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Please know that Wikipedia is especially bad for music theory topics. The above-listed resources are a thousand times more reliable!
Other (formal music education, but not a professional musician)
Help me out here, was playing around with chords while trying to learn a song which has an augmented B chord so its Root B, D#, G, if I'm not mistaken, but then I inverted the Low B because I noticed it was easier for me to play a high B on the fretboard for the song (I'm playing on guitar obviously);
But then this got me thinking isn't that the same as an Augmented D# if the D# is now the bass note or is it still augmented B? Im confused because both chords appear to have the exact same shape and the exact same notes. Maybe I'm totally wrong, would love someone to explain this to me.
5 7 6 7 X X
GitHub : https://github.com/facebookresearch/audiocraft
Video tutorial (with examples) : https://youtu.be/v-YpvPkhdO4
Audiocraft is a library for audio processing and generation with deep learning. It features the state-of-the-art EnCodec audio compressor / tokenizer, along with MusicGen, a simple and controllable music generation LM with textual and melodic conditioning.
PDF : https://arxiv.org/pdf/2306.05284.pdf
We tackle the task of conditional music generation. We introduce MUSICGEN, a single Language Model (LM) that operates over several streams of compressed discrete music representation, i.e., tokens. Unlike prior work, MUSICGEN is comprised of a single-stage transformer LM together with efficient token interleaving patterns, which eliminates the need for cascading several models, e.g., hierarchically or upsampling. Following this approach, we demonstrate how MUSICGEN can generate high-quality samples, while being conditioned on textual description or melodic features, allowing better controls over the generated output. We conduct extensive empirical evaluation, considering both automatic and human studies, showing the proposed approach is superior to the evaluated baselines on a standard text-to-music benchmark. Through ablation studies, we shed light over the importance of each of the components comprising MUSICGEN.
Both are sets of notes which can be played in any selection or order to come to a similar effect, where missing notes can be presumed to fill out the set if the general vibe matches what’s typical for it. Both usually function off of the presumption of one note being the root, against which all other notes are understood, but not always. In both cases, changing between sets creates a feeling of dramatic shift and discontinuity, to varying degrees of impact depending on how different the two sets are.
Chords are to scales as individual notes are to chords, to the point that you could call scales metachords, or you could call chords subscales.
It also explains why a key change is soooo dramatic compared to any chord change, but still feels like a similar event. You’re changing metachords.
What do you guys think?
EDIT: You can say that what I am saying is obvious if you want, but people almost never think about diatonic scales and entire tonalities and key signatures as just big chords that you’re voicing in different ways as long as you are in that key. It’s almost never taught that way. Instead, you are taught to simply stick to a key for the entirety of a piece, and you are aware that key changes are a vague thing that exist sometimes and are dramatic. The idea that the before-to-after effect of a key change is the same as the before-to-after affect of a chord change, and that harmony is a russian nesting doll of note-set-changes, is not something you’re usually taught to think about. That’s my understanding; you can tell me if I’m wrong. Please think about what you are saying a little more before you reply, and as always, please be nice :)
The Purdie Shuffle, which can be heard on "Home At Last" by Steely Dan, and a variation on "Babylon Sisters" is one of the all time gnarliest grooves I've ever heard a man put across the kit. Porcaro's variation on Toto's "Rosanna" captures another piece of the magic. Even "Fool In The Rain" brought Bonham meandering into that tasty space. So, a shout out here for exceptional, half-time shuffles!
From what I have learned so far, this chord progression should work out since III is a predominant chord that should go well with the dominant v. Additionally, the dominant v chord should resolve well with the tonic i. Although these chords seem to fit well with each other, I have only been able to find one song with this chord progression being Kelly Clarkson's Because Of You during the verse section.
Are there any music-theoretical reasons the i-VII-III-v chord progression isn't used more?
Hello! I am slowly learning music theory & I want to start with one of my favorite songs. I looked it up & I’m not sure if this song is in the key of A major or the key of G major?
