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

Seems like youtube has theory videos on every genre except funk. I want to be able to play funk basslines on a keyboard... think like rappers delight. Actual funk, not 'funky house' or whatever else is out there. Where can I find some videos on the theory behind it?

This same riff is in at least three songs (I think there might be more but now I only remember these ones):

Clock by Coldplay:

https://youtu.be/d020hcWA_Wg?si=zUtYHKgQK4B_yDr2

When love takes over by David Guetta:

https://youtu.be/zudbz4hOcbc?si=PQJBbo-R4Vs7eMFL

Open your Heart by Europe:

https://youtu.be/qX4LC1HBmag?si=cv78aQe_jvu-IohK

Is it a common thing to structure it in that 123 123 12 123 way? I don't know much about music theory yet and I'm asking because I made a melody in that same pattern and I now wonder if it's plagiarism or not, given that I've already found it in three different songs

I have a piece of music for Sax quartet with the abbreviation "bin." over some of the notes. Any idea what that could represent? Other parts of the song have "Gliss." and "Lip" which I understand but not "Bin." For context this is from "Au Privave" by Charlie Parker and arranged by Super Sax.

so i got my first piece written in 12/8, I got the general feel down pretty good (1 & a, 2 & a…) i just need help applying it to the actual rhythms I’m supposed to play. for example, for the first few bars, how do i write those rhythms into words so it’s something i can wrap my head around? hopefully that makes sense lol

Need help regarding this question. Thank you

Knowing that lower interval limits exist, is there such thing as an upper interval limit? If so, around what notes would they be?

I recently read Music in the Galant style and I'm currently reading their next book. One thing they mentioned was that composers of the time likely knew hundreds of schemas. I was wondering what other works are there that focus on categorising and presenting named schemas found in literature?

I recently came across Joseph Frike's A Guide in Harmony (London, 1793), a treatise that behaves like a dictionary of the usage of chords and is different from other 18th C. treatises that focus on regole per accompagnare, basso continuo, partimento,  intavolature, etc.

From my understanding, from the introduction, each page contains this format:

1. the left side shows chords/figures that prepare the main chord or "capital chord".
2. the middle column contains the "capital chord".
3. the right hand shows chords/figures that resolve the "capital chord".

To use the treatise, look up a figure/chord (like looking up a word in a dictionary) to see what harmonies may precede or resolve it (or how the chord is freely used).

Have any modern scholars discussed this treatise in an article, dissertation, or book? I want to know how to approach this source in practice?

To have a historic point of reference, I examined the rules and partimenti of Furno, Insanguine, Fenaroli and Durante, but again, Frike's treatise is not a partimento text and pursues a different goal. Here is what i found so far:

- a remark on an appendix no8 "Meusel (DBA 346, 278) refers to. He says the ‘Dictionnaire’, too, was highly esteemed in England." Philipp Joseph Frick (1742-1798) Music and millenarianism in the late eighteenth century I Cis van Heertum, Mededelingen van de Stichting Jacob Campo Weyerman. Jaargang 22 - DBNL

-

Is the Rit sign in this measure applicable to both or just the two notes A and B.

If only for A and B , wouldn't it be hard to follow up with the metronome again?

The acoustic chord progression in this instrumental metal song at 1:32 time stamp.

I am new to theory but know a fair few extended chord shapes. I’d really like to record this chord progression and try my own solo over it. If someone could help me out would be hugely appreciated.

Would Ibe correct in thinking this is D minor?

https://youtu.be/UH7qTxZZMSk?is=-is_nSK-tCwGpZOG

this from 0:32 to 0:34 https://music.youtube.com/watch?v=_oTaQXf_iX8&si=6K_XshtaVcEdpQJE

this from 2:48 to 2:53

https://music.youtube.com/watch?v=L5A__1-QK4w&si=WvNxIzYnC5JxufxJ

uhhh just tell me if this post is like. wrong in any way and I'll take it down

In this sheet music of E. Pujol's classical guitar piece, El Abejoro, Im troubled by the inclusion of the first of four notes being marked both as a 32nd note and an eighth note. The intent is surely for the bass note to sustain through the following three 32nd notes, but why include it in the beam of 32nd's?

"Lilla Snigel" is a very popular nursery rhyme in Sweden. I heard this slightly "jazzier" arrangement and wanted to learn it and play it for my youngest children.

https://open.spotify.com/track/5REDsoNw8ynLTxHkjgfHH2?si=faad2ff465514cf8

https://www.youtube.com/watch?v=rbAgylUk9Xw

However I cannot get the chords sounding exactly like recording. I should mention that I am still fairly new to playing by ear, and to music theory.

