Theory

Does anyone here actually talk about music theory (real music)?

>real music

kek

how can our ears be real if music isn't real

I teach theory and piano lessons

I just throw minor chords at a wall and see what sticks

>only people that talk about musi theory are teachers, students and band members (orchestra n shit)

If I am attempting to play in A# for example, write down all the notes in A# and then begin to play various notes from the key in chords in different octaves - am i still playing these chords in the key of A#?


for example: C2 D#5 G5

is this chord in the key of A#?

wtf are you saying. Just play that shit who gives a fuck. Loser.

>thread about music theory
>just play that shit who gives a fuck

im just going to assume that you dont know the answer.

lol I don't

if im constructing phrases of my music then an understanding of the chords within a key of choice is very important, especially when working with sub/bass heavy genres.

>A#
Call it the key of Bb instead and then tell us if you think this question still makes sense.

lmao that sure is pussy talk

Or you could address the body of the question?

C major.

Is the chord C2 D5 G5 in a chord in the key of C major?

Why would the name matter when we both know what I am asking.

Or are you referring to the fact that Bb would have different notes to A#?

It matters because the key of A# major, depending on how you wanna look at it, either doesn't exist or is a fucking nightmare of double-sharps.

The chord you're describing is a Csus2, which has very 'cadential' characteristics, so you'll probably find more functionality for it in Fmajor or G major.

The actual notes I wrote dont matter, the point im asking is simply if i play chords, based over different octaves using semitones that are within the selected key - when combined, is the chord produced deviating from the key or not? or is this *not* a surefire way of staying "in key".


the example itself doesnt matter just the principle.

Octave doesn't matter. The seven letter-names are that key.

Yes, I know the octaves dont matter.

The notes in a scale, when played together as a chord, will always produce a chord in that key? Yes or no? Or is it possible that you could be playing a chord that is "out of key"?

Jazz is real music

Or do chords not have related Key signatures?

If you played all white keys on the piano it would always produce a chord made of notes from C major. Nothing would be 'out of key'.

It's a lot more helpful to take this kind of stuff as a set of names for historically-liked and utilized tendencies, than a list of rules and standards.

Except that I make modern music that is far, far simpler than the music of the past and focuses on mixing frequencies and fixing problems.

"Correct" understanding of a "list of rules and standards" makes it far easier to not have disharmony and unwanted frequencies.


In essence, all you had to reply with, "Yes".

I hope you know, you're a piece of shit.

Why do you think that?

You have taught me nothing and know nothing about me other than I make bass orientated music.

I would say that someone who makes that assumption based upon that is an anal bead, so we're even.

Not him, but you did just spend the whole conversation being somewhat rude to someone who was trying to help you and also not explaining your question very clearly

Because you asked a question you already knew the answer to. What are you expecting to learn if you just want to be told how right and how observant you are? Little fucking faggot.

It's just a C dorian scale if you start on C
As far as chords, it would be a Cmin7 in the key of C dorian