Music Theory - AKA #1 Reason Why People Quit Pursuing Music - General

[QUOTE=Lord Pirate;32752593]You forgot vi. [url=http://www.youtube.com/watch?v=oOlDewpCfZQ]I V vi IV for ultimate musical success.[/url] Analysing chords in simple homophonic four part stuff like that is pretty easy once you get the hang of it and practice it a bit. The more you practice it, the quicker and easier it is to spot the constituents of a chord and it's relation to the progression. If you also study Harmony & Counterpoint, and harmonise Bach chorales and the like then it becomes a doddle but it's probably quite unnecessary to takes things that far unless you find that sort of thing interesting (or it's mandatory).[/QUOTE] I'm still learning analysis myself. I'm writing a four-part chorale with restrictions and such, for example, no parallels after a perfect interval. This is a school project. I've been having such a hard time with it; could you provide any advice toward the matter? [editline]12th October 2011[/editline] [QUOTE=Pepin;32752633]Are you just copying and pasting the lessons, or you are using a similar layout?[/QUOTE] Sometimes I copy/paste simply because there is no better way for me to state it. But it's a mixture of copy/paste and my own added stuff. It helps organize my thoughts and with the layout as well. Later on I'll go more with my own stuff, since the website does not provide everything I wish to include.

[QUOTE=redBadger;32752644]I'm still learning analysis mysI'm writing a four-part chorale with restrictions and such, for example, no parallels after a perfect interval. This is a school project.[/QUOTE] Good luck. Hidden fifths are a bitch.

[QUOTE=fenwick;32752682]Good luck. Hidden fifths are a bitch.[/QUOTE] What would a hidden fifth be? Maybe I can use it to my advantage.

A hidden fifth is exactly what you are trying to avoid (I think), moving in parallel to a perfect fifth. Wikipedia example: [img]http://upload.wikimedia.org/wikipedia/en/thumb/9/92/Hidden_fifths.png/350px-Hidden_fifths.png[/img] They're bad (but not as bad as parallel fifths).

Apparently, parallel motion is different from the hidden fifths you are describing, but it's still sort of the same idea. I think I'm getting it now, but any more help anyone could provide is appreciated.

[QUOTE=redBadger;32752644]I'm still learning analysis mysI'm writing a four-part chorale with restrictions and such, for example, no parallels after a perfect interval. This is a school project. I've been having such a hard time with it; could you provide any advice toward the matter? [editline]12th October 2011[/editline] Sometimes I copy/paste simply because there is no better way for me to state it. But it's a mixture of copy/paste and my own added stuff. It helps organize my thoughts and with the layout as well. Later on I'll go more with my own stuff, since the website does not provide everything I wish to include.[/QUOTE] Well I'm not exactly a world expert on chorale harmonisation but I can try. Although probably not now I'm afraid... It's late here and I need to be up in the morning. I can however, look through my old notes and give a proper guide a try tomorrow. Few things off the top of my head though, sorry if you have heard it before or whatever: Establish what key the phrases/cadences are in Write out a little table/diagram/drawing of the chords, you might find it easier when selecting chord to use if you have a visual description of the chords available for any given melody note. Fill in cadences first. If you've been given any of Bach's set cadential progressions then use them, if not then just stick to standard perfect/imperfect/plagal or whatever for now. The bass line is VERY important. It needs to be smoothly running (aka movements by single steps or by thirds) but leaps are acceptable occasionally and also are often unavoidable at cadences. Lots of leaps will sound bad. Spotting and avoiding part crossing and parallel fifths/octaves you will pick up over time. An easy trick is to spot when two parts are moving in the same direction by the same amount. For example, if I have an E in my bass and a B in my tenor part and they both move up by a single step to the next chord then I KNOW that it's going to be parallel, so when writing the middle parts, try to have them moving contrary to each other (aka one up, one down or whatever). The hardest parts to check are between alto and tenor since they are on separate staves. Also if you can play through the chorale then you can often hear parallels since they sound funny. Worry about tenor and alto parts last since they are just essentially filler parts. And just a tip, alto parts are VERY boring (very often repeating one note for most of a phrase) and if you have an awkward interval that you can't avoid without breaking some other rules, try to give it to the tenors. If you can, sing in a choir! I sing bass in a choir and it really does help with noticing problems in your music aurally as opposed to purely analytically. Don't be afraid to give up. If you've worked yourself into a corner and can't avoid having parallels then it might be best to rub it out and start again differently. It might also help to notate the chords differently. I could never harmonise using roman numerals so instead I moved to using interval notation (eg writing 5/3, 6/3, and 6/4 under a chord to denote which inversion I was using). Sorry if that is really unclear and convoluted but I've tried my best to get down some key points. Not sure what a hidden fifth is since the US and UK terms are different methinks but I have heard it before. Oh and NEVER EVER use chord iii/III+. (or a second inversion unless it's in a specific Ic - V - I cadence) Right I'm off to bed.