From the point of view of music theory, is the pattern (scale?) used in the outro of Fade to Black by Metallica sad? Looking at the lyrics the whole song is about >!suicide and sad!<. I do feel melancholic but I’m not sure if I’m biased by the lyrics or the music itself is making me sad.
Starts at 4:52 here (YouTube link). Specially parts after 6:00 and 6:10.
If yes, could you explain what makes a scale sad?
Note: I know nothing about music theory. I play a several solos on electric guitar by looking at tabs.
I purchased sight reading factory for a year subscription, but it doesn’t seem to get very advanced with sight reading. It only goes up to level 8.
Are there any better options, or more challenging ones similar to sight reading factory?
Some songs I found have a very similar vibe in the chord progression, and I was wondering if theres any theory behind it, or if this is a named genre
Summer Vacation - IAHN https://youtu.be/KhOLkwsqnJU
Snails House x Moe Shop - Pastel https://youtu.be/EHyoAXILbA8
Girl Front - Loona https://youtu.be/tyInv6RWL0Q
Just Beyond The Rainbow (Super Monkey Ball https://youtu.be/JmBXl2vbB_o
Juice - Lizzo https://youtu.be/n3VjKtROsc
Hopefully this is the right place for this.
I am not tone-deaf - I can tell the difference between notes and follow a scale a predict the next note and such. BUT, I do not get octaves from a sensation perspective. I get that it's just the next "level" up or down - take a C, go up until you get back to C and you're up one octave. However, those two Cs sound to me like entirely different notes. I have known music majors and had musician friends in the past, and they've all basically said that a C is a C is a C, but that is completely counter to my sensory experience.
I cannot and never have been able to hear two note and identify that they're the same note, split by an octave or two or seven. If told explicitly that two notes are same (but different octave), I cannot hear any similarity between them, though I can easily recognize the same C (or whatever) played.
Is this normal? Is there a term for this? Is 'octave-deaf' a thing?
First, i know very little about music other than I like what I like.
Now, I’ve noticed fire a long time that when I hear music from another room or maybe being played from inside a car, that sometimes I hear different notes. Like a higher note when it should be low, or the opposite (does that make sense?). But the funny thing is that it actually sounds really cool, like it harmonizes with the song. My guess is that the wall or car is muffling some of the sound and what I’m hearing is like the other tones that make up a chord or something? Can someone please explain this to me and maybe point me to some examples if there are any?
Thanks in advance music theorists!
I'm working on a song which is mostly in D major, but for the bridge and/instrumental break I'd like to introduce a C major chord, so basically modulating to parallel mixo.
Leading into that part I'm mostly going back and forth between Dadd9 and Gmaj7. How would you get from there to going back and forth between D and C? I'd normally expect to use G to pivot since that's the parent key of D mixo, but because I'm already using a lot of G it doesn't REALLY feel like a pivot chord, just kinda more of the same.
I’m learning frontin’ by the neptunes and the bridge is Dmaj7->Fmaj7->Abmaj7->Ebmaj7. What is the idea behind these chords? I’m thinking the key is G maybe? Bc the verse seems to be Fmaj7/9->Gmaj7/9. So I think this bridge is non-diatonic so I’m wondering if there is theory behind where these chords are pulled from. Thanks
it has a really weird dissonance to it that i think sounds really cool
https://youtu.be/TxQkdwT3d7g at 2:00
Hello, been now years I try to find similar songs that I really appreciates, and maybe you guys might share with me some awesome soundtrack.
So here's the thing, There's this kind of guitar rift I really like, I already tried my own research but none of it satisfied me.
