#chord scales

[guitarguitarworld]

Jazz Fusion Chords:How to create them from scales

CLICK SUBSCRIBE! Hi Guys, Today, a look at how to create colourful and interesting jazz/fusion chords: Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian: Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops]. Now, we will add another note a 5th above the root and create…

[legobiwan]

The use of the octatonic scale here is driving me insane, if for no other reason than that I want to know why this scale in particular was chosen, because it is a deliberate decision. (I have a whole post ready to go with some bat-shit music theory (over)analysis that I may or may not put up later today).

[babyseraphim]

pianist!edwin headcanon that he regularly seeks out public use pianos when he needs to clear his head (like the ones at malls/airports/etc). everyone that walks by assumes its an automatic player piano, so he can perform for an audience without it being suspicious

also, the image of edwin flirting with charles via teaching him to play piano has bewitched me. i know from experience that the inherent eroticism of teaching your crush to play piano is off the charts

[sturgeonposting]

hey there, i do research on the population genetics of Gulf sturgeon, Acipenser oxyrinchus desotoi, and i wanted to say that your blog makes me super happy :D plz keep sturgeonposting i love it

This is so nice to hear!!! It’s cool that so many people around here are actual scientists to varying degrees. Personally I go to music school.

That sounds like such an interesting field of study. Do gulf sturgeon interact a lot with other oxyrinchus populations? To be honest they’re not one of the species I think about most often and I don’t know really anything about how they split off from the Atlantic sturgeon. I would love to know everything you know so please tell me

All of it 👍

[alphacrone]

we need more accessibility to Alone Spaces. where you can be alone with no expectation of interruption or visit. like practice rooms in the music hall of a university but for rent by the general public.

[sylvyspritii]

Messing around with Cirno's theme

EDIT: PLEASE CHECK OUT THE FINISHED VERSION INSTEAD, THANKS

[classicalsqueak]

Hello! I made this little zine called Music Theory: A Small Guide of Reminders.

These are shorthand notes, charts, and drawings that I used when I was studying music theory that I now teach my students, approached from the pianist’s perspective. From beginner to advanced, all compact to fit in a pocket or pencil case.

It is one page of notes in the front, with optional second side that includes manuscript paper and an extra keyboard.

This video includes a flip through, instructions on how to fold the guide, and explanations for all the notes: https://youtu.be/mUSc3k4z9qM

Links to download are in the description of the video :)

- For more videos: YouTube (classicalsqueak) / Video Index

For sheet music: Ko-fi (classicalsqueak) or SMP* (published by Ylan Chu)

[teeth-thief]

honestly once I got better I got a little boring too. I do the crossword every day. but jeeeeezus christ, at least I'm not 17.

[relaxwithaaron]

If you need to learn, let me know if this helps.. I’m going to start making guitar lesson videos, and I need to know if what I’ve done helps, and what I need to do to fix anything that isn’t working. Thanks, and I hope this helps.

[subukunojess]

Rabbidsona/OC: Violetta Reference and Info

I got inspired by the Rabbid OCs on my dash interacting with the latest DLC: Rayman in the Phantom Show and I also wanted to create my own Phantom Show OC to the point where I got inspiration to draw it out. First time drawing a Rabbid, so please forgive me. I have a wip one-shot on the way, but I wanted to flesh her out as I'm writing. Character notes under the cut:

Origins, Sparks, and Abilities

Violetta (She/Her) is a neurodivergent Rabbid who once lived in Paletteville, Palette Prime. She is a combination of a Rabbid and violets, so her hair smells like flowers.

I am not sure whether or not in her past, she could have been involved with Cursa and the Spark Hunters. Still deciding on that.

Regardless, Violetta is cursed similar but different to Woodrow. She could write novels fine and there would be no bad luck. However, when she writes with ultimate passion, especially with anything she is very interested in, she summons monsters. At first, no one put two and two together until one day, a giant Piranha Plant sprouted in town, a short story with plants got published and a few denizens saw Violetta playing with the plant. Ever since then, people called her "The Monster of Paletteville" and banished her.

Violetta ended up on a new planet seemingly undiscovered that she dubbed "Monstervania", a dark forest/jungle planet filled with monsters and inspired by Transylvania. She had to find her own shelter in the wilderness and along the way, met three Spark siblings.

Her Spark friends are (from left to right): Chord (They/Them) who can change and mimic voices, Scale (She/Her) who can shrink or grow others, and Tack (He/Him) who can disguise someone with a nice outfit. Scale is considered the older sister for the other two and the most powerful. They were all lost and hiding from Cursa until Violetta arrived, so the four of them joined together to survive.