Yeah, what you said was mostly clear and I'll try to remember it when I'm writing. I've got a month or so to do it, so I am in no rush. And yeah, it was made clear to never use iii/III+ chords.

How to learn music, study scales, remember notes by ear. This is what I did and after about four years of practice, I can transcribe any songs into a classical guitar piece, utilizing bass and melody. It's quite tedious at first, but if you actually stick with it, the notes are like words stored in your semantic mind. E sounds like this, a step up, F sounds like this. It's branded into your mind.

this is music theory? I thought it was more complex than that o.O. I thought music theory dealt with how music is supposed to blend together, and transposing between keys. I learned this shit BEFORE I started playing piano and I still remember it despite the fact that I haven't played piano in like 6 years.

[QUOTE=trotskygrad;32754010]this is music theory? I thought it was more complex than that o.O. I thought music theory dealt with how music is supposed to blend together, and transposing between keys. I learned this shit BEFORE I started playing piano and I still remember it despite the fact that I haven't played piano in like 6 years.[/QUOTE] the stuff in the OP is basic theory. Trust me it gets worse.

[QUOTE=trotskygrad;32754010]this is music theory? I thought it was more complex than that o.O. I thought music theory dealt with how music is supposed to blend together, and transposing between keys. I learned this shit BEFORE I started playing piano and I still remember it despite the fact that I haven't played piano in like 6 years.[/QUOTE] This is still counted as music theory - it's just the basics. As you get further along you learn about modulation, chromatic mediant relationships, the Neapolitan, augmented sixth chords, flat sixth chords, and many other things dealing with chromaticism as well as the forms of pieces and how to explain certain sections.

Perhaps add a tad about chord and scale structures, as all songs always have some basic key they are in.

Real men write their sheet music in Lillypond.

[QUOTE=trotskygrad;32754010]this is music theory? I thought it was more complex than that o.O. I thought music theory dealt with how music is supposed to blend together, and transposing between keys. I learned this shit BEFORE I started playing piano and I still remember it despite the fact that I haven't played piano in like 6 years.[/QUOTE] This stuff is basically toe-in-the-door information. If you ever start getting into really progressive metal, bebop and difficult jazz, you'll understand why there are Doctorate Degrees of musical theory.

[QUOTE=vizard38;32754570]Perhaps add a tad about chord and scale structures, as all songs always have some basic key they are in.[/QUOTE] Yeah, I'll try to get there.

Add Key Signatures?

The only things in music theory that benefited me was understanding harmony. I play in a band which has three guitar players; while all of us write, we write our own songs. So, I'm in charge of writing for all three guitars in my own songs, and I couldn't find it feasible to write that many guitar layers without some basic knowledge of music theory. [QUOTE=peterson;32774089]Add Key Signatures?[/QUOTE] Indeed, add key sigs. That will prove very valuable to most players here.

Music theory is the reason why I stopped caring about Music theory.

Mother of mixolydian! Music theory is pretty darn crazy!

I have to write 49 cadences(7 notes times 7 notes) for school, following Gregorian music rules. Fuck cadences.

Sorry, I've been very busy and cannot find the time to update the OP. I promise though, I'll update it more this week when I've got time.

The stuff in the OP is more about musical notation than actual theory [editline]18th October 2011[/editline] Anyway, get this book [url]http://www.amazon.co.uk/Theory-Computer-Musicians-Michael-Hewitt/dp/1598635034[/url] It's good

[QUOTE=RobL;32847397]The stuff in the OP is more about musical notation than actual theory [editline]18th October 2011[/editline] Anyway, get this book [url]http://www.amazon.co.uk/Theory-Computer-Musicians-Michael-Hewitt/dp/1598635034[/url] It's good[/QUOTE] Music notation is a part of music theory and is quite extensive at that. It is important to know the basics when you start to move onto the more advanced theory which covers everything from chord analysis, vocal lines and instrumentation, all the way up to constructing fugues and composition. On an unrelated note, does anyone still want me to write something more in-depth on four part harmonisation?