I’ve been using diminished 7th chords more and more in my playing over the last year or so and have been slowly realising just how important they are in jazz harmony.
This video very clearly and concisely summarises many ways of thinking about diminished 7th chords in functional harmony. I’ve seen several of these touched upon in other places but not in such a well organised way. Well worth a watch!
Which Chord Sequences Produce Which Emotions (A Complete Map Of The Tonal System)
By Pur Pasteur
Quite a subjective video, but I found it to be very helpful!
A wonderful taksim on Arabic oud in maqam Saba by Hesham Hamra.
Saba is a very interesting maqam, which has been explained in Arabic and Turkish #MusicTheory in various awkward ways, including devising a diminished tetrachord and separate maqam family, because it breaks various structural rules (range of a minor 10th, dominants on minor 3rd and 6th, no octave). Even so, it's a popular maqam, which some people describe as "bluesy".
#Music #Ethnomusicology #WorldMusic
https://www.youtube.com/watch?v=ERtSDNI4fe4
😵💫ummmzies📖lerninz🎼musicz🍼meez🐈⬛gesiz🤭
#ukulele, #musictheory, #letzgo
And as a final note, I'm no theory expert, so I'm very open to correction from people who know better!
However, I am very content that even if I messed up the theory, the transitions sound very good to my ears, which is what's really important!
One is a fairly straightforward chord progression between Cmin and Emin using a diminished chord to glue the transition together.
Two is going from Emin to B phrygian, both of which are modes of Gmaj, so the transition is technically an in-key chord progression.
This as nerdy as it can get.
Starting off my weekly diet of weird youtube videos strongly today
Giving Your Music Purpose and Direction Through Narrative Form
What story is YOUR music telling?
#MusicComposition #SonicStorytelling #MusicTheory #CompositionTips #MusicalNarrative
https://youtu.be/7NjIrlmInk8?si=foU4Tw0I4k9lvZdc
https://yongzs1218.github.io/hsuan-kung/
旋宮圖更新！
增加「四基」「四𩒺」「四曾」，并與内圈的「五正聲」「四變聲」對照。
「四基」是「宮」「商」「徵」「羽」；
「四曾」是「宮曾」「商曾」「徵曾」「羽曾」，比四基低大三度；
「四𩒺」別名「四角」，是「宮𩒺」「商𩒺」「徵𩒺」「羽𩒺」，比四基高大三度；
「五正聲」是「宮」「商」「角」「徵」「羽」；
「四變聲」是「清角」「變徵」「清羽」「變宮」。
Hsüan Kung Diagram updated!
Added the “Four Bases” (四基 / Ssu⁴ Chi), “Four Tsêng” (四曾/ Ssu⁴ Tsêng), and “Four Fu” (四𩒺 / Ssu⁴ Fu³), showing their comparison with the “Five Proper Notes” (五正聲 / Wu³ Chêng⁴ Shêng) and “Four Altered Notes” (四變聲 / Ssu⁴ Pien⁴ Shêng) in the inner circle.
The Four Bases (四基) are: Kung (宮), Shang (商), Chih³ (徵), and Yü³ (羽).
The Four Tsêng (四曾) are Kung Tsêng (宮曾), Shang Tsêng (商曾), Chih³ Tsêng (徵曾), and Yü³ Tsêng (羽曾); they are a major third lower than the Four Bases.
The Four Fu (四𩒺), also known as “Four Chüeh” (四角 / Ssu⁴ Chüeh²), are Kung Fu³ (宮𩒺), Shang Fu³ (商𩒺), Chih³ Fu³ (徵𩒺), and Yü³ Fu³ (羽𩒺); they are a major third higher than the Four Bases.
The “Five Proper Notes” (五正聲) are Kung (宮), Shang (商), Chüeh² (角), Chih³ (徵), and Yü³ (羽).
The “Four Altered Notes” (四變聲) are Ch'ing Chüeh² (清角), Pien⁴ Chih³ (變徵), Ch'ing Yü³ (清羽), and Pien⁴ Kung (變宮).