Violetta's weapon is a Kusarigama, a chain-sickle with the sickle part being shaped like a treble clef. I'll get to that in a minute.

She has an ability that I'm trying to name. Basically, when it activates, she could make it so that her opponents only see her as a beacon or a siren of sorts. In probable gameplay, the enemies will be focused on her while any of her teammates within range would be as if they were Unseen for two turns.

Violetta is best described as the sweet and adorable woman you don't want to mess with. She falls under the trope of "the cute and nice person who writes/likes dark subjects and can tear your heart apart verbally and emotionally". She's a sociable introvert. At first, she comes out as outgoing and curious, but she tends to be shy and quiet.

When she gets overstimulated, not only does she get the urge to write but that is also when her "curse" comes into play the most. Her fur would bristle and fangs would come out from her mouth. She usually tries hiding away from others and if possible, uses Tack and/or Chord to disguise herself.

Like most Rabbids, her eyes turn red when upset.

How Violetta and Phantom meet; Her role in The Space Opera Network

So Violetta and The Phantom meet in awkward and strange circumstances. Prior to the Banishment, Violetta was an avid fan of Phantom's singing and would listen to his music once in a while. When she came to Monstervania, she only had the clothes on her back, some food packed, a cell phone, and headphones, so at night she would listen to the Phantom's songs with her Sparks.

One night during a Full Moon, Violetta gets inspired and writes a story in her journal with Phantom in mind. The curse activates and (with Scale's ability somehow involved) Phantom is summoned and now 100 feet tall.

Violetta understandably freaks out because A) This has never happened before, B) she accidentally pulled a big-time celebrity to an unknown planet and changed him without knowing, and C) She finds it oddly attractive. So she runs away, unknowingly leaving Scale and the journal behind.

Phantom at this point had recently become the director of The Space Opera Network. One moment, he is in a meeting, and the next, he finds himself as a giant in a dark forest. He sees someone run away but meets Scale and reads Violetta's work.

Meanwhile, Violetta, Tack, and Chord end up in a castle where a mad scientist rabbid lives with a monster named Brutus and he wants the Sparks to give to Cursa and Violetta for experimentation/a companion for Brutus.

Chaos ensues to the point where Phantom and Scale catch up to Violetta and they all join forces to escape the scientist and his monster army. It was at this fight that Violetta gets her chain-sickle which is inspired by Phantom.

During the fight and the discussion afterward, the Phantom realizes how creative Violetta is along with her power, her wonderful writing, and how she improvises in the heat of the moment. He decides right then and there to hire Violetta for the Space Opera Network.

After the escape and both Phantom and Violetta have a heart-to-heart, some of the crew from the Space Opera Network arrive on a spaceship along with Phantom's agent to get the Phantom. Phantom does get back to his normal size, but he also takes Violetta to live and work at the Network.

Violetta is now a screenwriter/actor while writing novels and short stories on the side. Most of the crew either don't know of her curse or know of her curse but don't care. They are very accommodating and at this point, it's an open secret with surprises. Despite whatever minor detail or random monster suddenly appears, the Phantom actually takes it in stride and for the most part enjoys the chaos of it all.

The Spark Siblings also get to work at the Network as well! Scale helps around as much as she can, Chord is in charge of the sound mixing, and Tack handles the costumes.

Violetta's Thoughts On Relationships

Woodrow: A good friend and a fan of the poet's work. Violetta finds in him a kindred spirit of literature and their curses. At first, she was afraid that he would be mad at her because sometimes the townsfolk would blame him whenever her curse activates, but he didn't mind. She also does not mind whatever luck happens and would gladly listen to a poem.

Sparks in General: They are adorable, powerful creatures that must be protected! And they are great friends.

Phantom: From being a fan to a good friend/secret crush. She sees him as a creative idol and although she tends not to follow pop culture and trends, she does see the appeal in Phantom's work. She was afraid that he would hate her and look down upon her, but he surprisingly seemed more down-to-earth than other "celebrities". Meanwhile, not only does Phantom want to involve himself with a creative visionary, but during his adventure in Monstervania, he feels a brief emotion of ultimate power/energy with Violetta's attention alone. Basically, when she gets excited about the Phantom, Phantom briefly has a large power boost. He does not overuse this, but he does take advantage of it when it happens. Overall, just casual friends with one playfully teasing the other and the other having a crush on the former.

