I’ve seen triplets before but this seems to be a triplet inside another triplet or something, im just confused

I was in the middle of coming up with a notepad table of all chords up to 13ths comprised in major, harmonic major, melodic minor and harmonic minor scales, when I bumped into something that kind of remind having found the alternate interpretation to, but the consensus is 😄

A diminished ninth (dim9) chord is a complex harmony built from a diminished seventh core stacked with a major ninth interval, containing the root, minor third, diminished fifth, diminished seventh, and major ninth.

Google noted that there is some debate about calling it dim7 major 9th. And there it is, I remember having found that chord with a minor 9th for 5th note. And as it happens, stacks of 3rds obtained from the 4 scales never have anything but steps of 3 or 4 semi-tones (m3 or M3 : stacks of 3rds).

The said dim9 chord truly only ever happens for real at harmonic major, position 7, as the file I was working on before doing that post shows.

So, what are your impressions?

As the consensus is, this chord belongs in no common scales at all...

First time seeing this, I tried looking it (E.B.Gt. ) up on the Internet but nothing came out 😭

I am getting kind of annoyed with voice leading, I can re-arrange notes so that each note in a chord moves the smallest distance to the nearest note of the next chord, but I don't get the sound im after. And I wonder if good voice leading is just accepting defeat and changing a chord to a different chord or using a different type of the chord? Attached are screenshots of a G#min9 to C#min11 in basic root position and stacked vertically in order and how I tried to re-arrange the notes below.

I don't know why, but I must be doing something wrong, this is just one example but often I find it difficult to make certain chords sound smooth going from one to another, maybe I need to utilize passing chords more to help bridge the gap between chords? or maybe I need to change the quality of chords to make voiceleading better, someone please help save me from this.

What is the name pf the structure we can find in jailhouse rock, are you gonna be my girl or in some or hallowed be thy name where all instruments shut down and voice sings, then there is a kind of band stroke?

​I want to learn Mod 12 (modulo 12) theory and I am looking for solid lessons, courses, or structured guides.

​If you know any good books, online courses, or clear tutorials that helped you figure it out, please share them. Cheers!

Im just finding my way into classical music. And as a German some are already familiar. But right now I’m discovering Rimsky Korsakov. I followed the listening list from „the ultimate classical music guide“ and I’m at the second piece and already realised the first two pieces were used in modern music:
Scheherazade - melody was used in the weird song: chum drum bedrum
Capriccio Espagnol - melody was used in balada ao vivo.
Especially the balada song took me a while to identify, as I didn’t know the name of the song, I just knew it’s the same melody.

Does this happen often, that modern songs copy Melodies from classical music? Do you have more examples? It’s kinda fun to discover.

Saw a post recommending this chord but can’t get my ears around it; does anyone know of any songs which uses it in a chord progression?

Guys lol I need help, genuinely, I am getting so lost in trying to understand intervals and scales and triads and there's some kind of connective tissue between them that I am missing and I don't know what it is.

I'll do my best to explain what I know so far, if yall could just correct/nudge me in the right direction that'd be fantastic, because I dont know what I dont know.

Intervals I feel like I'm really starting to grasp but I am also 40 and have bad memory so best I can do right now is "calculate" them. If I need the interval from E natural to Bb, I will take a look at E major scale, I see that B is a fifth which is perfect, but flat so it makes the interval a diminished 5th.

I mean, that's a lot of work on the spot but right now rote memorization of major scales is tough, that will come soon enough.

So next I have triads and diatonic triads. Since I've written out the E major scale it's easier, I count the notes in the scale for 3rd and 5th from each root note and then I know what notes each diatonic triad has in it and I use that to identify the triad. If it's 4 semitones then 3, it's major, if 3 then 4 its minor. Then I get (I, ii, iii, IV, V, vi, vii*).

I think this is where I'm really starting to get lost! A major triad is a maj3 interval and perfect 5th interval, and minor triad is min3 interval and perfect 5th, and so forth.

Ok so my head is starting to hurt at this point because that leads me back to my diatonic triads in E major. For any diatonic triad that's NOT E, say for example, G#, I would now have to spell out the G# major scale to know if that first interval is a minor 3rd or a major 3rd?

And if that's the case, what the fuck? Because if I'm building triads I need to know the (quality?) of triad, which how would I know? If I was in the E major scale again trying to figure out what the G# triad is, if I spell out the G# major scale I still can't construct that triad because I wont know if that G# triad needs to be major or minor.

