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Books by Brett Clement

Routledge Studies in Music Theory, 2023

Rock Tonality Amplified presents an in-depth exploration of rock tonality. Building on several de... more Rock Tonality Amplified presents an in-depth exploration of rock tonality. Building on several decades of research, this book develops a comprehensive music theory designed to make sense of several essential components of tonality. Within, readers learn to locate the chords they hear through various methods, to understand and predict harmonic resolution tendencies, and to identify the functions of chords as they appear in musical contexts. Further, the book offers a conceptual framework to describe tonal relations that are played out through entire songs, allowing readers to recognize the features that contribute to tonal unity in songs and the ones that are employed to create musical drama.

The book contributes to a wealth of methodologies in music theory, making it of broad interest to music scholars and students. Further, it balances speculative and practical approaches so that it has clear applications for analysis and pedagogy. It includes numerous musical figures and cites hundreds of songs from a wide variety of artists. Each chapter concludes with additional practice activities, allowing for easy adaptation to various pedagogical purposes.

Papers by Brett Clement

The Bloomsbury Handbook of Rock Music Research, 2020

Journal of Music Theory, 2019

This article establishes an expanded theory of tonicization for harmonic progressions in rock mus... more This article establishes an expanded theory of tonicization for harmonic progressions in rock music. While previous discussions of tonicization have largely focused on the role of the V chord, this theory allows for a much larger number of tonicizing chords, which may articulate important tonal events such as prolongations and cadences. Using diatonic position finding to aid the analyst in determining a chord's status, the article offers five preference factors to identify the most likely triadic tonicizers. This leads to some general conclusions regarding tonicizing chords, modality, chord succession, and harmonic function. In demonstrating these concepts, four categories of tonicization are illustrated: primary diatonic, in which a tonicization employs only diatonic chords of the mode; primary chromatic, which occurs due to chromatic inflection or modal borrowing; secondary chromatic, in which a secondary triad is tonicized by a chromatic chord; and secondary diatonic, whereby a hierarchical relationship is established between relative tonics. The article concludes with an analysis of Neil Young's "Down by the River" (1969), demonstrating how the concepts discussed can clarify large-scale tonal relations.

Perspective of New Music, 2017

This article examines transpositional strategies in the music of progressive rock band King Crims... more This article examines transpositional strategies in the music of progressive rock band King Crimson, focusing on a series of instrumental pieces composed over several decades. Using Cohn’s transpositional combination to model instances of sequence, planing, and canon, a fundamental scalar approach is uncovered, whereby transpositional patterns are linked to particular scalar collections. Two “families” of works are investigated in detail: (1) “Fracture,” featuring even transpositions and whole-tone collections, and (2) “Larks’ Tongues,” using minor-third transpositions and octatonic collections. Besides chronicling a growing fluency with transpositional combination, I demonstrate how bandleader Robert Fripp’s guitar methodology is relevant to understanding the phenomenon, regarding both technical issues of fretting/picking as well as tuning systems.

Music Analysis, 2017

This article offers an introduction to a little-known compositional system devised by Frank Zappa... more This article offers an introduction to a little-known compositional system devised by Frank Zappa for his orchestral music: the Chord Bible. Through a close study of the orchestral works featuring Chord Bible harmony, I will attempt a partial recreation of its contents, focusing on seven- and eight-note chords. This will reveal a hybrid system with important pitch and pitch-class components. Regarding pitch, each chord manifests a precise intervallic spacing (or ‘density’, to use Zappa's term). Conversely, chords are conceived in a scalar harmonic universe derived from diatonic, minor Lydian and octatonic pitch-class collections. These aspects will be described as a merging of features derived from the music of Edgard Varèse and from the scalar procedures characteristic of Zappa's popular output. I will demonstrate how different chord types within the Chord Bible are generated from a combination of scalar and intervallic transformations. The study concludes with an overview of the musical employment of Chord Bible harmony in three pieces. This analysis will reveal a progressive sophistication in technique that is directly related to the increased importance of the Chord Bible in Zappa's compositional process.

Music Theory Online, 2015

This article explores the relationship between diatonic modal systems and form in the music of th... more This article explores the relationship between diatonic modal systems and form in the music of the progressive-rock band Yes. Within, I discuss the band's approach to scalar modulation, referencing key signatures and the concept of scalar voice leading. The study concludes with the analysis of four extended pieces by Yes, which demonstrates the applicability of the theoretical modal to matters of large-scale tonality and formal articulation.

Music Theory Spectrum, 2014

This article aims to demonstrate the importance of the Lydian scale in Frank Zappa's modal diaton... more This article aims to demonstrate the importance of the Lydian scale in Frank Zappa's modal diatonic music by introducing the concept of a "Lydian system," loosely adapted from George Russell's seminal jazz theory known as the "Lydian chromatic concept." A Lydian system contains a limited series of diatonic modes linked through the Lydian scale. Through analysis of representative passages in Zappa's music, I examine different ways that the modes of the Lydian system reveal their indebtedness to Lydian, first in their musical realization as static "blocks" and later in the form of pedal substitutions, chord progressions, and modulations between different systems.

Gamut, 2013

This article reexamines modal techniques in rock music, using the "problematic" Lydian mode as a ... more This article reexamines modal techniques in rock music, using the "problematic" Lydian mode as a test case. I argue that the Lydian scale plays a larger role in rock music than has been previously acknowledged, particularly in songs of the 1970s and '80s. First, I outline a hierarchy of pitches and chords in the scale, which will aid in the recognition of Lydian patterns in rock. Then, I address existing controversies surrounding Lydian interpretations of chord progressions, which will be viewed in light of three "tonal stability rules" necessary for convincing Lydian centricity. This will lead to a general theory of "modal tonicization" in rock music, also relevant to the remaining diatonic modes. Finally, I offer a series of analyses of songs by Todd Rundgren, Tears for Fears, and Steely Dan, which will demonstrate some of the musical and expressive potential of Lydian tonality.

Other by Brett Clement

n its critical reception, and continued worldwide sales, Hot Rats easily counts among the most ac... more n its critical reception, and continued worldwide sales, Hot Rats easily counts among the most acclaimed albums of Frank Zappa's output. But how do these tracks figure in the larger context of Zappa's career? Here, I consider this question by identifying and analyzing some of the key compositional techniques encountered throughout the album, techniques that Frank would use in almost all of his subsequent music. At its core, Hot Rats is also a touchstone example of Zappa's attempts to blur the lines between improvisation and composition. Therefore, besides examining techniques he applied "on paper," I also intend to analyze improvisational aspects and the role of studio overdubbing in creating the finished compositional product.

Kasper Sloots has written a critique of my research and posted it on his website zappa-analysis.c... more Kasper Sloots has written a critique of my research and posted it on his website zappa-analysis.com. This document, which includes Sloots original commentary, offers a detailed response to the various claims made by Sloots.

Book Reviews by Brett Clement

Music Theory Online, 2017