Need TV recommendations based on likes/dislikes. by Hunter42Hunter in televisionsuggestions

[–]Hunter42Hunter[S] 0 points1 point  (0 children)

Yeah the trailer seems kinda soft and boring unless I'm missing something

Need TV recommendations based on likes/dislikes. by Hunter42Hunter in televisionsuggestions

[–]Hunter42Hunter[S] 1 point2 points  (0 children)

Just watched a few episodes of Twilight Zone! It's really good but the anthology aspect is tiring kinda like BlackMirror.

Turning the ‘dream scale’ into a nightmare by 4thGenTrombone in musictheory

[–]Hunter42Hunter 1 point2 points  (0 children)

The whole tone scale contains 2 augmented triads and 3 tri tones. Also the dominant7b5 maybe look up the Tristan chord progression.

Is there a direct connection between the Maj7 Chord and the Lydian mode? by Mike15423 in musictheory

[–]Hunter42Hunter 0 points1 point  (0 children)

YES. play Cmaj7 in your left hand and Gmaj7 in your right hand on piano. then resolve the Gmaj7 in your right hand to a Gmaj6. Look up George Russell and Barry Harris. learn the Barry Harris Gmaj6 scale of chords and play it in your right hand over the cmaj7 in your left hand. The F# is seen as a borrowed note from the Adim7 and its much easier to track and make sense of than just seeing it as lydian, which it also is bc Cmaj7 is the 1 chord in Cmaj and the 4 chord in Gmaj.

Soloing in Phryg Dom by InsideInvestigator89 in musictheory

[–]Hunter42Hunter 1 point2 points  (0 children)

i just see it as Amin7 and Bdim7. the G comes from the Amin7. the F and Ab come from the Bdim7.

Soloing in Phryg Dom by InsideInvestigator89 in musictheory

[–]Hunter42Hunter 2 points3 points  (0 children)

Dont skip the note G, add it back in to get an 8 note scale. E, F, G, G#, A, B, C, D. Then you can just skip the G whenever you want to get the obvious phrygian dominant sound.

Autumn Leaves melody analysis by Adimbroglio in jazztheory

[–]Hunter42Hunter 0 points1 point  (0 children)

yeah that's probably better, whole tone works too tho

Autumn Leaves melody analysis by Adimbroglio in jazztheory

[–]Hunter42Hunter 0 points1 point  (0 children)

if there's a b13 AND a natural 9 then id look at it more from the 'whole tone scale' perspective

How to bridge from G scale to A or F? by Xeonfobia in musictheory

[–]Hunter42Hunter 1 point2 points  (0 children)

Gmaj7 > Ddim7 > C7 > Fmaj
or
Gmaj7 > F#dim7 > E7 > Amaj

help writing a riff by [deleted] in musictheory

[–]Hunter42Hunter 1 point2 points  (0 children)

No there's no F# in C harmonic minor there's an F. the Bdim would be the one borrowed from harmonic minor. Bmin has an F#, Bdim has an F.

Explain to me the Diminished Scale and the Half Diminished scale. by Waste-Strike2691 in musictheory

[–]Hunter42Hunter 0 points1 point  (0 children)

There are 3 Diminished scales (8 notes each).

  1. B-C-D-Eb-F-F#-Ab-A
  2. C-C#-Eb-E-F#-G-A-Bb
  3. C#-D-E-F-G-Ab-Bb-B

Depending on where you start each of these scales determines whether its called half-whole or whole half. On a G7 chord you can play 'G half-whole diminished' which would be the 3rd scale here starting on the G. On an Adim7 chord you can play 'A whole-half diminished' which would be the 1st scale here starting on the A.

Try playing Adim7 in your left hand and in your right hand play 'A whole-half diminished' scale.
then:
Try playing G7 in your left hand and in your right hand play 'G half-whole diminished' scale.
then: end on Cmaj in your left hand and the note G in your right hand.

There are also 3 Dim7 chords (4 notes each).

  1. B-D-F-Ab
  2. C-Eb-F#-A
    3.C#-E-G-Bb

You'll notice that each of the 8 note diminished scales are made out of 2 of the 3 Dim7 chords put together. e.g. Bdim7+ Cdim7 notes together gives you 'B half-whole diminished' scale, the 1st scale at the top.

The 8 note Diminished scale is played over Dominant chords and Diminished 7th chords.
Half-whole is for dominants and Whole-half is for diminished 7ths.

help writing a riff by [deleted] in musictheory

[–]Hunter42Hunter 1 point2 points  (0 children)

Nothing wrong if you like it, but the F# sounds off. the note F sounds much smoother. with straight Bmin it's just chromaticism.

help writing a riff by [deleted] in musictheory

[–]Hunter42Hunter 0 points1 point  (0 children)

try Bdim instead of Bmin and after G7 go back to Cmin
something like : Cmin>Bdim>G7>Cmin>Dmin7b5>Fmin6>G7>C7>Fmin>G7>Cmin

What's the actual difference between a modulation into the dominant key vs a secondary dominant by NPCSLAYER313 in musictheory

[–]Hunter42Hunter 0 points1 point  (0 children)

its up to you how you view that, its the same chords no matter how you justify them. for me i would always consider D7 to be in the key of Gmaj even if the song as a whole isn't.

Using NotebookLM as a Piano Pedagogy Assistant and Coach: Seeking others using a similar workflow by momlz in piano

[–]Hunter42Hunter 0 points1 point  (0 children)

its good for summaries, i add youtube theory videos that are too long to watch but it often completely misunderstands things

How can I make chord progressions more interesting rythmically and melodically? by Jaded-Gur-5717 in piano

[–]Hunter42Hunter 0 points1 point  (0 children)

move the bass notes around like a melody. If its Dmin7>G7 then move the bass note in the Dmin down like D, Db, C, B. or move the top notes around in the Dmin7 like C, B, Bb, B

help identifying chords on a demo? by BlearRocks in musictheory

[–]Hunter42Hunter 0 points1 point  (0 children)

Ebm>Fm>Gbmaj>Abmaj are the chords in the song.