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

Title. Intentionally made the bar feel 3/4 for fun, was told it’s wrong by my instructor (this is an assignment I submitted for an introductory course). While I understand it doesn’t ‘feel’ like the 6/8 time signature, is it generally considered “wrong” to ‘straddle’ the beat like this in music?

Not sure if this was a problem with what I actually wrote or just how I notated it. To write this as I intended, would I need to tie two 8th notes on the 3 and 4 of the bar for it to be considered written properly?

With my hearing I have a significant delay with registering what I hear as well as hearing something different from other people with noises. Some accommodations that I already have are having captions for videos and having access to headphones for audio.

But a lot of our assignment for Music Theory is listening to a piece of music we get about 2-3 times to listen, it has two voices or lines of music that are different pitches. Then we write down what we heard. It goes to fast for me even when our teacher slows it down significantly. I've done individual note and interval (2 notes) ear training practices on Musictheory.Net everyday (let me know please if there is another site to use for practicing that works well for you). And still can't even get what the first pitches are of the piece

I know more practice will help but it's been taking a significant amount of time everyday and I haven't gotten any progress on the actual assignments. Any ideas?

Just a quick question, so minor scale intervals are whole,half,whole,whole,half,whole,whole.

As we are at the start of the next octave, the sequence should follow with whole, half and so on. So as a quick memory of it in repeating basically after the first half, all following intervals are the same as for major, just in a different sequence thanks to that first whole half?

And how will this chord be notated? Will it be b# instead of c? What key has E augmented chord with A flat instead of g# and why?

I am currently doing some work through Kendall Briggs' The Language and Materials of Music. For context, I graduated years ago and am working through his book as a brush up on things I have forgotten. The reason for picking his textbook is I heard great reviews of it.

I'm currently going through first inversion part writing. In this, he says to write a soprano note by exchanging when the bass has the root or the third. If the bass has the root give the soprano the third and vice versa. The exception is when you have two consecutive root position chords. Then you follow the Law of the Shortest Way (smoothest part writing).

My issue is that as I go through this, it doesn't seem like very smooth part writing. There are large leaps of a sixth in the soprano, later followed by leaps of fourths or fifths in the alto and tenor lines. I understand that isn't necessarily bad, but it is certainly different from what I had learned before with trying to keep lines smooth. With that, in some of his examples he doesn't follow this rule. He instead opts for doubling the third in a first inversion chord and then the fifth in a root position chord. I cannot see why he broke his own rule and so cannot tell when I should do the same. Lastly, he instructs you to write horizontally and not vertically. He asks that you write the entire soprano line, then entire alto, then tenor. This is fine, except when I find that something I did in the alto line (because I am following smoothest voice leading and the rule of switching the root and third in the soprano) creates an issue with the tenor line. I then have to redo the entire alto line from there, and then the tenor line.

Have any of you worked with this idea for writing a soprano line with first inversion triads? What are your thoughts on this?

Hi, I’m new to music theory and am not sure if I’m overthinking this. I’m working on an exercise to make a natural minor scale into a harmonic minor scale. Is it proper to include a sharp when there are flats present? For example: (In bass clef)
G-A-Bb-C-D-Eb-F#-G
Sorry if this is a dumb question, I just want to make sure that I understand.

I recently wrote a piece which used a descending line cliche in major, being I iii v IV iv bIII II V (D F#m Am G Gm F E A with voicings), and I thought it was quite nice so I searched for songs with the same chord progression on hooktheory but found none (which could be a fault of the website).

It made me wonder though so I came here to ask if anyone knows of songs that use similar progressions and/or descending line cliches in major!

I am analyzing melodies, when i search on internet, all places that offer sheet music, offer polyphonic. Could anyone please suggest resources for monphonic sheets?

Is soprano in polyphonic could be considered as monophonic?
I want to see only one melody line, seeing so many at a time, is actually stressful to me.

I think the chord progression is very interesting and beautifully well put and wanted to share. When you know the theory you just know what changes you could do, firstly the number of chords, the choice of chords, modal interchange in the Dm after the A7, and the seventh chords that add color to the entire progression. This band is not famous in my country, it is the first time I heard them in the radio and is a pleasent surprise.

I know the Imaj7#9#11 to I is a pretty common way to end 30’s/40’s jazz arrangements and brazilian music, but are there any instances where instead of the I, it’s the bVI?

I feel it makes some sense, because you can see it as modal mixture from the harmonic minor (or harmonic major if you make the #11 a b5), or you can see it as a disguised V through looking at the chord as a V under a bVI bass.

I'm asking here because I'm not really even sure what to call this or how to look it up

For example, this song does it a few times.

For this line at 0:30, she sings

Went through all the drawers
And the shelf by the door

it's what she does when she sings the word door.

