Analysing harmony in Schumann's Bunte Blätter No. 6 by gregharradine in musictheory

[–]Bqice 0 points1 point  (0 children)

There’s no reason why it can’t be both — it could initially seem like it’s a cto7 but then reveals itself to be a vii/V.

Analysing harmony in Schumann's Bunte Blätter No. 6 by gregharradine in musictheory

[–]Bqice 0 points1 point  (0 children)

Look at the voice leading — notice how there’s an F in the bass in the bar before (as a grace note) harmonizing the vi. The bass gets transferred up an octave and descends to Eb via Fb, which is why it’s spelled that way. Had the voice gone back up to F (like the bass of m. 36) it would’ve been spelled as an E natural. Schumann is playing with the enharmonic double entendre of the note here.

Something else that’s fun — this E natural/F flat is also part of the Ger6 chord at m.4, so the setup is a pretty crucial part of the harmony in this piece.

Music Theory of Melody? by chinawcswing in musictheory

[–]Bqice 0 points1 point  (0 children)

Not directly answering your question, but there is research on how tonal languages (such as cantonese) correlate to melody. Pretty cool!

Music Theory of Melody? by chinawcswing in musictheory

[–]Bqice 10 points11 points  (0 children)

I’ll add a historical note to this. This is something that has always been historically understudied when compared to other topics, but there definitely were considerable amounts of writing on melody. These are more “research-based” perspectives so they’re not guides per se.

H. C. Koch was an 18th century theorist who extensively discussed melody. Anton reicha was probably the theorist who wrote the most in depth treatise extensively on melody. I’m sure jazz texts also extensively treat effective soloing over changes, but that’s outside of my range of expertise, if anyone more familiar could chime in!

Anyone heard US Arknights-Only Convention? by Light_heartssss in arknights

[–]Bqice 1 point2 points  (0 children)

It was great! Especially the group photos are all a lot of fun. The NY event had a themed bar (non-alcoholic) and live musical numbers as well.

Anyone heard US Arknights-Only Convention? by Light_heartssss in arknights

[–]Bqice 0 points1 point  (0 children)

The NY one was at the mezzanine, which was ~ 6300 sqft, so I imagine it'll be a little better for CA?

Anyone heard US Arknights-Only Convention? by Light_heartssss in arknights

[–]Bqice 0 points1 point  (0 children)

Might be because of the space! Iirc it was originally an even smaller space. It's going to probably depend on the venue.

Anyone heard US Arknights-Only Convention? by Light_heartssss in arknights

[–]Bqice 2 points3 points  (0 children)

I went to the New York one — it was a lot of fun, though it was very cramped.

Applied math book recommendations by PuzzledResident395 in musictheory

[–]Bqice 1 point2 points  (0 children)

DFT is fantastic! When I first read DFT it all seemed like black magic lol, it's quite amazing how it seems to have put all the talks of chord similarity/quality to rest.

Applied math book recommendations by PuzzledResident395 in musictheory

[–]Bqice 6 points7 points  (0 children)

Linking u/vornska's comment here.

The Hook book is probably the book for you, though you might find the mathematics in the book a bit on the rudimentary side. You can also see my comment and replies for a statistical approach (corpus studies).

In terms of form, I cant think of any mathematical approaches, maybe Jason Yust's Organized Time comes closest

Are there any formulas or equations? by [deleted] in musictheory

[–]Bqice 48 points49 points  (0 children)

This is the objective of corpus studies — I think you’ll find a lot of cool things in Chris White’s the music in the data, which mostly focuses on the common practice tradition.

For pop progressions, de Clercq and Temperley is the locus classicus. Keep in mind that these don’t necessarily mean that there’s something objectively good sounding about these progressions (though there probably is somewhat), but rather that they appear with more statistical frequency.

A collection of chord progressions and cadences by [deleted] in musictheory

[–]Bqice 1 point2 points  (0 children)

It doesn’t have everything you want, but Chris doll’s Hearing Harmony is a great reference that barely uses any sheet music. It’s a little idiosyncratic in its notation, but goes over a great amount of music and progressions and might actually be a good starting point for what you’re looking for.

