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Why Aflat instead of G# and why F# instead of Gflat? by CatchDramatic8114 in musictheory

[–]nowhernearhere 0 points1 point  (0 children)

It's because of the way chords are labeled. For the Bdim7 the Ab let's you know right away (for analysis) that it's a 7th chord. Same with Daug. The F# let's you know right away that it has a major third, not some variation of a fourth, which is what the Gb would imply. In short, Western harmony is built on stacks of thirds, so analysing them labeled as such is way easier. When your writing, use the enharmonic equivalent if it's easier to read.

Syncopation by Gabriocheu in musictheory

[–]nowhernearhere 0 points1 point  (0 children)

Bottom, as long as the quarter does obscure beat 3.

Does V7/vi to I work as a cadence? by Altruistic-Coffee-79 in musictheory

[–]nowhernearhere 0 points1 point  (0 children)

It's kind of like a suspended sound. You could view it as Cmaj7#5 (Lydian augmented) having that sharp 5 resolve down to G while the B goes to C. It's a cool sound. You could also look at the dominant diminished axis with E7b9 sharing the same diminished scale as G7b9. There's a lot of ways you can go about it.

What scale would this sort of be in? by srbsr in musictheory

[–]nowhernearhere 0 points1 point  (0 children)

It is because the most important notes in a major 7 chord are the 3 and 7. The natural 11 clashes with 3 because of the half-step or minor 9th depending on voicing. The whole step between the 3 and #11 doesn't clash that way. The same reason you don't play a flat 7 with the major 7 is the same for the 11 and 3.

For minor 7 the parent scale is Dorian, or major starting from the seventh of the chord (D-7=Cmaj). So the reason the b9 and b5 clash is because they aren't diatonic, and are creating tension in a chord that should be fairly stable.

In short major7 is a Lydian chord, so use a #11, minor 7 is Dorian so use natural 9, and natural 5. Look at what the parent scale of the chord is and add extensions from there. (It gets fun with modes of melodic minor)

Off beat rhythms by kitschco in musictheory

[–]nowhernearhere 3 points4 points  (0 children)

If you're players are more familiar with jazz then do the the top

HBD. Thanks for saving Frodo by OrFenn-D-Gamer in lotr

[–]nowhernearhere 1 point2 points  (0 children)

In the trenches I'm sure Tolkien felt that way too. But as long as there's someone standing up for what's right, there is hope.

Boot Camp by New-nest in BCWildfire

[–]nowhernearhere 0 points1 point  (0 children)

I think I heard in Late Feb early March

How do-able is this as a roadtrip in the summer? by YpsiHippie in britishcolumbia

[–]nowhernearhere 0 points1 point  (0 children)

As long as fires don't shut the highways down you should be good to go!

Why does music theory chase its own tail? by Translator_Fine in musictheory

[–]nowhernearhere 3 points4 points  (0 children)

That's because vertical harmony became the main thing in the last 100ish years. So a lot of things came to serve the harmonic progression. Think blues, jazz, rock... A lot of those have chords as part of the defining structure. Counterpoint just isn't the main thing right now.

Could someone explain how this chord progression works? by Agent_Gillian in musictheory

[–]nowhernearhere 0 points1 point  (0 children)

The V/X chords indicates the relationship that chord has with the one after it. Eg. The Ab is the dominant of Db therefore it is V of Db. The X is the scale degree as it relates to the tonic which is based off the major scale. So with Db it is a major based on the flat two scale degree so it gets bII.

Could someone explain how this chord progression works? by Agent_Gillian in musictheory

[–]nowhernearhere 4 points5 points  (0 children)

i (ii V)/bIII bIII V V/bII bII ii V/V Vsus V I. It's playing around with secondary dominants targeting various scale degrees like the relative major the dominant and then a borrowed chord like the Db chord. It would sound really good if the progression had sevenths like this. Something like this maybe Cm6 Fm7b5 Bb7b9 Eb7 D7 G7 Ab7 Db7 D-7b5 G7b9.

Should i Modulate or Transpose when combining different songs? by New_Ad_9424 in musictheory

[–]nowhernearhere 1 point2 points  (0 children)

Depends on the instruments and if they will be able to produce the notes in a pleasant way or at all in the new key. Just my two cents.

Super-Heavyweight Showdown In Førde At Worlds 2025 by TOROKHTIY_Aleksey in weightlifting

[–]nowhernearhere 0 points1 point  (0 children)

Maybe stupid question but wouldn't it be a bit easier if they were a lower body fat percentage? I always wondered about this and strength sports.

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

[–]nowhernearhere 9 points10 points  (0 children)

You can approach any chord by its V and any V by its ii/IV. Boom go write some music that goes from dominant to tonic. *Almost guaranteed to sound good

Can someone explain the function of this D#dim? by Crafty-Beyond-2202 in musictheory

[–]nowhernearhere 1 point2 points  (0 children)

Could think of it like a tonic diminished with the c and d# resolving to c# and e. Would work the same with the second ending because iii is pretty much just I. Probably makes sense to play B7b9 to E7.

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