a major scale, but with its 4th note raised a half-step. So in the key of D major, the G sharp gives it away:

This is what the Romanian Folk Dance would sound like in Major, rather than Lydian.

Want to Learn More?

Brush up on your scales with a whole series of lessons in my Scales Module!  Sign up for a monthly subscription for full access to all video lessons, worksheets, and answer keys. Also, this year I’ll be adding new lessons on modes. I created Breaking Barlines with one thing in mind: making music theory effective and FUN!

By Aron Bernstein Leave a Comment

What Makes Us Give Up On Music?

We give up on ourselves.  We capitulate to that inner voice, telling us we’re no good, we’re not musical. But here’s the good news: that voice is not ours.  We weren’t born hearing it.  We probably got it from someone else. And whoever told us not to sing, not to dance––they weren’t being malicious.  They just didn’t realize the lasting impact it would have.

The truth is, musical ability is far more common than people think.  And, if you’re thinking about music lessons now, you’ve already taken the first step.  You’ve decided to challenge that voice from long ago.  The part of you that wants to learn music, that’s the voice I want you to listen to.  Because that is your voice. Give the real you a chance.