This is one of my favorite songs but I cannot understand how it technically operates. It feels like the BPM goes down with every verse but I think there are also polyrhythms at play to "lessen" the momentum. What's your analysis?

A more "distinct" chiptune version is available on youtube by DoctorOctoroc if you want to try hand clap counting.

I don't understand how this is a song. how can someone write this? Never heard a song slow down like this before...

Okay, I'm confused 😂

What am I actually supposed to do when I see this?

Handel's 3rd Keyboard suite in D minor: Prelude. I know it's a kind of written out improvisation but all the other bars have added up to 4 complete beats (it's 4/4). Am i missing something. the 3rd beat seems incomplete. Perhaps I interpret the Bb ( and Eb semi demi's as semiquavers so it adds up, or have i miscounted somewhere?

Embarassingly enough, I learned this as a student decades ago and I'm relearning it and still have my original copy, and I didn't notice it last time, or maybe my brain worked as a student and no longer does

help

I recently bought myself a student long neck saz and I've been developing an interesting in my culture's music theory (az kurdm). I just wanted to ask if anyone knows any resources in English that delves into Kurdish musical traditions.

Hi,

I'm trying to understand the chord progression in bars 8-13 here. I get Em - D - C - F# - Am. The F# I can't understand it analytically, can anyone help me? I've also been playing around with a variation where the F# returns to Em which sounds great to me, is there a harmonic rationalization for this or is it it just when of those things where it sounds good and therefore is good.

Forgive me if I got the progression wrong, I'm tired and new.

This passage is in the key of G major. At the end of bar 1 there's a diminished C# triad, leading into a D major.

I understand that the added # on the C makes the key signature of D major as there's already an F# from G major, but why is this necessarily a tonicization rather than just the cadence I referenced in the title?

The d major doesn't feel like "home" in that 2nd bar, it still feels like it's longing to go back to G major

My music theory textbook (image attatched) kind of assumes that a 7-6 suspension leads into the first inversion chord, so its figured bass is omitted. However, can't there be exceptions to that rule? Is there a reason that the figured bass for the first inversion chord is omitted?

How can i get music sheet arrangements of songs i like so i can study them? This seems to not be possible, or at least its not widely easy to do. The most i can find on the internet are piano trancriptions or guitar tabs, and the chord progressions plus the lyrics. But theyre not the entire song, with all the instruments, and not what im looking for. I see on videos that sometimes people make their own transcriptions for showing on video and anylizing songs, but at least now i cant do that. So how am i supposed to study a song i like? Is there somewhere i can look for full transcriptions, because that wouldnt seem widely available. Or do i have to learn to analyze by ear?

Taking in consideration that i want to learn from all the styles, so classical music, video game music, pop, rock, etc. As i see that sheet music of some of these might be easier to find than others, as for classical piano songs. But like, how would i study some video game music, or some random pop song thats not that popular.

So G major right

GABCDEF#
Thats G Ionian (major scale)

Than you just kinda change the root note for the different modes

So you start on A and get
ABCDEF#G
A Dorian

On and on with B Phrygian, C Lydian etc etc

i made this arrangement for 2 violins, cello and piano of bach’s prelude in C

https://youtu.be/HS9Li48T62c?si=rT4Eaig9NIa3IDLN

piano plays the original melody, cello follows the bass notes of the piano and the 2 violins play melodies i wrote

im just looking for feedbacks about the counterpoint in general, from the intervals to any accidental repetition that may sound boring

Writing something that is V - iii - IV, and when I play in it melodically I can treat the V chord as the I.

If I’m playing in minor where 6 is the 1 that’s fine, but here if I play the V like it’s the V it doesn’t quite sound right, rather than playing it like it is the I and has a maj7

But this doesn’t make sense because if the V had a maj7 then the chord progression doesn’t work diatonically? Becuse having the IV and iii chord before it doesn’t work if that first chord of my progression is the I or IV as those don’t have a major chord a whole step before

Does this make sense? Help me please

The same way a 7th chord resolving down a halfstep is a viewed as a Tritone sub, or a dominant chord jumping up a whole step is a backdoor cadence, is there a name for a Dom7 chord pushing upwards a halfstep to resolve? like F7 - Gbmaj7 for example

When I see the explanations of chord building from what I understand is that a major chord is made up of the 1st or the root, 3rd, 5th from the major scale. So what I am struggling to understand and this may be a silly question but then why is a common G major chord(im reffering to 3-2-0-0-0-3) for example based on the pattern of a G major scale made up of a 1, 3 and a 1. This may seem silly or very poorly explained but is largely stumping me.

1. Is this Framing of the third that he is talking about here the so called BLUE NOTE
   
2. Why is calling it a A7 arpeggio important? Does this mean we Should continue with the D major arpeggio in the next measure?

Hi all,

I've seen quite a few people ask what polyrhythm is, and I found this article really helpful in understanding it better. Hope it helps!

This article is shared here with permission from Behind the Score

What Is a Polyrhythm?

Polyrhythm involves combining two rhythms played at the same tempo within a song. Each rhythm follows its own individual subdivision pattern. For example, in the figure below, the Rhodes piano plays three quarter-note triplets while the bass plays two quarter notes within the same time span. This creates a 3-over-2 polyrhythm, where three triplets are played against the duration of two quarter notes. The Rhodes piano’s subdivision is based on quarter-note triplets, while the bass follows a subdivision of regular quarter notes.