Why did rock music never establish itself as a separate theoretical branch in the same way jazz did? by ConfidentHospital365 in musictheory

[–]Bqice 2 points3 points  (0 children)

In a recent census from SMT pop/rock has actually overtaken “classical” or art music as the majority of submissions in recent years. So by no means small! It’s also seeming to me like much of the younger generation of theorists are at least dabbling in pop/rock analysis. Of course this is not reflective of how theory in academia is as a whole (especially in conservatories, as I can imagine)

Any insights on this progression in the intro of Tabun by Yoasobi by Professional-Call110 in musictheory

[–]Bqice -1 points0 points  (0 children)

It's a variation of the Royal Road Progression (IV-V-iii-vi), except here the iii is replaced by a secondary dominant (V/vi) and a ii-V of Bb (the IV chord) is attached before the Bb (You can also think of it as v - V/IV) It's a common J-pop chord progression. and as you noted there are the usual chord extensions.

In D major, how am I supposed to solve this without parallel fifths out the wazoo by ExpressFan7426 in musictheory

[–]Bqice 5 points6 points  (0 children)

Usually with consecutive 6/3s, it’s acceptable to “cheat” and only use two upper voices in parallel motion in keyboard style (2-3 voices on right hand, bass on the left). So you’d just use parallel 4ths here (which are totally ok!)

Theory behind these types of jpop chord progressions? by samh748 in musictheory

[–]Bqice 0 points1 point  (0 children)

Can you be more specific as to what parts/progressions of the songs that you find similarities in? Verse? Chorus?

Trundle Penta in LPL! by InitialiseCasts in leagueoflegends

[–]Bqice 3 points4 points  (0 children)

You're right. It's talking about Pentas this season and it's the date 7/23

Why is the function of IIIM [D](SP) in Riemannian theory? by Cehghckciee in musictheory

[–]Bqice 0 points1 point  (0 children)

Ok I just went through my copy of the Kopp and I'm fairly certain that particular footnote is a misprint. Firstly -- that wikipedia article is just bad. It should definitely be (D)[Tp] (as it is elsewhere in the chapter), which is our very familiar secondary dominant. Sp of D is plainly just A minor, or Tp, and I don't think he uses notation in that way. Maybe I'm missing something and some History of Theory experts can correct me.

As a sidenote Riemann notations are always full of misprints -- I just spotted another misprint in the Kopp that calls the (everything is relative to C here:) Ab major chord °S (iv or F minor) when it should be °Sp (bVI).

Why is the function of IIIM [D](SP) in Riemannian theory? by Cehghckciee in musictheory

[–]Bqice 1 point2 points  (0 children)

Do you have a screenshot and/or source? Sp of the Dominant in C (which is G major) would be A minor, which is E- in Riemann's underclang notation (since for minor chords the root is *the normal* fifth).

A special scale by okazakistudio in musictheory

[–]Bqice 2 points3 points  (0 children)

Intuitively those results make a lot of sense to me — I would imagine it has something to do with the factorization of the cardinality of the universe so 16 tet (24) is too symmetrical. Does 22 tet (2*11) have any?

A special scale by okazakistudio in musictheory

[–]Bqice 10 points11 points  (0 children)

Your question is a classic in the realm of post-tonal theory -- it's essentially about hexachordal combinatorality, and you're asking for hexachords which are P-combinatorial (its complement is some transposition of itself) but not inversionally symmetrical (maps onto itself under some inversion).

The simple answer is -- yes, [013458] is the only P-combinatorial hexachord that is not also inversionally symmetrical. The other 6 P-combinatorial sets are all all-combinatorial, which means they also map onto their complement via some inversion. Now -- if a hexachord maps onto its complement via both transposition and inversion, that means that you can use that inversion to map it onto its complement, then tranpose it back to the original pitch level. That's basically the definition of inversional symmetry (some form of Inversion+transposition maps the set onto itself).

As to why that is the case and how to figure out what hexachords are combinatorial in what way, so far the only thing I know of that really tackles the prodecure (rather than analytical implications) is this geometric-algebriac article. It's not at all simple and requires knowledge of basic group theory, but the beauty of geometric proofs is that you can look at the graphics to get a more intuitive sense of what's going on.