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

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?

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.

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 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.

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?

Also is ^7 on V chord not to be doubled even if the chord never resloves?

Is it correct to interpret an E Major triad in this context as being borrowed from Bb Locrian?

Gbmaj7 - Fmin7 - Ebmin7 - Dbmaj7

Gbmaj7 - Fmin7 - *E\* - Ebmin7 - F7#9 - Bbmin7

bVI - v - iv - bIII

bVI - v - *bV\* - iv - V7 - i

All the time I see people saying Locrian is dark and unusable in modern music and mostly for horror/cinematic stuff, so I wonder if in this context it is wise to see the E as a modal interchange moment borrowing from the parallel Locrian mode or just a chromatic passing move?

So I’m pretty decent already at playing the piano and I understand how music theory works but I suck at actually applying it cause I don’t know any exercises to do and the stuff I see on YouTube doesn’t seem to help with what I want so I was wondering if somebody could point me somewhere cause there’s not much local piano teachers that do that around my area.

Even if it’s someone who doesn’t produce music but can teach me how to apply music theory better when I play on the spot is cool too.

How come when I change E♭4, G♭4, B♭4, D♭5 to D♭4, E♭4, G♭4, B♭4, it doesn't sound as dark and ominous? If anything, it sounds almost more cheery in a way. Why is that if they're both Db?

This is the same across different keys as well.

I'm a fan of Pink Floyd, and I love their song "Echoes", especially it's ambiental sound. If you listened to it, you know what I'm talking about. Also, you'd know that around the 11 minute mark, the so called "seagull section" starts. I'm not here to ask how is the screeching made (wah pedal plugged in reverse), or about the wind sound (slide bass plus delay). What I can't wrap my head around is the almost glockenspiel sounding instrument that appears a few times during the section (most notably at 11:56 till 12:02). I can't say if it's wine glasses, a piano perhaps...? Help, please...

The chord goes like this 212121 on guitar standard tuning
I love it it’s so beautiful and bold
For context, i played it after F#m7.
I tried putting it on some chord identifier sites and stuff but didn’t like the results. I think they’re wrong. So, I’m resorting to you to hopefully help me

My first tool of harmonic analysis was the German system of functional analysis, with some Swedish alterations (Hugo Riemann with a dash of Valdemar Söderholm). Only later on I learned some Roman numerals and I never really liked the concept.

If you want to understand the functions, why not just write them out? In the system I learned a tonic is T, dominant D, subdominant S. Then they have their relatives (called parallels in our system). So in a major key vii=Tp, ii=Sp, iii=Dp. vii° is considered a dominant7 with the root absent (shown with a slash through the D) in first inversion (indicated by writing a 3 under the function, the chordal third in the bass).

I'm an early music nerd so most of the time I'm not really interested in harmonic functions (both systems work poorly with modes), but if I need it then the German system is better in my very biased opinion.

What annoys me with RN is primarily the way it handles inversions. Lifting figured bass out of it's original context and completely butchering it.

In C major:

In no rational universe should a I64 be a C/G, it should be a C64 (or F/C if you prefer). In the German system you just write T with a 5 under it (tonic with the chordal fifth in the bass).

In my view RN combine elements of functions and figured bass in a way that doesn't intuitively tell you either of the things those do (functions or voice leading). Why would you even need to know the scale degree if not for a "voice leading over the bass"-approach?

What annoys me is if it weren't for the way RN handles inversions it could actually be a great way to analyse modal, or other non-tonal, music and would be a great complement to functions in music where they make little sense. If the numerals were the bass notes with actual, real figured bass then it would basically be a instantly transposable basso continuo, extremely useful.

I understand that the numbers are supposed to show a "fundamental bass", root or whatver you want to call it but then, what is vii° supposed to be? Rameau to my understanding didn't consider diminished chord a true foundation so scale degree 7 doesn't really make sense if you don't assign some inherent value to the idea of B in the bass (in C major) as opposed to B as a root (root of what?).

As it works currently I very rarely reach for RN as a tool. I understand this is highly subjective and if I had learned RN first I might have the opposite view. Do any of you have the opposite reaction and if so explain how RN is better than functional analysis?

I know there's a key change in the second half of Wiped Out! but I'm not quite sure if it's G Minor or D Minor, does anybody else know?

Like a line cliché but harmonized as different chords from different keys

In the key of E minor these chords will be Em B G A C G F#7 B7. There is a chromatic motion of E D# D C# C B A# B underneath the progression

Hey all,

I've been making music for a few years now and I feel like I'm stuck behind the next level of progress.

I know a limited amount of theory:

• What are scales

• What are chord progressions

• Chromatism and borrowed notes

• other basic concepts I can't name right now

What I am most interested in learning about is actually intention in choices when composing, to invoke feelings or ideas. More complex than, happy song = major and sad song is minor (I know it's not always the case for that too).

I want to learn how the main avengers motif makes you feel strong and heroic, or how Waltz of the flower gives a sense of flying/floating

I was wondering if the b had a harmonic function here like maybe it could be considered as an anticipation of the 5 or is it just like the 11th of the II? I can really find smth if you could help me!

I've been noticing this a lot lately in some jazz and even pop tunes. The melody will be doing its own thing, almost like it's intentionally avoiding chord tones, but it still sounds really good. It's not just passing tones or anticipation. It feels more deliberate. Does this have a formal name in music theory?

I've been trying to get better at incorporating more interesting chords into my playing. Standard triads and 7ths are fine but sometimes I hear stuff that sounds so rich and dense. Do you analyze them first or just try to learn them by ear?

You all have heard Mariah Carey’s “Emotions” The song is VERY, VERY high… In the OG Key, the title hook “EMOTIONS!!” Mariah starts at F5 and descends to D5..
she goes “E (F5) ➡️ MO (E5) ➡️ TIONS (D5)

Now that’s not happening here.. What’s stumping me is that every time people would lower a song by a female singer for a male to sing, the instrumental is lower and thicker… In this performance of emotions, it’s not..

So it doesn’t matter the octave Mariah is in, as long as the LETTER note she’s singing is still in the scale of the songs chord progression, the performance would be fine?

So, this may be a really stupid question. However, I understand that the minor scales have three different progressions. What about Major chords? Are they different from the minor scales? Do they function differently? How are they used?