I’m missing your point here.
You said that jazz was really complicated and stuff and I said it wasn’t for the people who play it.
Hey kids, did you know if you build a diminished triad or seventh chord one half step below the root of another chord you can tonicize it? For example if you are trying to tonicize a V chord in C major ( G, B, D) you can use a vii°/IV or an vii°7/IV ( F#, A, C, or F# A, C, Eb) and your IV chord will sound like a I chord in the key of G.
I’m sorry, but I don’t understand a single THING on this forum. All I know is that it sounds AWESOME 
Edit: on this forum post I mean.
Our non chord tone of the day is anticipations! Anticipation are non chord tones that “anticipate” the next chord, they can be approached by step or leap and they are continued into the next chord! So if you were playing an A major chord (A, C#, E) going to a E major chord (E, G#, B ) 
you can add an anticipation by leaping from your C# to your G# before the E chord starts!
I read this and all I could think of is the programming language C#…Oh well, wasn’t like I could understand it anyways!
I think of them as the opposite of suspensions. Which probably doesn’t make sense.
It kinda does, but suspentions have to be left by step down, while anticipations have no rules regarding how they are approched or left
Hmm, I didn’t know that.
If they are left by step up they are called retardations, which despite the name, can make music sound quite intelegent. I don’t think there’s a term for it if you leave by leap.
Ill return into this thread
I’m bored so I’m going to explain time signatures to an advanced degree…
Time signatures are more than just fractions…
So there are 3 groups of time signatures, simple, compound, and odd. Simple time signatures have all beats divided into 2 subdivisions, and they usually have a top number of 2, 3, or 4, which indicates the number of beats in a measure, the lower number indicates the length of that beat, so that 4 would be a quarter note 8 would be an eight note, etcetera. These time signatures are named by the number of beats per measure, 2 as duple, 3 as triple, 4 as quadruple. So 3/4 or 3/2 time both would be called simple triple.
In compound time signatures all beats are divided into 3 subdivisions of equal length. The top number in this kind of time signature is always divisible by 3, and it is always 6 or greater, most often 6, 9, or 12, a number which indicates the number of subdivisions of the beat there are in one measure while the lower number indicates the length of these subdivisions. So for example 6/8 time has six subdivisions each of an eighth note, which, since beats are divided into 3, gives us 2 main beats of a dotted quarter note each. These time signatures are named by the number of beats the same as simple meter, so 9/8 and 9/4 are named compound triple.
There are also odd time signatures which combine beats divided into both 2 and 3. The subdivisions of the beat are always the same length, however the beats themselves are never exactly the same length between all the beats. The top number in an odd time signature indicates the number of subdivisions, but this isn’t enough information to determine the spacing of the main beats. For example 7/8 time may be divided into 3+2+2 or 2+2+3, it is up to the listener to determine witch beats are stressed. Since there must be at least one group of two and one group of three in an odd time signature the numerator cannot be 1, 2, 3, 4, or 6.
There are times where the time signature may sound ambiguous, for example 3/4 and 6/8. Depending on how beats are stressed these time signatures may be blended. This can also happen between 4/4 and 8/8, (8/8 is an odd meter with a typical phrasing of 3+3+2 or 2+3+3). There can also be ambiguity on whether a time signature is compound or odd. For example 9/8 can either be called compound triple with 3+3+3, or it can be odd with either 3+2+2+2 or 2+2+2+3. This distinction should be made when listening to the piece, as it is not shown by the signature itself.
Finally you may encounter some other strange meters such 1/2 and 15/8. It is possible to have simple single meter, although this is exceedingly uncommon, and there are some simple and compound meters which have more than 4 main beats, these are called quintuple or sextuple, etcetera, and are also uncommon. These require 5 or more equally stressed beats, a feat which, in practical application is very difficult and limiting.
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A+ would read again.
Yanni is one of the greatest musician that uses odd time sig. (such as 5/8 7/8 9/8 5/4)
Didn’t get application in on time :C (not my fault for once)
Only five other people are in my AP Music Theory class… not enough for the late test to be available…
Ixsetf, tell me more about your wide knowledge on music! I’m rather intrigued to know more. O_O
Well the majority of the theory I know only applies to classical, but there are a few more things I can explain…
An easy one is the Picardy third, it is a good way to end a piece in minor and it is just using the typical tonic triad (the three note chord built off the root of the scale) and sharping the third scale degree to make it sound major.
Here’s an example: http://www.notessimo…dy-third-r67502
I don’t think we talk enough about music forms on here.
here are a few to name.
binary form: consists of two sections A and B and may be repeated as so (AABB)
ternary form: again consists of two sections and is usually just A-B-A. Starting with a section going to a different then returning to that section.
I also heard you talk about releases, and my favorite would be a major 7th sus 4 chord releasing to a major chord with an octave root.
What chord is this one? Because I like it: E5, G4, C4, C3
Just C major.