Music Theory

Who gives a shit, if it sounds good it is good.

>captcha: curing inevil

>>51917091
Your notation should match the time signature (ex. your first bar is divided into "three" if read by a musician but should be four so 2 eights, 2 eights (tied), eighth rest, eighth, and 2 eights). Also, avoid parallel fifths as seen in the last two bars, you'll probably notice they don't sound pleasant. Are the inversions intentional?

>>51917091
>asking /mu/ about music theory
>impyling anyone knows shit about it

myself included.

>>51917115
trying to mindlessly produce works kinda takes a lot longer than just learning the material

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>limiting your creativity with rules

>>51917135
My bad, there are actually no parallel fifths.

>>51917140
should i be somewhere els? if so where?

>>51917151
read my post you pleb

>>51917135
>Also, avoid parallel fifths

lmao this is the twenty-first century grandpa

>>51917144
you cant break the rules until you learn them tho

>>51917162
young blood if you heard them you'd hate them

>>51917135
Good call on the notation. But even if they were parallel 5ths, forcefully avoiding them at this time seems a little archaic, dontcha think?

>>51917168
I know what parallel fifths are m8 but there are plenty of pieces of music that intentionally utilize them

>>51917162
Glad I wasn't the only one that thought this.

>>51917178
go with what u like m8

>>51917135
i would have to rewrite everything then

I know this is probably just for a class but

there is no such thing as "correct" music

just do what sounds good to you

>>51917135
Or maybe OP meant that timing and you're just too old

>>51917091
I mean, if we're talking some kind of scrict "rules", given the kinda vanilla rhythm and melody. I would say playing a 2nd inversion D5 diad on the first measures downbeat, when you are in the key of A Major is kinda peculiar. I mean the E following would be on an upbeat.
not really a big deal. And there's artistic merit in the decision, so long as it follows through with the pieces respective motif. But Im just nitpicking one part of the melody.
and if I understand your question, I believe you are asking if a sforzando, for instance, can be placed on a note outside the beats respective overlaying chord.
if that's the case, then yes you can. Just be careful and have a plan to follow it up.
hope that's what you meant.

>>51917258
>>51917260
Both of you are right about playing and writing what sounds good, but just to verify. The notation isn't for the composer. The "rules" are just there to make it easier for a performer to read, or to act as a placeholder for a complex idea built around ornamentation.
nobody is trying to be a music police.

Ex: would you write a formal letter or essay in hastily written cursive or "street lingo"
No, you would present yourself like some kind of uneducated nigger and make it difficult for the reader.

>>51917091
http://midishrine.com/midi/53341.mid

heres the midi file if yall want to see how it sounds

>>51917310
>wanting to make it easy for the performer
lmao https://www.youtube.com/watch?v=Py5Vk90ZTak

>>51917162
He asked if he broke any rules. Any theory input is good then.

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did i break any rules ;)

>>51917135
I reject your notion of rejecting parallel fifths

Here is a piece that is entirely parallel fifths
http://youtu.be/HGdSFTnmtgI

I thought a passing tone by definition was a non-chord tone?

>>51919611
That's why it sounds like some new age bullshit

>>51917185
>>51917168
>"i don't know basic music theory"

>>51919700
this

>>51917835
god what is this

>>51917091
Parallel fifth m. 2 last 8th note going into the downbeat of m. 3
c# - g# --> b - f#
you should learn how to beam properly as already mentioned by another anon in the thread.
I'm assuming the f# in the second to last bar is a sus?

>>51919700
>>51921203
it is... but you can accent a passing tone, and i was wondering if the accenting are chord tones.

>>51921379
a suspension is when the beat is a step down, but my last non chord tone is a anticipation

>>51921574
>i was wondering if the accenting are chord tones
I'm not sure what you're trying to ask.

>>51921675
I kind of completely ignored the two quarter notes and only paid attention to f# - e, which is why I asked. but yeah that makes sense.

>Rules are meaningless yo, if it sounds good it's good grandpa
>I don't care about culture, I only care about momentary enjoyment

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>>51921678

>>51921869
crap i messed up the second beam is a neighboring tone i meant to analyze that on the second measure

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>>51921869
this is what i meant
the notes circled in red are the chord tones for the passing tone which are e and g

i was wondering if the last note circled in red can be a non chord tone

>>51921156
Wait whos point are you supporting? That parallel 5ths are forbidden or that the notion of forgoing parallel 5ths is archaic?

http://www.youtube.com/watch?v=L6hrBmYT6jM

>>51917163
first serious argument I agree with.

>>51917162
>>51917178
>>51919611
Parallel 5ths objectively sound terrible you fucking morons.

>>51917163
>implying not using rules is the same thing as breaking them

>>51923187
Using Parallel 5ths is clearly breaking the rules.

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>>51923262
>clearly breaking the rules
for you

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>>51923262
> Không sử dụng đúng ngữ pháp
> Danh sách gửi thư trên một cuốn tiểu thuyết đồ họa Việt Nam
o Tôi cười

>>51917179
And they sound like shit you ratchet ass niqqa.

>>51923536
Subjective

>>51923154
You objectively sound terrible
neener-neener

>>51917091

theres a rule when writing music called "the invisible bar line" where you must make beat 1 and 3 clearly notated. So instead of writing the rhythm you did in bars 1 2 and 3, you should tie an eighth note on the and of 2 to an eighth note on beat 3, it makes it a lot easier to read and if you go look at any professional score, they all do this.

>>51923600
Indeed. They subjectively always sound like shit to anyone who hears them.You'll niqqas happy now?

>>51923861
>revealing how uncultured and uneducated you really are
happier than you'll ever know

>>51917260
OP came and asked whether his notation was correct. Don't act all superior when people tell him that technically it's not.

>>51923975
You speak a lot but you say nothing, son.

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>makes this post >>51924003
>immediately after making this post >>51923861

>>51923600
Applying relativism to music comes either from an ideological feeling that all should be equal, a deeply sickening idea that any form of artistic production is good within itself and that there is no standard to judge art, or from the realization that judging music comes to a dead-end; that it may not be objectively judged, and thus that such a debate, that is, comparing two different levels of art or artists, would be an impossible, superfluous one, given the fact that one could always retreat in his subjective appreciation of the given artist you are criticizing.

Of course, any discussion about music implies some kind of discussion ethics, if I may use the term: both speakers accept, upon entering a discussion, a certain set of rules, if this term could be applied --- this set of rules implies that the discussion will be rational.

If such a discussion were to happen, one could easily point out that Mozart's musical form is more complicated than that of, say, all of popular music. Two rational persons will have to agree on this. Someone disagreeing is not considered rational anymore, or is simply too uneducated to sustain the discussion. Thus the discussion ends. But if both agree, then we may start comparing every single aspect of Mozart's music to that of popular music, coming to the conclusion that everything about Mozart is more complex. Yet -- complexity does not mean the music is better, it only means it is better within this given aspect. As the discussion goes on, the person defending Art music will be able to quote and use the whole canon, hereby proving the artistic - not emotional or anything like that - superiority of Art music. In an objective way.

Only someone afraid of participating in such a debate would indulge in using relativistic arguments or refusing to discuss, on grounds of subjectivity.

>>51917135
i reject your notation comment. they are fine wirth the time signature.

>>51923840
alright noted

>>51924365
i only figured having 4 beats per measure is the only thing i needed to worry about, but it seems i have to complete the beam on my eight notes. would beaming 2 eight notes instead of 4 be legal?

>>51924206
>implying /mu/tants are interlocutors.