旋宮図（せんきゅうず）更新！
「四基（しき）」「四𩒺（しほ）」「四曾（しそう）」を追加し、内側の「五正声（ごせいせい）」「四変声（しへんせい）」と対照させます。
「四基」は「宮（きゅう）」「商（しょう）」「徴（ち）」「羽（う）」です。
「四曾」は「宮曾」「商曾」「徴曾」「羽曾」であり、四基より長三度（ちょうさんど）低いです。
「四𩒺」は別名「四角（しかく）」とも呼ばれ、「宮𩒺」「商𩒺」「徴𩒺」「羽𩒺」であり、四基より長三度高いです。
「五正声」は「宮」「商」「角（かく）」「徴」「羽」です。
「四変声」は「清角（せいかく）」「変徴（へんち）」「清羽（せいう）」「変宮（へんきゅう）」です。
Cập nhật Huyền Cung Đồ (旋宮圖)!
及日旋宮圖！
Thêm "Tứ Cơ" (四基), "Tứ Phụ" (四𩒺), "Tứ Tằng" (四曾), và đối chiếu với "Ngũ Chính Thanh" (五正聲), "Tứ Biến Thanh" (四變聲) ở vòng trong.
添“四基”，“四𩒺”，“四曾”，吧對照貝“五正聲”，“四變聲”於罔𥪝。
"Tứ Cơ" là "Cung" (宮), "Thương" (商), "Chủy" (徵), "Vũ" (羽).
“四基”𱺵“宮”，“商”，“徴”，“羽”。
"Tứ Tằng" là "Cung Tằng" (宮曾), "Thương Tằng" (商曾), "Chủy Tằng" (徵曾), "Vũ Tằng" (羽曾), thấp hơn Tứ Cơ một quãng Ba trưởng.
“四曾”𱺵“宮曾”，“商曾”，“徴曾”，“羽曾”，隰欣四基𠬠壙𠀧長。
"Tứ Phụ", còn gọi là "Tứ Giác" (四角), là "Cung Phụ" (宮𩒺), "Thương Phụ" (商𩒺), "Chủy Phụ" (徵𩒺), "Vũ Phụ" (羽𩒺), cao hơn Tứ Cơ một quãng Ba trưởng.
“四𩒺”，𡀳噲𱺵“四角”，𱺵“宮𩒺”，“商𩒺”，“徵𩒺”，“羽𩒺”，高欣四基𠬠壙𠀧長。
"Ngũ Chính Thanh" là "Cung" (宮), "Thương" (商), "Giác" (角), "Chủy" (徵), "Vũ" (羽).
“五正聲”𱺵“宮”，“商”，“角”，“徵”，“羽”。
"Tứ Biến Thanh" là "Thanh Giác" (清角), "Biến Chủy" (變徵), "Thanh Vũ" (清羽), "Biến Cung" (變宮).
“四變聲”𱺵“清角”，“變徴”，“清羽”，“變宮”。
旋宮圖(선궁도) 업데이트!
「四基(사기)」「四𩒺(사부)」「四曾(사증)」을 追加(추가)하고, 안쪽의 「五正聲(오정성)」「四變聲(사변성)」과 對照(대조)합니다.
「四基(사기)」는 「宮(궁)」「商(상)」「徵(치)」「羽(우)」입니다.
「四曾(사증)」은 「宮曾(궁증)」「商曾(상증)」「徵曾(치증)」「羽曾(우증)」이며, 四基(사기)보다 長3度(장3도) 낮습니다.
「四𩒺(사부)」는 別名(별명) 「四角(사각)」이라고도 불리며, 「宮𩒺(궁부)」「商𩒺(상부)」「徵𩒺(치부)」「羽𩒺(우부)」이며, 四基(사기)보다 長3度(장3도) 높습니다.
「五正聲(오정성)」은 「宮(궁)」「商(상)」「角(각)」「徵(치)」「羽(우)」입니다.
「四變聲(사변성)」은 「清角(청각)」「變徵(변치)」「清羽(청우)」「變宮(변궁)」입니다.
#chinese #chinesemusic #musictheory #china #music #web #javascript #html #css #webpage #音樂 #中華 #國樂 #华乐 #民樂 #中樂 #中國 #樂理 #網 #中華音楽 #音楽 #華楽 #音楽理論 #ウェブ #trungquoc #amnhac #lythuyetamnhac #음악 #중국 #음악이론
improvised flute with a scale i came up with that repeats at a minor 9th instead of an octave. the step sizes are 3-2-3-2-3 in 12edo.