It's done again in the chorus which starts 0:58

I can’t toss your toothbrush
I can’t do that today
it sits in the cup like it still
has something it wants to say
Your toothbrush, your toothbrush
leaning there with mine
One blue and one white
Bristles touching, still in line

for the word mine, she does the same thing. It's like...a half note that goes sharp? And it's very prominent in this genre specifically. Is there a word for this?

Is this specific progression going to feel that way regardless? Or does it have more to do with the melody motif I pick?

Just was surprised to hear that the piece sounded rambling since I set it up so it returns to the tonic twice

Just learned about chord progressions in more detail last week, and I’m doing a chord change per bar, which might be a bit excessive

It’s a nocturne in B Major

Edit: thanks everyone for the helpful comments! I think I need a better melody and I’m going to review the voice leading more too. These comments/discussion are helping me learn a lot. Appreciate it!

i know it's partly cultural conditioning and exposure, but i'm curious if there's anything in the actual physics or math of the intervals that makes major thirds and perfect fifths feel resolved and "bright" compared to minor. or is it literally just learned association?

i've been messing with progressions and noticed that ending on vi after building tension feels incomplete in a way that's almost uncomfortable, like the song is just stopping mid-thought. is there actual theory behind why our brains expect i, or is it just conditioning from hearing thousands of songs that resolve properly?

I feel like the first chord is Cm7 but I am having trouble with the other 3 chords in the progression. I would really like to learn this song so bonus points if you can identify the correct voicing as well.

Enharmonically is seems like Cdim or “i dim” but that doesn’t make sense…?

Hi all, I found a music piece in the key of G for clarinet, and I saw that the piece has some very high notes that I cannot reach yet (in the altissimo register) - so I used sibelius to transpose it (I a beginner)- and it transposed it down by interval, 3, So instead of being in the key of G it became the key of Eb - and everything is perfect! Except....now there is one note, the lowest E, that is unplayable on the clarinet, because the lowest E is the lowest possible on that instrument, but because of the key, the E becomes a Eb or D#... any advice what I can do in this instance? I am really happy with the results except for the fact that I cannot play that one note, is there another note I could change it with without it sounding weird? And also, the score has a part for violin so I transcribed both and they sound really good together, such a shame that there is only this one proble,. Any advice really appreciated!!

I think it could just be 3 eigth notes but the 3 makes me think its a triplet

Basically expanding them more than just common time for 4/4 and cut time for 2/2, so far I have:

2/2 - Cut time (Ȼ), still in use

2/4 - Ordinaire time (O), comes from ”ordinaire” which is French for ”common”, because 2/4 used to be “French common time”

3/4 - Waltz time (W), comes from most 3/4 music sounding “waltz-y”, used to be grouped with common and cut time, but fell out of use

4/4 - Conmon time (C), still in use

5/4 (3+2) - Brubeck time (B), named after Dave Brubeck, composer of Take Five, the most popular jazz piece - if not music piece in general - in 5/4 - u/Barry_Sachs for the suggestion

7/4 (2+2+3) - Gabriel time (G), named after Peter Gabriel, composer of Solsbury Hill, one of the most popular mainstream songs to use 7/4 2+2+3

9/4 (3+3+3) - Zarabanda time (Z), comes from ”Zarabanda”, Spanish for Sarabande, a Spanish dance mostly written in 3+3+3 9/4 - u/victotronics for the suggestion

6/8 - Viennese time (V), comes from Viennese Waltz, a form of ballroom dancing with music in a fast 3/4 meter that sounded like 6/8 - u/MagicWolfEye for the suggestion

9/8 (2+2+2+3) - Rebetiko time (P), comes from Rebetiko, a Greek dance mostly written in 2+2+2+3 9/8 - u/victotronics for the suggestion (symbol comes from “P” or “Rho”, the Greek equivalent of the English R)

9/8 (2+2+3+2) - Tamzara time (T), comes from Tamzara, an Armenian dance mostly written in 2+2+3+2 9/8 - u/victotronics for the suggestion

10/8 (3+2+2+3) Jurjuna time (J), comes from Curcuna (also called Jurjuna), an Armenian dance mostly written in 3+2+2+3 10/8 - u/victotronics for the suggestion

12/8 - Sicilian time (S), comes from Siciliana music mostly being in 12/8 - u/victotronics for the suggestion

Hey bros, I am trying to find the chords for a song but i'm having some trouble. Could someone lend me their wonderful ears?

https://www.youtube.com/watch?v=S5JBFYLII4g

What i found so far is E - Am - D - and a G somewhere.

Thank you so much and I hope this isn't against community guidelines, if so i'll take it down immediately.

I'm a big of Hamauzu work and wanted to ask if any has some tip or know of any common techniques he use that could my songs sound a bit more like his

Edit:Or if know anything about saber edge or the travel agency