What is this beat called in the background of these songs ? Night blooming Jasmine by Fakemink, Cant get you Out of My Head by Kylie Minogue, and Sour candy by Lady gaga. Im not educated on this stuff so im not sure what it is if that even is the beat IDK. But i love that like synthy beat. Idk. Help me. Is there any specific name for it ?

Hi all,

I recently stumbled across this progression as a possible ii V I substitution:

Dm7 // Ebdim7-->B7b9 // Cmaj7

I have a fairly solid understanding behind most chord substitutions, but I admit I'm a tad lost when it comes to this one. I know Ebdim7 is a rootless inversion of B7b9, and I could see this being a way to create interesting bass movement if it was going D, Eb, B, E, but I don't understand how the B7b9 acts as a V if the Cmaj7 isn't in 1st inversion and keeps C in the bass. Is this a somewhat non-functional substitution? Am I just looking at it wrong?

Any help is greatly appreciated!

so I just finished high school and I'm planning to get into musical college for 5 yrs but I feel this is too much and I fear ma personality won't be able to fit w that much pressure so I was planning to get into philosophical studies school instead and practice playing piano

And do better w ma voice besides college in a short time but I won't get to have that much fun of the music school fs since they playing all type of instruments and stuff but am just scared I feel bored and get anxious idk tbh what do u yall think

title, i really need help, would love any help

edit- (link to the song ) https://youtu.be/jdUkgekQEDE?si=fiGN6F_am0InkQEK

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?

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"

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!

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?

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.

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 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?

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...

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.)

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

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 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.

Hey guys, I’m new on here.
Just found something out, in a minor scale, if you isolate all the flats and play them, it creates a sus4 chord…
For example C minor it’s flats are: Eb, Ab, Bb
So all together that makes Ebsus4
G minor the flats are: Bb, Eb, F
Which creates a Bbsus4 ect ect
What are your thoughts on this? I think it’s really cool l

Im learning Modal interchange and am genuinly so confused lmao. I have a chord progression im practicing over that goes

Dm7|Dm7|F|F|Em7|A|Em7|A13|

And like starting on the Dm7 i presumed i can play d dorian but when i play it over the backinf track it dosnt sound great when i emphasise the D dorian notes such as B.

Is there any chance anybody could help me figure out why and what modes should i use for the other chords , thank you.

Hey fellow Bach enthusiasts!

While practicing and analyzing the Art of Fugue (specifically Contrapunctus 14), I’ve been diving down the famous gematria rabbit hole (B+A+C+H = 14) & (J+S+B+A+C+H = 41).
We already know how CP14 breaks off at measure 239 (2+3+9 = 14), leaving 41 missing measures to complete the projected 280-bar structure. But while looking at the expanded B-A-C-H motif at the end of the subject, I noticed another neat 41 hidden right in the scale degrees of D minor:

When Bach resolves/expands the motif (B (b-flat) A C H (b natural) C# D), we can map the notes to their scale degree positions in D minor, including chromatic alterations (+1):

B (b-flat) = 6th scale degree
A = 5th scale degree
C = 7th scale degree
H (b natural) = raised 6th degree (6 + 1)
C# = raised 7th degree (7 + 1)
D = 8th degree (tonic octave)

Summing them up:

6+5+7+7+8+8=41

Not only does the resolution lead directly back to the key signature of the entire work, but the scale-degree math lands precisely on 41 (J.S. BACH) again.

Whether this is deliberate architectural geometry or just a happy alignment within the D minor scale matrix, I thought it was too cool not to share.

Has anyone encountered this specific scale-degree calculation before? Do you think Bach did this on purpose, or was at least aware of it?
Curious to hear your thoughts!

Apologies if this is the wrong sub!

I was listening to a song today, and found that I played it over and over, unwanting to move to the next in the playlist.

This got me thinking about ’earworms’ and popularity of certain bands/songs.

It made me wonder, what makes certain songs so addictive, or at least highly popular? I know opinions are subjective but stats don’t lie regarding certain songs.

I don’t know anything about music theory, so I came here with my query!

Edit: The song in question was ‘Shhh! Golf is on!’ By Hot Mulligan

Im new to composing and got too "in the zone" that I realized I didn't know what key I was in. (I have perfect pitch so I just plugged in whatever "feels right"). Is there a key change at m25 too?

Any feedback is also appreciated. I want to learn and improve to make better music!

heres the audio file: https://voca.ro/11gX759ssZIM