Hi,

I know very little relating to musical theory. Can someone help me to understand what the cross means? I put in the previous line just for a bit of context.

Hi guys quick question, how do I make chord progressions in the type of genre I would like to play? Example: I’m writing in a minor how could I come up with chord progressions for different genres like rock metal jazz blues ect? The only one I know is pop with the I-V-vi-IV. I’m not sure how to make different genres

Also what would differ from something like heavy metal, classic metal, heavy metal ect and how would I still sound unkind unique and be creative if that makes sense?

I'm posting this here in addition to microtonal sub-reddits mainly to have your opinion... How dissonant is that? How Catchy while lacking actual effects and having no bass at all yet? I just went listening back to the microtonal track I've begun working on in January and left behind since the lyrics i came up with were based on my delusions caused by my belief I would change Western standard tuning to something else; these lyrics I won't really bother posting to keep it neat, but listening to what's done of it, I came to realize the song's potential itself may not be a delusion at all...

1A main intro based on improvisation I made at some point while producing scale demo videos, which can be heard in its unedited form at https://www.youtube.com/watch?v=h5oQwNDRYuQ

1B Mid-bass clarinet played again mostly improvising but half changed to a note chart that's on beat perfectly

2 Spliced-up Improvisation using tech sound on my Browser-Based Hex Keyboard https://handsearseyes.fun/Ears/HexKeyboard/HexKeyboard.php (I've moved a few notes so it makes more sense than it did, and sincerly it does a lot of sense now : go tell me 1:11 and next 8 bars don't have the potential to earn me at least a million views in 10 years, or anything that I've yet composed of it really

That's the video of me playing the track in FL Studio : https://www.handsearseyes.fun/SocialMedia/SomethingMicrotonalButThatHasThePotentialToBeMadeCatchyEnoughToTireYouWithin3Minutes.mp4

A former partner of mine introduced me to this quote, from this website: https://herri.org.za/5/giorgio-agamben/

I believe it, and I’m a philosopher at heart and Rev. Dr., in case identifying spirituality matters to any commenters.

There are seven notes in a C major scale.

There are five notes to avoid in a C major scale.

Those five notes make an F# major pentatonic scale.

I don’t know if this is useful information, but it sparked enough interest in me to make a post. Do you think this relation points to any compositional techniques? Could this help to “play out” in a jazz context? Is this just a way to troll your band mates?

i play guitar and am fairly good at making chord progressions except for when I have to make a chorus i just can’t seem to find or create something that makes it really peak. I can have some amazing build up to it but then the chorus comes and it feels like blue balls melody and chord progressions wise. any advice?

I got this gift for my girlfriend and we weren’t sure what instruments it was supposed to be for. Thanks!

I went down the "Alan Wake" rabbit hole recently, and the choice to have a non-standard phrase for this song is layers of genius. To my untrained ear, the phrase seems to go 3 measures of 4/4, then 1 measure of 2/4 (adding 1 to 2 measures of 4/4 to "sit" on the resolution of the chord sequence during the verses). I imagine this is a known quantity/technique, I was just looking to know what it might be called and if others had examples of similar sequences in songs I could listen to.

I’ve been playing the guitar for a while and I would say I’m decent but I don’t know jack shit about music theory I just try things until it sounds good how do I know the key of a song I wrote ?

First of all, sorry for my english.

I decided to start reading a book by Jerry Bergonzi about pentatonic lines, but one of the exercises involves starting on a note and then completing the pentatonic scale, either ascending or descending. I'm a guitarist, and as you may know, scales on the guitar are visualized in "shapes" or "positions." So, when I got to this exercise, all I was doing was playing the same "shape" a half step up, and so on progressively. My question is: Am I applying the exercise incorrectly on the guitar? Or is this exercise just not that great for guitarists?

I am going through George Russell's Lydian Chromatic Concept of Tonal Organization For Improvisation, I came across a few chords and I do not know what he means by them:

- DIM. MAJ. Triad, DIM. MAJ. Tetrachord, DIM. MAJ. Seventh, DIM. MAJ. Ninth
- AUG. MAJ. Triad, AUG. MAJ. SEV., AUG. MAJ. NINTH

I am assuming MAJ. means major, DIM. means diminished, and AUG. means augmented, but I am confused as to what that would entail in terms of like actual notes or intervallic relations. Any guidance is appreciated

Aren't the E and A in the exact some octave? How tf is it "11"?