Dahlia (@hostess-of-horror's OC): A fan of the Director's work. She wants to meet and possibly collab/act in Dahlia's movies, but she's anxious about it and goes into the "OMG, the more talented and cool superstar will not like me and I'm a nobody". Notably when "Rabula" got aired, seeing it made Violetta overstimulate (because she loved it so much) and she hid away while unconsciously summoning a lightning monster of all things. She does stop the monster from destroying the studio and attacking Dahlia, but she is really embarrassed about the whole thing.

Like me, Violetta keeps to herself and gets nervous meeting other people, so she does want to make friends, but it's difficult for her to make the first move.

That's what I have on Violetta and her Sparks so far. They currently appear in two of my fics that I'm in the process of writing. I hope to use them soon.

[cowardstiel]

omg actually practicing scales as a piano warmup and i could never remember them when i actually took piano lessons as a kid but now i just Know them. how does that even happen like it’s been prolly 10 years since i even tried. thank u to my piano teacher ig🫡🫡

[vimbry]

I am having so much fun learning the pianer :) <- remind me of my joy when I start using both hands and plateau horribly

[wain-wright]

music theory basics

but Not Really, this is specifically about trying to write out my confusion with his video, but to start:

"In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch." (wikipedia) A scale in common parlance is set between between two pitches that are an octave apart. A scale is an interval pattern of pitches between two pitches that are an octave apart.

Octave is a technical term based off of frequency: "Modern Western music uses a system called equal temperament (ET for short). The table below shows the frequency ratios for all intervals from unison up to an octave. (Unison is the musical name for the “interval” between two identical notes.)"

An octave is “the distance between one note and another note that’s double its frequency. For instance, the note A4 is the sound of a vibration at 440 Hz. The note A5 is the sound of a vibration at 880 Hz. Going in the other direction, the note A3 is the sound of a vibration at 220Hz.”

So: a scale is a set of pitches within an octave, and the smallest interval they are 'divided' by in western music is the semitone, or half step. Semitones:

Equal temperament divides the octave into twelve identical intervals (called half-steps or semitones). As a result, each semitone corresponds to a frequency ratio of  2(1/12)2(1/12). What this means is a note a semitone above 100Hz100𝐻𝑧 has a frequency of 2(1/12)∗100Hz2(1/12)∗100𝐻𝑧, or roughly 106Hz106𝐻𝑧. Note:  2(1/12)2(1/12) can also be written as 12√2212 and is roughly equal to 1.06. When you “stack” musical intervals, the frequency ratios multiply together– not add. A semitone is a factor of 12√2212 because going up twelve semitones in a row must be the same thing as going up one octave. If you multiply 12√2212 by itself twelve times in a row, you get two- exactly the right frequency ratio for the octave. Other intervals in ET are built by “stacking” semitones. Each semitone you go up (or down) increases (or decreases) the frequency by a factor of (12√2)(212). Go up (or down) certain number of semitones, the frequency increases (decreases) by a factor of (12√2)n(212)𝑛 where n𝑛 represents the number of semitones you go up.  You can combine these ideas into a single equation: f1=f2∗(12√2)n𝑓1=𝑓2∗(212)𝑛 Here’s the same equation written with fractional exponents (rather than root signs); f1=f2∗2(n/12)𝑓1=𝑓2∗2(𝑛/12) In the equation, f2𝑓2 represents the frequency you want to find and f1𝑓1 is the frequency of the note you start with. Use positive numbers for n𝑛 if the frequency you want to find is higher than the frequency you are given. Use negative numbers if you are going down in pitch. Charts with note names and corresponding frequencies are freely available on the web- search on “note name frequency chart” to see a selection. Almost all of these charts are generated using the equation above, using the frequency 440 Hz for the note A4 as the starting point. (This standard note is often called A440).

Equal temperament is the most common system for musical intervals but it is not the only one. Early temperament systems based musical intervals frequency ratios based on whole numbers. Pythagorean temperament defines a perfect fifth as a frequency ratio of 3:2 and defines all other notes in terms of the perfect fifth. Just temperament defines all intervals in terms of fractions of whole numbers. The advantage of these older temperaments is that musically important intervals (like perfect fifths and major thirds) are perfectly in tune with the overtones wind and string instruments produce. The drawback is that non-ET systems do not handle key signatures changes well. In non-ET systems, musical notes produced in one key signature (say D major) do not produce the same musical intervals when music of a different key signature (say C major) is played.