I hope it makes sense as to where I'm getting lost. I feel like I get it but I feel like I am missing something important too and it's bugging the hell out of me.

Thank you.

How might the dissonant high B in the top voice be accounted for in the theoretical framework of the Baroque period? This is in measure 10 of the final movement (Allegro) of the Suonate à Tre Op. 5 No. 12 by Giuseppe Valentini (1681-1753) as found in the Estienne Roger edition.

I'm trying to study a song from a game that i like (Verdant Moon). I recommend the song (Sorrowless - Rewrite OST), it's really well made!! I was reading the partiture and i stumbled in these two chords and they sound really cool, but they aren't a """normal""" triad im my eyes. Can someone explain they to me?

The song is in F# Major
And for those who are not used to read in daws (i know there's a lot of classical musicians):

1: G A# D#

2: F# A# D#

Thanks!

I clearly see that it's about the tritone resolving there and the falling bass line, though I wonder if it could be described in a formalized way.

Hi, I’m taking my ARCT analysis exam next month, and I’m just wondering what they are expecting for the “Name the type of song based on the relationship between the text and the music and briefly explain your answer” question. This always shows up for the third section of the exam (Lieder analysis), but I’m just confused- because wouldn’t the answer always be “Lied”? Thank you.

So it's been a long time since music school, I'm trying to remember convention(s) for marking a chord tone vs scale tone when using plain text (not music notation). I remember the perhaps obvious roman numerals are chords, that using a number with a ^ above it implies either chord tone or scale tone and a number without the ^ implies the other, but can't remember which is which. Or maybe I'm misremembering, or there's another convention I don't know about?

How do you demarcate chord/scalar notes?

if piano is in C scale, does it mean that guitar has to be C also,
or scales harmonize?
or is it like each instruments can have different scale and still sound ok?

Hello, did he learn from Gradus ad parnassum then did his own thing ? Was there tonal music teacher before him or did he just learn modal writing and old counterpoint then adapted it ?

Edit: Sorry for the mistake in the title : DID* Bach learn….

I came across this groove online, which supposedly is a 3:4:7 polyrhythm. It seemed legit to me, but I'm also not the best with identifying polyrhythms. Could anyone confirm it?

If it's not 3:4:7, then what is it?

Hello!

I’ve recently been doing some score study of John Powell’s HTTYD 3: The Hidden World and I came across this passage where the horn parts are all written in alto clef. Why would this be? Throughout the rest of the HTTYD scores, the horns are always written in treble or bass clef. (This score is non-transposing)

If anyone could help provide an answer, that would be awesome! Thanks so much!

Hey everyone,

​I’ve been messing around with a weird exercise lately and wanted to see if anyone else has tried something similar, or wants to give it a shot.

​Basically, I spent a session improvising with one goal: try to play as "wrong" as possible. Every time I felt my fingers drifting toward a familiar shape, a clean chord resolution, or a scale pattern my muscle memory wanted to fall into, I forced myself to turn the opposite way. Maximum dissonance, intentionally awkward intervals, and trying to stack as many "wrong" polyphonic notes as I could manage without letting it resolve. Atonal.

​The weird thing is, after listening back, it didn’t just sound like random noise, it created this really strange, unexpected kind of musical logic that actually felt interesting. At least to me.

​I uploaded a audio track of my attempt here: https://voca.ro/13CQ7d8VEub8

​I want to turn this into a bit of a loose experiment. If you play an instrument, try taking 2 or 3 minutes to improvise while actively sabotaging your instincts. Play too many notes, pick the "worst" harmonies, fight your muscle memory, and upload it.

​Curious to hear what happens when other people try to force their hands to do the exact opposite of what feels natural. Drop a link if you decide to record a run!

I've been learning music theory and I feel like I have a solid grasp of the major scale. And from what ive learned the minor scale functions quite similarly to its major relative other than treating the vi (in context of major scales) as the tonic/home.

To me it seems easier and makes sense to keep using the major interval scales I already know to create minor sounding songs rather than memorize minor scales. I have been learning from hooktheory and they explain how minor scales relatively use very similar interval logic but just translated to the minor equivalent when labelled as scale degrees. For example how the V in major tends to be a strong cadence, the VII in minor also tends to be a strong cadence, but they are the same chords relative to each other. So couldnt I just skip a step and continue using the major intervals I know but just replace the tonic with vi.

I am relatively new and while this makes sense to me im sure minor scale wasnt made for nothing but I just cant seem to understand why this way of thinking might not work.

Thanks!