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?

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?

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 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.

Hey everyone! I want to learn how to find the notes on my instrument by muscle memory, without having to look at it.

What are some easy and effective methods or exercises to practice this skill? How did you learn to do it yourself, and how long did it take you to get comfortable with it?

I'd really appreciate any tips, practice routines, or personal experiences. Thanks!

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?

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?

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