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snarescience.com • Official Music Theory Thread - Page 3
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Re: Official Music Theory Thread

Posted: Fri Jul 08, 2011 7:29 pm
by adtyson
ianhorahan wrote:
baerds wrote:
AWA wrote:
No, you would not. The melodic line does not have a 6-7 interval.

The reason that the sixth scale degree is raised is because the seventh scale degree is raised (remember, the seventh must be raised for harmonic purposes, to create proper dominant chords). When the seventh scale degree is raised, the interval between the sixth (flatted in minor tonality) and the seventh (raised in the minor tonality out of having been flatted) becomes an augmented second. This melodic movement is forbidden (there are varying reasons, from aural inelegance, to difficulty in vocal performance, to the fact that an augmented second is neither a half step nor a whole step, and thus cannot be included in a scale). To avoid this, the sixth scale degree is raised (to make the movement from six to seven more conducive).

The reason that "melodic minor" exists only upward is that when moving upward, the seventh scale degree acts as a dominant, leading to the tonic. The sixth is raised for the reasons above. When moving downward, it no longer leads to the tonic, so it does not have to be raised. Consequently, the sixth does not need to be raised, either.

A good rule of thumb is to always stay diatonic unless otherwise required. In the melodic line "4-5-6-5", the sixth is not required to be raised, so don't raise it.
Man, I understood NONE of that. Hey AWA, how would go about learning music theory at its basic level?


you could take a music theory class in school/college but ive had a few freinds who are soley drummers who took it and flunked. i suggest learning an instrument like guitar or piano (or even mallets) to help you learn
The way we learned theory in college was to not only have a theory classes but by also work on it in our piano classes and ear training classes. A piano at least for me was the best way for me to learn theory. You can play different quality chords and progressions so you can see the intervals and get a better understanding of how the chord is built but you can also hear it as well. There are some good resource online that can help with basic theory. You should definitely check them out if you want to learn.

Re:

Posted: Tue May 01, 2012 6:02 pm
by Janununuh
HEY GUYS. QUICK QUESTION ABOUT VOICE LEADING.

Answer me this..

Say I'm four-part voice-leading in the key of C Major and sticking to CPP rules. Now HYPOTHETICALLY say i do this:
C: .... V/vi -> V/ii -> V/V -> V7 -> I

Again hypothetically, is it okay to resolve the B of the V/vi to the C# of the V/ii, even though, in the key of C, that's an error?

I ask this because the V/vi -> V/ii is the same as a V -> I in the key of the submediant (E Major), and in that key, a B to C# is diatonic and legal. But a B to C# in the key of C is icky. This is a rare occurrence anyways, but I've been wondering for a while. Any thoughts?

Re: Official Music Theory Thread

Posted: Wed May 02, 2012 1:16 pm
by KBoe5
It depends a little bit on what comes before the V/vi but technically it should work.

V/vi to V/ii is not the same V to I in E major. It's the same in A major. So as long as the C# in the V/ii leads to the D in the V/V you should be fine.

Re:

Posted: Fri May 04, 2012 1:16 pm
by DrummerOf2012
Image

Re: Re:

Posted: Sat May 05, 2012 8:56 am
by KBoe5
DrummerOf2012 wrote:Image
Yes.

Re: Official Music Theory Thread

Posted: Sat May 05, 2012 9:33 am
by Blackinferno15
i came across 2 sixteenth notes with a 4 on top of each of them. how would i play this? i cant seem to understand it. also, they start on an upbeat and the time signature is 7/4.

Re: Official Music Theory Thread

Posted: Sat May 05, 2012 9:41 am
by KBoe5
Blackinferno15 wrote:i came across 2 sixteenth notes with a 4 on top of each of them. how would i play this? i cant seem to understand it. also, they start on an upbeat and the time signature is 7/4.
Sounds like a typo to me...

Re: Official Music Theory Thread

Posted: Sat May 05, 2012 10:42 am
by Blackinferno15
KBoe5 wrote:
Blackinferno15 wrote:i came across 2 sixteenth notes with a 4 on top of each of them. how would i play this? i cant seem to understand it. also, they start on an upbeat and the time signature is 7/4.
Sounds like a typo to me...
nope its not

Re: Official Music Theory Thread

Posted: Sat May 05, 2012 3:46 pm
by DrummerOf2012
Blackinferno15 wrote:
KBoe5 wrote:
Blackinferno15 wrote:i came across 2 sixteenth notes with a 4 on top of each of them. how would i play this? i cant seem to understand it. also, they start on an upbeat and the time signature is 7/4.
Sounds like a typo to me...
nope its not
Pic?

Re: Official Music Theory Thread

Posted: Mon May 07, 2012 3:57 pm
by Kaitou
Two 16th notes or two sets of 16th notes?

ARZiehm puts 4 above sets of four 16th notes to mean they take up a dotted 8th...and I think I've seen that in a few other places..like this?

http://dl.dropbox.com/u/52689030/The%20120%20Lick.pdf

4th measure 1st count

Re: Official Music Theory Thread

Posted: Tue May 08, 2012 6:56 pm
by KBoe5
Blackinferno15 wrote:
KBoe5 wrote:
Blackinferno15 wrote:i came across 2 sixteenth notes with a 4 on top of each of them. how would i play this? i cant seem to understand it. also, they start on an upbeat and the time signature is 7/4.
Sounds like a typo to me...
nope its not
Well, your description kind of sucks.

Re: Official Music Theory Thread

Posted: Sun Jul 15, 2012 6:46 pm
by DrummerOf2012
Got a 5 on the AP music theory exam. Take that, Bach.

Re: Official Music Theory Thread

Posted: Sun Jul 15, 2012 6:49 pm
by Kaitou
DrummerOf2012 wrote:Got a 5 on the AP music theory exam. Take that, Bach.
Congratz

Re: Official Music Theory Thread

Posted: Sat Feb 23, 2013 10:40 am
by flamgod
Kaitou wrote:Two 16th notes or two sets of 16th notes?

ARZiehm puts 4 above sets of four 16th notes to mean they take up a dotted 8th...and I think I've seen that in a few other places..like this?

http://dl.dropbox.com/u/52689030/The%20120%20Lick.pdf

4th measure 1st count
yup....4thlets, love em. 4 sixteenths in the space of sixteenths or 4:3.

There's a lot that I've been going through some rhythm theory in my independent studies was wondering if I could talk about that a bit?

Like, take the time signatures 5/8 and 4/4 for example. Imagine you have two bars of both playing eighth notes. The 4/4 bar is accenting the 1, 2, 3, and 4; and the 5/8 is accenting the 2:3 clave pulse. Draw lines where the accents meet and you'll notice patterns for various reasons. The first two line up and then it takes 3 rests before two more accents will line up again. Coincidence? no. Math. Another interesting thing is the shift. The accents line up with the 4/4 on the 2 then 3 then 4 and so on, shifting by 1 each time. Also, not a coincidence. Thoughts?


[EDIT] Must have put everyone to sleep with that one...hrm. I just thought of a question. I've been looking at the transcription library and found some interesting shiz. In the Academy 2011 opener, there's a measure with a 6-tuplet eighth note followed by a measure with two sets of triplet eighth notes. What's the THEORETICAL difference in the execution of a 6-tuplet eighth note and two triplet eighth notes back to back?