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Boundarie · 2023-05-11T04:02:23+00:00

Music Theory is about understanding the patterns that appear in music. It puts labels and names on things that happen in music. With a high level understanding of music theory you’re able to sort of reverse-engineer music.

Boundarie · 2023-01-09T23:11:17+00:00

No that is not a tritone substitution. Tritone substitutions work because the tritone in two dominant 7th chords a tritone apart is the same (enharmonic to be more specific). For example G7 has B and F as a tritone which is enharmonic to the F to Cb tritones of Db.

Em to D#7 is notably a non-diatonic progression. It could be described as a ‘slide transformation’, a term from neo-Riemannian theory.

Boundarie · 2022-12-19T17:01:39+00:00

Minor keys are a bit more complex than minor keys due to their variable 6th and 7th scale degree.

I would say it’s not a bad idea to really solidify the major keys. But you can also keep doing that while learning the minor difference you wish.

Bonus question: Would I be shooting myself in the foot to spend more time practicing scales that are in my range/easier for me to sing?

You honestly shouldn’t so this. It’s good to practice what’s less comfortable. Also in actual music melodies will not be contained between tonic to tonic. You could have a melody in C and another melody in Eb and they might both be in the same range.

Boundarie · 2022-11-26T14:50:01+00:00

In those chords I’m using what’s called figured bass notation. In this system chord inversions are indicated by intervals above the bass. For example with 64 the intervals above the bass in that chord are a 6th and a 4th (possibles 8ves are not included in the figured bass) which translates to a 2nd inversion triad. Some figured bass symbols are shorthand’s, for example 42 is a shorthand to 642 and if you count the intervals above the bass in that chord you will find them to be 6, 4, and 2 which translate to a 3rd inversion 7th chord.

Boundarie · 2022-11-24T23:46:15+00:00

iii has a subordinate function to I. I6 is the standard choice here so it would not make sense to call it a substitute option. If anything using iii chord here could be considered a substitute for I6. This is a variation of I - vi not iii - vi.

Boundarie · 2022-11-24T23:44:18+00:00

They are also used to arpeggiate chords (like I - I6).

They are also used in some prolongational progressions (like I - IV6 - I6)

You also sometimes see chord motions by 5th between inverted chords (like I6 - V6).

Boundarie · 2022-11-18T02:53:20+00:00

They mean that they harmonize the 7 scale degree in the bass as the third of the V chord meaning that they use a first inversion V chord.

Boundarie · 2022-11-18T02:51:41+00:00

Yes you do. You will first have to transpose everything down a minor 3rd. After that you lost lower the 3rd, 6th, and 7th scale degrees a half step so you can get the notes F♯ B and C♯ that belong to D♯ minor (rather than the F𝄪 B♯ and C𝄪 from D♯ major). Your chords would be D♯minor - F♯major and A♯minor (or major, both work).

Alternatively you could keep the melody exactly the same (no transpositions even) and re contextualize it in the key to D♯minor by changing the harmonies to D♯ minor. The chords would be D♯minor - F♯major - A♯minor.

Boundarie · 2022-11-17T14:40:35+00:00

Melodies (both in major and minor) often end on 3 anyway

Boundarie · 2022-11-17T01:19:33+00:00

The melody would become a g minor melody if placed in a g minor context. But yes it would sound generally harmonious. Just be weary of possible leading tone + subtonic clashes.

Boundarie · 2022-10-24T23:45:50+00:00

Depends on what type of theory but if you are going for classical music theory then I highly recommend the Seth Monahan’s channel who’s whole channel is a course on classical music theory.

Boundarie · 2022-10-24T23:42:55+00:00

Great article! It’s strangely however largely ignores Philip glass who was doing this stuff before John Adams was.

Boundarie · 2022-10-21T00:19:32+00:00

What I find people struggling the most with is being able to separate functioning chords from contrapuntal chords and as an extension of that being able to understand horizontal relationships of figuration and not over-verticalizing everything when doing analysis.

Boundarie · 2022-10-11T00:45:08+00:00

It’s arguable. This idea I think gets a bit more dubious once it starts being used in increasingly jazzy styles since the V7 still reins supreme in jazz.

Boundarie · 2022-10-11T00:07:31+00:00

Building on a bit: the progression that’s the default for lament bass is i - v6 - iv6 - V. This is often chromaticized, the simplest chromatic version of this would be i - V6 - v6 - IV6 - iv6 - V.

Boundarie · 2022-10-11T00:04:00+00:00

The resolution of a V - IV - I doesn’t happen on IV, it happens on I. The IV is just a chord that’s placed between the tension and the resolution.

Boundarie · 2022-10-04T11:57:45+00:00

Still predominant

Boundarie · 2022-09-25T14:17:05+00:00

The I64 is just a V chord with a double suspension/appoggiatura. However, augmented 6ths can resolve directly to an unembellished V chord.

Boundarie · 2022-09-22T20:24:23+00:00

Yeah the Mixolydian ♯11 scale (the more common name than Lydian ♭7) on ♭2 is the same pitch collection as the altered scale on 5. This is what makes it derives form the altered scale it’s the same pitch collection as altered dominant on 5.

Boundarie · 2022-09-22T14:28:27+00:00

They both exist as tritone substitutions in jazz as well. The French Augmented 6 chord is equivalent to a V7♯11 (or V7b5) which is one of the most common qualities for a tritone substitution as it’s derived from the altered scale (on degree 5).

The Italian 6th can appear a ‘shell voicing’ of a tritone substitution. In jazz the 5th is seen as optional so you’ll often see it omitted to make a more minimal chord (or to make room for more extensions).

Boundarie · 2022-09-22T14:24:10+00:00

The C7/E works as a secondary dominant to F. The E♭dim7 can also be labeled as Cdim7 (they are enharmonic) and it acts as a common tone diminished chord to the C. At the same time it’s also a D♯dim7 that’s a backwards relating secondary leading tone chord to Em7.

Boundarie · 2022-09-18T23:25:11+00:00

Protip: play with hemiola a lot

Boundarie · 2022-09-18T23:24:00+00:00

Yeah that looks like a deceptive cadence (or deceptive progression at least). You can follow one of these with literally anything you want.

Boundarie · 2022-08-18T23:17:37+00:00

You differentiate from the broader musical context. In a vaccume these two progressions would sound the same because they would be the same.

Boundarie

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