So here's some youtube's link, hoping you guys might give me maybe an answer or other music with a similar kind of guitar rift for me and everyone else to enjoy, and I add a specific timeline to give you more hints of what I'm looking for. Once again, I love this guitar rift, but I have some hard time finding it.
https://www.youtube.com/watch?v=-cW5gfEMpK8 (at 0:34)
https://www.youtube.com/watch?v=CmpsP1KLumo&list=PL679M9qIshFE8Ey0tBsLo-xVybG6GwqS0&index=70 (at 0:57)
I’ve got two progressions I want to join, but they’re quite far harmonically. What’s a cool progression/cadence I could use to join them?
Its a chord progression I made on guitar that I found sounds good as a chorus , how would I build a verse section off of this? Any help is appreciated , thanks a lot :)
I'm making a song with a 1-3-7-5 chord progression and am looking for other songs with the same chord progression that I can use as inspiration for improvement. Would appreciate any examples of other songs with the same progression.
Edit: I meant a i-III-VII-v chord progression. I actually found two songs that use it at certain places:
Thank you for everyone's help so far :)
Hello I know this is vague but I love jazz I have no idea where to start I know the basics of music theory as scales chords. But when looking into advance topics and see things like acceptable harmony it confuses me there's info on it but it dosnt explain why or how we use it in our own compositions. And I'm a drummer but I write alot of music but only play drums and tiny bit of piano.
I'm more curious to learn the why and how to use more advance theory concepts in my music or if there's any books or ytb videos that would be cool.
Hi everyone, I'm working on figuring out the notes to this song by Boris Brejcha:
At minute 1:43 the melody comes in. According to Beatport the song is in Aflat Major.
The notes for Aflat major are: A♭, B♭, C, D♭, E♭, F, and G
However when recreating this melody I need to use the note B for it to sound right. This happens to me all the time. Can someone please explain to me how the B note is used if it isn't in this scale and how to understand the scale that's used in a song? Or maybe I'm just wrong that this note is used.
Similar for the baseline. I use the following notes in the bass progression:
Ab - Eb - Gb - Db (however the Gb isn't in the scale).
I believe there are variations of scales that add or take away certain notes but I don't know how to look these scales up.
So my questions are:
- Why does the B note sound good if it isn't in the scale?
- Why is the Gb used in the bass if it isn't in the scale?
- Is it true that different variations of the scale will take away or add certain notes?
- What is way to find out this information in the future.
Thanks so much for any help!
Anyone happen to know where to find the tuning frequencies of ancient archeological instruments? Any format will do, be it .scala or .tun , or just the actual frequencies. Been searching with little luck. Those neolithic flutes for instance.......
Someone mentioned a name for these types of songs but I forgot what it was called. The example provided were Wednesday by Tori Amos and Extraordinary Machine by Fiona Apple. They’ve got like this beat or structure that’s hokey dokey to me. Any help? Lmao
On Fl Studio I've made a patch using 3 different oscillators. I've detuned one of them 5 semitone higher and detuned one of them 7 semitones lower. I've realized that when i detune the bass by 2 semitones and use same notes with my lead patch it works. Is it because the 2 semitone lower one (bass) completes the chord progression (probably). And which key am i in? I was experimenting with detuning option but i am kinda lost
Hi, I've been trying to transcribe the drum part for Cepheid's "Gaia". I'm currently having trouble transcribing the drum part at the chorus. I've seen that it's 9/8 but I don't understand how the subdivions work. I've tried 2+2+3+2 but that doesn't really work for me. Anyone know a solution?
Hey! I'm refreshing on my music theory before I go to college, and I can't for the life of me remember how to explain why some instruments sound notes that aren't written (i.e why is "the key of c" actually the key of D for a Bb clarinet)? Is there a formula or just something you need to memorize? I just need a quick dumbed-down refresher, it's on the tip of my brain.
I'm pretty desperate at this point. I hear intervals reasonably well, I'm struggling a lot with melodic and harmonic dictation, as well as sight singing/singing skips in melodies.
What should I know going in and what should I learn and look over for the summer?
What exactly is this variant? Where exactly are those extra notes used? Is there any piece using this instrument?
Any info at all would help. Thanks!