Even just hearing the above causes every musician to start trying to catalogue how inadequate ET is to record various types of music.

However, in practice it's impossible to tune off of ET/matching a hertz anyway, people modify scales and tuning on their instruments to frequencies to match slightly different scales that in the end don't exactly line up with this kind of measurement. This isn't a bug, but an intended feature. More styles of measurement of scales are commonly explained when explaining these basics, including microtones, which are defined as quarter-steps, they are supposed to be half of semitones. In practice, imo, this is negligible to hear, but exists.

However- this does mean on most scales within an octave, there are twelve possible intervals called semitones/half-steps. The piano is tuned for exactly this. Two adjacent keys on a piano are a half-step apart. (This is what chromatic scale means: a scale where you play all 12 half steps within an octave.) (The definition of a diatonic scale is currently: a pattern of intervals between seven notes of most modern scales (not only including western history) and the seven modes based off these intervals.) (There are multiple non-diatonic variations of major and minor scales that come off from a mode, that is not uncommon or special.)

A mode is the pattern of half and whole steps that can begin/use as a tonic any note of a root scale, without shifting the intervals between them. If the interval is shifted (common,) then it is a variation of that mode (common names: harmonic and melodic), and no longer the same type of scale as the root "scale." (Any scale can have modes, depending on number of pitch and the pattern of pitch. A chromatic scale would technically have 12 modes, but it would be identical no matter where you start so what's the point. )

Any sound you hear in most music (including traditional music not only from western tradition) works using a chromatic scale. Not every music scale in various music is always going to specifically going to match a diatonic scale (even including accidentals), but that's true of a lot of music considered "western", not just traditional music of any given culture. All music exists using a "scale" because that's literally just what it means- if it's along an interval pattern except for an odd note out that note is an "accidental" to a scale and gets a special marking like # or b in the music to denote how it sounds outside the scale marked at the beginning of the sheet music. Music can change key/scale at any time.

Nowadays most scales use seven notes/pitches in an octave, in an pattern of intervals (whole steps and half steps) called the diatonic scale. (Skipping over why, tbh it's probably not racism, applies to a lot of music.) Two half-steps together form the interval of a whole step. The pattern of the major and minor scale are formed by a variety of half and whole steps. G major scale is a diatonic scale, G ionian mode of G major scale (tonic and root are the same note G, which is the first degree.) G minor scale is a diatonic scale, G aeolian mode (natural minor scale) of the 'parent' B major scale. (tonic is B, root is G)

Modes of a major/diatonic scale:

(from the tonic starting from which root degree degree first to seventh) Ionian - Dorian - Phrygian - Lydian - Mixolydian - Aeolian - Locrian

But to skip forward a lot, say you make modes of any of these scales in themselves and don't stick to the interval pattern of the diatonic scale (common.) Then it is no longer diatonic, and starts getting labelled based off the shifted intervals within the scale.

Modes of a minor scale (at random example) (actually i should check this later):

Melodic Minor - Dorian b2 - Lydian Augmented - Lydian Dominant - Mixolydian b6 - Locrian Natural - Altered Dominant

There's a lot of variation you can introduce through modes based off of different intervals between pitches in a scale. It makes sense to me there are a lot of unique modes used for music I'm not familiar with. However: it is simply a different claim to say that there are such commonly used quarter steps/microtones that suddenly make talking about music impossible, that's just saying words man.

You'd easily just make a scale that includes a quarter step with all the annoying extra notes that implies. I googled iranians modes very briefly.

There doesn't seem to be overwhelming shower of information on some system of intervals that specifically uses a scale with missing microtones but iranian modes do have scales that tune a few notes a microtone flatter on a normal chromatic scale- these specific notes a quarter-step flat are labelled 'koron' (which implies to me there aren't a huge amount of microtones to practically use in these scales, it's related to having a style where a note is bent down slightly instead and maybe it is a proper novel harmony I'd love to learn about) but it is true foreign traditional modes are not studied in the lens of introductory music theory, but he didn't develop his argument at all so I'm not sure what he's saying, because he's not sure what he's saying past that. (I'm filtering his argument to make it as if he would if he was more knowledgeable.)

[eggmeralda]

hate yourself by tv girl almost ticks all my boxes in a perfect song, but the only thing stopping it (other than my dislike of absolute statements) is the fact they don't finish the word at the end

[teach-or-trav]

Just practicing some ii-V-I’s chord progressions on my keyboard 🎹.