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We call it the note A because of theory; we call it a major chord because of theory; we can refer to beats and rhythms because of theory. … I mean, I'm kind of misstating it when I say because of theory because that is actually theory, or at least a part of it. …

I have frequently thought about this and have not found an answer. I have a few thoughts about it though. I like to call it Traditional Phrasing or Traditional Harmonic/Cadence Phrasing. I will ref …

I believe there are two things you are looking for here. The analysis of the meter and how to translate that to a DAW, such as Ableton Live. I think these could be two different answers. I could an …

I would say that this distinction is made to separate it from the Melodic Minor scale. In the other chords with an F, it being natural is spelled out in the chord symbol (B dim would have an F by def …

There are a couple things I consider when choosing time signatures. I don't write music quite like this but I can see a few reasons why something like this might take place. Generally speaking, it i …

Music theory is very much like this, where you learn a general concept, sometimes thinking of it as a rule, then you learn how that concept or rule is not always accurate or applicable. …

Voice leading and voice independence are not specific to contrapuntal music. Homophonic music of the Classical genre continued to use the voice leading rules of the contrapuntal music that preceded i …

So if you are taking a class on theory in an academic setting, you would want to consider a secondary dominant to have a dominant chord type. …

This chord is known as a German Augmented Sixth Chord. There are a few types of Augmented Sixth Chords. The German Aug6 chord is enharmonically equivalent to a Dominant 7 chord, as Tim mentioned. T …

The octave would be the eighth note. There are seven scale degrees and if you take an additional step, you will land on the octave.

I suppose this depends on how strictly modal you are trying to be. If you're trying to be really strict based on Gregorian Chant then you won't be needing any parallels or relatives. Beyond that if …

I would say the piece is modal in nature but that it uses a tonal cadence to end the song. If the majority of the piece doesn't use V-I cadences, then the raised 7 (leading tone) is an exception. It …

The main reason you will not find this analysis/interpretation is that the N6 chord is a part of Functional Harmony, ie Major or Minor keys with Functional Dominant -> Tonic relationships. The N6 cho …

I would interpret this as an F7 chord with the 5 missing. If you respell the D# as Eb, it will make more sense. In my experience I have never encountered a diminished third as a definitive chord voi …

You can learn a lot of theory from books but that will only get you so far. … So having a reference to the theory can be very helpful. …