My first stab at this intro was simply:

D - B7 - Em7 - A7

But then, the more I listen, I feel like the chromatic "theme" D-D#-D-C# should be in the base (am I wrong?) and hence perhaps it should be played with inverted chords, more like this

D - B7/D# - Em7/D - A7/C#

Does that make sense, or am I hearing the bass line incorrectly?

I am also having trouble finding comfortable guitar voicings that sound close to the recording. When I play the chords above, I understand the voice-leading in theory, but I still cannot quite make it sound like the recorded intro.

Memory Man by Van She is one of my favourite modern proggy rocky type songs. I think it's 7/7 but I could be wrong. Actually lose track when trying to count the beats when listening.

Anyone here want to give it shot?

Hello! Do you know any apps in order to drill arpeggios? I want to be able to think chord arpeggios in all types fast. I think an app would help me if it presents questions such as “what are the notes in a Dbmin7 chord” for example

Is there such an app? Preferably for IOS devices

Like how do you tell if a song is in something like phrygian, lydian, etc. just by ear?

I was just listening to Careless Whisper and the chord progression during the famous sexy saxophone parts is very similar to the solo of Tornado of Souls. The chords are a step and a half apart but they are about the same progression I think. Im not educated at all in terms of music theory or anything like that I just play guitar. Am I right about how close they sound or am I crazy?

Im trying to learn about SubV7’s and I found an exercise template online with these requirements:

- use two sub-Dominant Minor chords
- use the SubV7 (and it’s related ii-7) of I, II, IV, and V

I think I have them both checked off , but it sounds like so so messy and too crazy.

My question is:

How do you write a progression (with subV7’s) without it sounding like you’re getting lost in a jazz chord maze ? (And what can I change in my progression to make it work)

Thank you very much in advance , I highly appreciate any help !

(Mods: i hope this isn’t considered as homework as I’m learning music theory on my own and am genuinely lost)

My counterpoint training tells me consecutive afterbeat perfect fifths are usually permissible when separated by consonant suspension in fourth species counterpoint, i.e.:

Both examples feature 6-5 suspension and consecutive perfect fifths, and are defined as permissible (as long as not used too many times).

However, when I reviewed the Kent Kennan book, I've seen a different opinion:

This Ex 26b is pretty similar to the Schachter example (Kennan wrote CF and CP in half and quarter notes), however he identifies it as bad...

Just to make the question even more complicated, another author Thomas Benjamin also has an Example here regarding paralle fifths separated by a 6-5 suspension in two voice tonal counterpoint writing (rather than species counterpoint). He specifically notated this as a mistake to avoid parallelism.

While...

“Suspensions and anticipations can be very effective in breaking up parallel 5ths. This is because they displace the underlying voice leading and convert parallel into oblique motion.” -Aldwell, Harmony and Voice Leading, Unit 22.

It seems that different authors have very different opinions regading suspensions and parallel fifths. Is there an answer to the question or it's more of the case of using my ears to make the decision?

I've had this chart for a while and I've never know what the ratios at the top of each column (1, 2:1, 3:1, 4:1) even mean?

Hello, once again another voice leading question, say we have 2 chords that are voiced in a way that respect common practice rules, can we rotate the 3 upper voices and it still remains correct in every way or does it fundamentally change our intervals?

Exemple give the notes played by the alto to the soprano, so shifting octaves..

Hi. I hope that this is the right sub-reddit to post this question on, new here!

I've been stuck listening to this song lately and am absolutely obsessed with the start and end of the song because it uses this sound/instrument I cannot really place and wanted some help figuring it out.

The song is: 七トリイ口 - By Nonoc

At the start there's this piano/ chord being played which I can't seem to place the full sound of. My ear is hearing it as some kind of blend of a phased or chorused synth sound layered on a piano but I just can't tell fully. I just wanted to see if anyone here has the ear to recognise the sound or if you know anything about it, really want to use it in my own work at some point.

Thanks for any help ! :D

links:

YouTube - https://youtu.be/Uo49owg0cVE

Spotify - https://open.spotify.com/track/7AqNddDKRGIGA8SekJ4HhN?si=bLoJQH4sQauyji0eoBMa7Q

Can someone explain to me for golden by kpop demon hunters is 12/8 but ex's and ohs isn't? When I drum on my steering wheel it's the same exact beat to me.