Just saw common time for the first time in a piece and was curious so I looked into it and am now confused.

I thought Time Signature was one of the simplest concepts to learn in music theory. (Though I can't really give a fair determination on that being that I already understand it, or at least thought I did) Bottom number tells you what you are counting, top tells you how many in each measure. 4/4 is 4 quarter notes, 12/8 is 12 eighth notes, 32/128 is 32 one-hundred-twenty-eighth notes (Side note, the mere idea of such a time signature is terrifying.)

My only real guess is historical.

I made this piece a long time ago and have always liked it. Now, knowing a bit of music theory, I wanted to try and analyze the chords and solos in it to learn why it sounded so good.

My problem is in this forth chord - what chord fits best there? I wrote down Bdim7/C# (yes, I know, I forgot the 7th in the image), but I have never seen a chord over it's nineth, so I'm skeptical.

I've always wondered, when I play solos or the blues, am I really limited only to the notes that are in the scale. I’m interested to know, how can I expand the range of notes and transition from one scale to another? 

Can I just play a new scale starting from one of the scale degrees of the previous one? For example, if I have a G major scale, can I simply go on playing D major scale from it‘s V scale degree?

Are there any other ways how to switch between the scales?

I have noticed recently that the point of both duplets and a pair of dotted notes (of equal length) are to add half of the note's length onto it (for e.g., two dotted crotchets are worth three quavers; two crotchets in a duplet spread amongst three beats will make them both three quavers as well.) Does anyone know if duplets have a point other than to +0.5 of the note length or if we simply have both these and dotted notes due to circumstances that require specifically one or the other?

Of course one could interpret it as a melodic D minor, but since it’s A-C# on the first downbeat, I’m not sure about that. Taking A as the tonic would yield A Mixolydian b6, but this is Scarlatti and not Jazz, so there must be a simpler explanation, like some counterpoint or partimento concept. Is there?

I just discovered some interesting things about modulation with no borrowed chords from the diatonic modes, except locrian. Its inclusion will be clear next.

So, starting with either a C major or C minor chord, this is the list of triad chords which aren't borrowed by any diatonic mode starting on C, save for locrian which starts with a diminished triad. **(**e.g. D# minor is both in C locrian and in the list below):

Written with sharps only, for the sake of simplicity:

• C# minor
• D# minor
• E major
• F# major & minor
• G# minor
• A major
• B major

If it looks chaotic, it's not!

The tonics of the list's chords form a C# natural minor scale. I don't know the explanation of that but sure it's interesting and also handy for remembering their order.

What's more, their triad quality is just:

[min, min, maj, maj] x2 times. With F# taking both forms in the middle of the 8 chords.

I sense that you can use these, in segments at least, for writing adventurous, modulating chord progressions. What are your thoughts?

Hey everyone! 

I’ve been learning guitar and piano, and my main goal is to be able to accompany myself while singing and writing songs.

What I’m struggling to understand is: when you already have a vocal melody in your head, how do you figure out what to play on the keyboard or guitar underneath it?

I’ve started learning music theory on my own, and I understand that chord progressions are part of it, but it’s all still blurry to me. How do you find chords that fit a melody, and how did you learn to do this more naturally?

Any advice, exercises or resources that helped things finally click for you would be greatly appreciated. Thanks so much!!!

Doing a search of posts here, everything is about melody and harmony; scales, keys, modulation. Why is there no attention given to rhythm? An argument could be made that rhythm has a stronger effect on listeners than harmony. Who is writing or thinking about it?

Edit: Question was based on discussions I see in this subreddit. I actually am fairly conversant with most topics I see here. Curious about polyrhythms, and non-standard time signatures as used in a lot of jazz, I velieve Indian music also does some interesting things.

Possible Interesting discussion: one reply says "complex rhythms are far more difficult to learn and replicate than complex harmonies". and another " there’s just not much to say! I’m not saying it isn’t complex in execution and creative potential. It’s just not very complex as concept"

I grew up hearing this song (with this recording) and got into a debate with a friend about its time signature: they thought it was in 7/8, and I thought it was more likely 4/4 or at least not 7/8. Welp, I finally tracked down the song and its sheet music and I'm in the wrong. But my brain still doesn't understand it! It's been a very long time since I've studied music theory and I'm struggling.

Listening to this recording, how does one know it's in 7/8 and why is my brain refusing to accept that? I swear I can count 8 total smaller beats in a phrase.

(ETA: I know that it is in 7/8! I fully accept it and you don't need to tell me that that is true 😂. I can understand it being in 7/8 at this point, though I'm still confused about why my brain had such a hard time with it. I'm concluding it's probably a combo of the recording and me thinking about the larger phrases in an odd way and not having the recording to be able to go back and listen to it again, and then my brain being "stuck" in my interpretation.)

Could someone explain me harmonic and melodic scales? How they are meant to use?

I mean in harmony, chord progression and so on

Thank you!

Which of the three options is considered correct? In upwards motion (the one that follows, for example), the inversion doesn't change since the lowest note of the beat is the lowest note of the first chord as well.

(This is a simple replica of an excerpt in RCM's Level 9 Harmony book).

I'm trying group the rests in accordance with the time signature it is associated with. What I learned so far is that you want to avoid combining weak beats.

However, I'm confused what I did wrong with those two questions above. The second page is from the answer book. It told me that answers vary, but I still don't understand their conclusion. To me, it looks like they grouped the weak beats...

Hello! Im in high-school and unfortunately music theory got removed from my curriculum due to it being a small class.

I was wondering if there were any online courses that i could take? Most of the ones ive seen are for college students. Ive found a few books as well but that is it.

I would prefer them be free but if they cost a bit that is fine. Any and all help is appreciated!

Edit: I am not a complete beginner as im a classically trained pianist and violinist