A new rule (#9) has been added here at r/musictheory

Sorry I am a beginner😭

I'm thinking about those progressions where each chord just seems to lead downward to the next one but never really resolves in a typical sense. It's not necessarily sad or dark just a continuous descent. Like a musical Sisyphus. Does anyone know if there's a name for this kind of harmonic movement?

In the left hand of this measure at the top of the page (time signature is 4/4), aren’t there some missing rests? Shouldn’t there be a quarter rest at the beginning of the measure and an eighth rest in each gap?

I've been playing a lot of RPGs lately and it feels like every other major boss theme has that distinct raised 4th and flattened 7th. It creates such a dramatic yet heroic feel. Am I just imagining this or is it a recognized trope in game music composition?

80bpm. meant to be played on strings + choir.

For context, the piece is in regular 4/4, strong beats being 2 and 4

depending on the piece i might use that rythm either repeatedly or only once or twice

Apologies for the repost of an earlier question but I wanted to get some feedback on this screenshot of my workbook. My understanding is that the major scale formular is WWHWWWH? So why does descending from the interval not start on a Half step instead of a whole step? I realize its a 6th but why would that change the formula?

About myself - I can play the drums enough to make myself happy. I actually got good at hand feet coordination after my college, and never played the drums in a band. I played the Congo and Octopad with people.

Now onto my question - I tried learning the Guitar online a few years ago. Back then I found is extremely mechanical - I was trying to get used to all these chords etc, but I never understood WHY did musicians decide a chord works. Also, I felt any tune can technically be played with just one string, why do we need 6.

I thnk the questions I'm asking belong to music theory. I also have always been really into jazz and will want to play jazz music, and I think I need to understand music theory to get a good feeling of jazz?

So yeah, I thnk I should try to understand music theory to make my guitar learning experience better. Are there resources (hopefully books) that can help me?

I've been playing a lot of older RPGs lately and I'm noticing something interesting. Some composers use really unexpected chord changes in background music. It's not always functionally clear why they make those jumps. It creates a cool, unsettling, or often majestic feeling. I'm wondering if there's a specific term for these kinds of less conventional harmonic progressions in game music.

The chord progression in this sax solo goes Em7 Am7 Em7 C7 B7 Em7. So assuming we're in the key of Em and taking only the last four chords, I think of if as a i VI V i progression. But because it's a minor key, I expected the VI chord to have a major 7th (Cmaj7 here but we get C7) and the v chord to be minor (Bm7 but we get B7). It sounds really cool, very tense during C7 and B7, but I don't really understand why. Any help?

Sorry if this is a simple question, I'm kinda new to chord progressions.

As a person who has studied music for around 60 years, I don't remember the word "tuplets" being used until I started using Finale in the late 80s. Is it possible that Finale's creators invented the term? Before that, I only recall references to specific groupings, like duplets, triplets, quadruplets, etc., without any generic term. It occurs to me that maybe musicians didn't need that term until a tool had to be invented that treated them all as one category.

Hey guys,

I think I understand chord progressions. However, I am struggling to understand the concept of major triads. For instance, If a chord progression is as follow C-F-C-F what would the major triads be of the individual chords?

My guess is:

C-E-G

F-A-C

C-E-G

and F-A-C

So in G I played Am7>Am6>Bm6>G

I use the ii6 voicing a lot because it shares the same notes as the viim7b5 (F#) so it has a nice pull to I.

Today I played a m6 on the B as well, playing essentially the same notes as a G#m7b5.

Seems like a cool sound, was wondering if anyone had any insights or other examples of this and why exactly a bii half diminished works here? My initial guess was something to do with tritone subs with it being a half step above the root and all. But idek if you can do that with diminished chords.

Also, the reason I’m not definitively saying Bm6 vs G#m7b5 is because I guess I don’t really know the function here and I’ve been yelled at for conflating minor 6 chords as inversions of the half diminished lol. So I’d appreciate some clarification there as well.

Cheers!

Sorry for the hand written notation. My problem is that the tenor in bar 3.4 leaps down to a chordal 7th, which I would like to avoid if possible, but moving stepwise to B produces parallel fifths going into bar 4 and I can’t see any way I could alter the proceeding material which would make the voice leading any better. Please help!

Qual é o nível de ensino que consideram adequado para aplicar este tipo de Musicogramas?

A “caça aos doces” é uma nova versão pedagógica em formato Musicograma inspirada no tema "Great Candy Hunt" de Sidney Miller!
Para tornar este recurso ainda mais eficaz nas aulas de Educação Musical e AECs, foram feitas várias otimizações pedagógicas:
1 - Sons Reais do Instrumentário Orff: Gravado/produzido com os timbres reais dos instrumentos de percussão escolar.
2 - Leitura Visual Pauta + Orff: Cada figura rítmica apresenta a imagem do respetivo instrumento Orff, permitindo uma rápida identificação e execução por parte dos alunos.
3 - Forma e Ritmos Simplificados: Reorganização formal por ostinatos rítmicos repetidos na 1.ª e 2.ª secções para garantir o sucesso imediato da prática de conjunto.
4 – Figuras Rítmicas simples: Neste MUSICOGRAMA só aparecem 3 figuras rítmicas diferentes (Mínima, Semínima e Colcheia + Pausa da Semínima).
DICA: Caso a escola não tenha instrumentos pode substituir o som das clavas por “TAC” e o som do Triângulo por "PLIM".

it's so simple yet some little changes like the G - Gm and the Gm - C7 - Bm makes it sound so nice, like candy to the ear

Hello, I'm doing some exercises on scales right now, and I'm not quite sure if I categorized those three scales correctly. My notes were:
1. Ab-Minor aeolian/Cb-Major

1. F#-Minor melodic

-> VI. and VII. are increased (E->E#, D->D#)

1. F-Minor harmonic

-> VII. (Eb->E) Is increased

Are those notes right? And if not, could you please explain what I did wrong?
Thanks in advance!

I feel like I’m going crazy looking at this. This is from when I was in college anywhere from 2016-2018.. help

I was looking at the sonatina from Gottes Zeit ist die allerbeste Zeit. It’s in E flat, why write two flats in the key signature just to write in additional flats for most of the A flats? Why not just include it in the key signature?

It gives us such a headache trying to understand it, even though it is pure logic and a system of its own. And yet, I see that people all over the world struggle to understand it. I don't understand how logic itself can be unclear when, by its very nature, it is supposed to be clear and logical.

I mean harmony of music theory the most

must read books before grad degree in theory?

I'm interested in learning how to write complex jazz fusion, like this https://www.youtube.com/watch?v=9A1nL9D_z3M

I have played the drums for many years and am very comfortable with rhythmic music theory but have effectively zero experience with tonality (chords, intervals, etc.). I've written some basic songs in a DAW's piano roll, but that's mostly from noodling around without much theory. I feel like practicing theory in that way is wildly inefficient, but I also figure learning piano must be a huge time investment.

So like good investor, I want to know: how much time? How much time should I expect to spend learning piano before being able to write jazz fusion songs?

Similarly, are there aspects of piano playing I can skip/ignore since I care about composition and not performance? Or would skipping those aspects be a bad idea?

Essa música dos Beatles tá na minha apostila de teclado e quando fui tentar tocar ela tudo parecia certo menos essas partes. A transição entre o B e o A parece ser mais lento que o original, nessa partitura. É só impressão minha ou tá errado mesmo? E se tiver errado, como seria a forma certa de se escrever?