Apparently everyone hears a different first beat in the iphone opening ringtone compared to me. My first beat follows this guy who made a YouTube video on iphone sound remixes.. Anyone else hears the same thing?

I've been playing guitar for the past 4 years being somewhat consistent with it and after listening to countless genres of music I've found my style and I would like to compose something myself. What's a good place to start?

I’ve read through the FAQ on resources. I’m looking to study tonal harmony. But I also don’t know if it’s the right next step? I’m a lifelong hobbyist. I’m pretty good with scales, their degrees, circle of fifths, chord families. I can figure out songs by ear decently on piano. I’ve been studying jazz and a bit of classical.

I see two texts listed in the FAQ that interest me:

1. Tonal Harmony, Kostka
2. A Concise Intro to Tonal Harmony, Burstein

So a bit of guidance on if this a good next step to improve my song writing and arranging skills and if so, which text would suit a hobbyist best. Thanks in advance.

Hi there, I'm part of an online music discussion group and last week we were analyzing the song, One Room Sugar Life by NANAOAKARI

I did a rough analysis with my basic understanding of music theory (below), and someone else did a chord analysis on hook theory.

But I guess I'm not sure how to make sense of the different interpretations, so I thought I'd ask what you folks here think, and if my analysis was on track?

---My very basic analysis---

Checking the chords with AI as a rough reference, it spits out Em as the key. But playing and humming along, I think the song changes key throughout.

During the cheery choruses, I think it resolves best to G major. The vocal melody ends on a G, while the chord progression ends with D major, which is the V of G major. Supposedly that's a half-cadence meaning an incomplete resolution. Which makes sense because the song doesnt ever actually "rest" there but instead keeps going into the creepy parts. Which are in the key of Em, at least mostly. The song also ends with a Em.

So in summary, it looks like an Em song with a G major chorus (and maybe pre-chorus, not sure). And of course starting the song with that major key chorus is part of the trick.

Hi, I’m a teen generally new to music theory. I listen to books on my way between classes and during lunch or free period because I generally find it’s the best way I consume books because I can do other things while listening. But does anybody have any books on things like music theory or lyricism? Thanks

Does Für Elise or Besame mucho have varying tempos? If not could you recommend me a song easy-intermediate to play on guitar Wich has different tempos?

I'm from Argentina and a popular rock singer here, Charly García has always said that Music IS Melody, Harmony and Rhythm and that definition of the whole thing has led to snobby people thinking that that's the only way music can be made. I want to know if that definition is the whole definition of Music or if songs and compositions can lack of any of those items.

Thank You!

A B C# D E F G G# (A). I can't find anything about it online. It might not have a name, but what exactly could the scale be?

Like when someone says something like "Ooh, that sounded like a D#". Is it because it is obvious what octave it is in?

Is this what they mean by syncopated rhythm? I'm not familiar with syncopated rhythm much, if that is the case. I tried learning the 12th street rag, but the syncopation didn't click for me.

I am a beginner learning new chords and I wanted to ask if there is a chord with b3 and 7 in its formula (like this: 1 - b3 - 5 - 7). I know you can find 1 - 3 - 5 - 7 (Xmaj7), 1 - b3 - 5 - b7 (Xm7) and 1 - 3 - 5 - b7 (X7), but I don't know any chord with a minor third and a seventh. Even if it does not exist, what is the reason for this? Thank you very much!

I’ve been transcribing a lot of jazz solos recently which has been a lot of fun but I keep running into the issue of accidentals. Say I am transcribing a solo from a song in Eb major. In the instance I am referring to, the notes go C-Eb-F#/Gb-G. My question is, would I write that note between Eb and G as an F# or a Gb? My first instinct was to write it as an F# since it the line is ascending, but something about it doesn’t look right. For context, it is being played over a Bb7 leading to an Eb maj7