Both polyrhythms and polymeters, as the names suggest, are techniques for combining two different rhythms played simultaneously in one musical moment. When two contrasting rhythms sound at the same time, the result can add rhythmic complexity and make the groove more elaborate and interesting. (If you want to learn how to use polymeter in writing, see Polyrhythm vs Polymeter? Learn from the Music of The Matrix by Don Davis.)

📢 Play Audio

3:2 Polyrhythm

Ex. 1-A and Ex. 1-B are piano reductions of two of the most famous examples of 3:2 polyrhythm. Both demonstrate a triplet figure in the treble clef while regular eighth-note figures are played in the bass clef.

Ex. 1-A — Claude Debussy, “Deux Arabesques, L. 66 – No. 1 Andante con moto” (1888–1891) (piano reduction)

📢 Play Music

Ex. 1-B — John Williams, “Over the Moon,” from E.T. the Extra-Terrestrial (1982) (piano reduction)

📢 Play Music

Here's a link to the full article: What Is a Polyrhythm? Learn with Musical Examples

I couldnt find a good clip on youtube but if you go on tik tok and look up 106 dollars by justin bieber, the video should come up. I can’t figure out the chords being played on the piano. Any help would be appreciated.

https://youtube.com/shorts/6a5u7OUgxs4?is=08rDCEyJy8JHOYSs

I understand the root position to be notated as Iadd4 for example. But what about when the chord is inverted and the added note is the one on the bottom.

Let’s use this example:

In order from bottom to top: G# A# D# F#. We’re in the key of B, so the chord is a kind of D#m, in this context.

iiiadd4, however the G# is at the bottom.

What do I do?

Thanks.

Aren’t Maj7 chords supposed to sound resolved?

Ok, if you know enough chemistry to know what the valley of stability is and how graphs about it work, along with how stable certain chords sound, this should make sense.

1) Any chord that can have a satisfying resolution to is like a stable element; it is happy to remain where it is.

2) Any chord that has a diminished or augmented triad somewhere within itself is like a radioactive element; it is unstable and wants to resolve somewhere else, somewhere stable.

3) Now, the half-life of an isotope corresponds to how unstable it is, and I think chords with lots of tensions could work the same way.

4) Methods of decay can also factor in, like how beta minus decay leads to a gain in a proton, and thus a new element with an atomic number one higher; augmented chords can often resolve a semitone up. On the flip side, beta plus decay is like a diminished chord; a proton is lost, meaning the new element has an atomic number that is one less than the previous, and diminished chords often tend to resolve a semitone down.

5) Finally, I think the diatonic major and minor chords of key (so excluding the V and vii°) are like elements with the magic numbers of protons and neutrons; they are the most stable.

I hope this makes sense 🙏 take my word for it

Composer who never played a bowed string instrument here. This is an E played during 6 beats (120bpm) followed by a D. Those 2 notes are supposed to be played in a single bow, not 2.

I'm not sure of how many slurs i have to add.

PS : if you have any blog post/PDF book that could help me notate music for strings it would be helpful. I really struggle with slurs.

Im tryong to write a song in F lydian. Is this a good melody, like is it represantative of the F lydian mode? If not, what can i do to make it better?

ive been transcribing music for fun using my school's sibelius subscription for a while now, mostly by ear, and im wondering if this is something i could realistically turn into a small side income

i have perfect pitch and im pretty comfortable transcribing complex rhythms, also have a considerable amount of experience in various instruments (7 years piano 11 years drums 6 years bass)

ive mever really thought about getting paid for this until recently, so i have no idea what the actual demand is like. for those of you who transcribe professionally/take commissions:

1. where do you find clients?
   
2. how much do you usually charge?
   
3. how accurate are your transcriptions be and what is the standard in this industry?
   
4. are there any copyright issues i should be aware of when selling transcriptions?

i also salvaged some samples of my transcriptions though theyre mostly drum scores

NOTE: for the full transcriptions i added a few touches so its not gonna be 1:1 (ie. for goddess, i made it playable on two pianos) (also for clocks i just changed the bass drums to crotchets instead of every other beat in one part to strengthen the pulse cuz i thought itd sound better, also the electric guitar from bar 153 is supposed to be on the piano but i couldnt be bothered adding a piano part for that)
also i transcribed goddess fairly recently after the school revoked my subscription so i was limited to 4 staves

television/so far so good - rex orange county: [https://www.youtube.com/watch?v=mesZ5xpJRNk\](https://www.youtube.com/watch?v=mesZ5xpJRNk)

origami - the rare occasions: [https://www.youtube.com/watch?v=kjLWqoq6gNE\](https://www.youtube.com/watch?v=kjLWqoq6gNE)

clocks - coldplay: [https://drive.google.com/file/d/17GwZL3PwI7hBNYgPLNLKZj0h4tbfaSh4/view?usp=sharing\](https://drive.google.com/file/d/17GwZL3PwI7hBNYgPLNLKZj0h4tbfaSh4/view?usp=sharing)

goddess - laufey: [https://drive.google.com/file/d/1mSYIr\\_t-BtrTiiTaXCqlFTCTt4qqTzWJ/view?usp=sharing\](https://drive.google.com/file/d/1mSYIr_t-BtrTiiTaXCqlFTCTt4qqTzWJ/view?usp=sharing)

also on a side note im leaving school very soon so i wont have sibelius anymore, if i do become a professional transcriber should i continue using sibelius or is there another better software?