Its quite an interesting exercise on flute because normally you play upper octaves using harmonics, but with this scale you have to actually change the notes your playing which feels kinda mind expanding
In this video, we discuss the crucial concept of emotional contrast in music composition. We explain how creating emotional arcs, with moments of tension and release, is the secret to making a piece truly powerful and impactful. We talk about techniques like using dynamics, tempo, harmony, and texture to sculpt this emotional journey.
#MusicComposition #EmotionalContrast #MusicTheory #MusicLessons #CreativeProcess
Post-tonal Theory Explained Using Film Music https://www.youtube.com/watch?v=CLb2bM7pdnA
Ya disponible el nuevo número del Journal of Music Theory Pedagogy
Gorgeous! This is a sultânî yegâh peşrev composed by Refik Fersan (1893-1965), starting with taksim.
In Ottoman #ClassicalMusic a peşrev, overture with 4 hâne, is the 1st light piece and a warmup establishing communication between the musicians.
Sultânî yegâh is generally considered to be makam bûselik transposed down to yegâh, descending with suspended cadences of hicâz and kürdî on dügâh, bûselik on rast, and kürdî on hüseynî aşîrân.
#Music #Ethnomusicology #MusicTheory
https://www.youtube.com/watch?v=w1mhOa3lzSw
https://www.youtube.com/watch?v=H9nKr6DPxK4
#Musictheory is #bullshit (again (and again..))
旋宮圖 Hsüan Kung Diagram
https://yongzs1218.github.io/hsuan-kung/
在AI的指導下，我用JavaScript、CSS和HTML架設了一份網頁版「旋宮圖」。該圖可用於旋宮犯調實踐，之調、爲調轉換等場景。
Under the guidance of AI, I developed a web-based “Hsüan Kung Diagram” using JavaScript, CSS, and HTML. This diagram is designed for Hsüan²-kung (Xuán-gōng, 旋宮) and Fan⁴-tiao⁴ (Fàn-diào, 犯調) practices, including scenes such as Chih-tiao⁴ (Zhī-diào, 之調) and Wei²-tiao⁴ (Wéi-diào, 爲調) transformations. 旋宮 and 犯調 are traditional Chinese modulation or transposition concepts, 之調 and 爲調 are traditional Chinese key notation systems.
AIの指導のもと、私はJavaScript、CSS、HTMLを用いてウェブ版「旋宮図（せんきゅうず）」を構築しました。この図は、旋宮犯調（せんきゅうはんちょう）の実践や、之調（しちょう）・爲調（いちょう）の変換などのシナリオに活用できます。
Dưới sự hướng dẫn của AI, tôi đã xây dựng một ”Đồ Huyền Cung (圖旋宮)“ phiên bản web bằng JavaScript, CSS và HTML. Bản đồ này có thể ứng dụng trong thực hành chuyển điệu Huyền Cung Phạm Điệu (旋宮 犯調), cũng như chuyển đổi giữa hệ thống Chi Điệu (之調) và Vi Điệu (爲調).／𨑜事向引𧵑AI，碎㐌𡏦𥩯“圖旋宮”翻版web憑JavaScript，CSS吧HTML。版圖尼固體應用𥪝轉調 旋宮-犯調，拱如轉𢷮𡧲系統之調吧爲調。
AI의 지도 아래, 저는 JavaScript, CSS, HTML을 사용하여 웹 버전 「선궁도(旋宮圖)」를 구축했습니다. 이 도표는 선궁 범조(旋宮 犯調) 실습 및 지조(之調)·위조(爲調) 변환 시나리오에 활용될 수 있습니다.／AI의 指導 아래, 저는 JavaScript, CSS, HTML을 사용하여 웹 版 「旋宮圖(선궁도)」를 構築했습니다. 이 圖表는 旋宮 犯調(선궁 범조) 實習 및 之調(지조)·爲調(위조) 轉換 시나리오에 活用될 수 있습니다.
#chinese #chinesemusic #musictheory #china #music #web #javascript #html #css #webpage #音樂 #中華 #國樂 #华乐 #民樂 #中樂 #中國 #樂理 #網 #中華音楽 #音楽 #華楽 #音楽理論 #ウェブ #trungquoc #amnhac #lythuyetamnhac #음악 #중국 #음악이론
Obligatory shout-out for said #MusicTheory app:
https://apps.apple.com/us/app/chordal-text/id1073371136?ls=1 https://soc.mod-12.com/@griotspeak/114314765166350057
If there's anything LLMs suck at more than math, it's music theory.
