Notes/chords of each team's goal horn:
Anaheim Ducks: F
Arizona Coyotes: F, Ab (m3)
Boston Bruins: C#
Buffalo Sabres: F, Ab, Cb (Fdim)
Calgary Flames: Ab, C, D, F (Dm7b5/Ab)
Carolina Hurricanes: Db, F, A (Db+)
Chicago Blackhawks: Db, F, Ab (Db)
Colorado Avalanche: C
Columbus Blue Jackets: C#
Dallas Stars: Db, F, Ab (Db)
Detroit Red Wings: D#, F# (m3)
Edmonton Oilers: E, G, G# (E#9)
Florida Panthers: F, Ab (m3)
Los Angeles Kings: D#, F#, A# (D#m)
Minnesota Wild: F, Ab (m3)
Montréal Canadiens: F#, A# (M3)
Nashville Predators: F, Ab, Cb, Db (Db7/F)
New Jersey Devils: F, A (M3)
New York Islanders: Ab, C, Eb (Ab)
New York Rangers: G, Bb (m3)
Ottawa Senators: D, F (m3)
Philadelphia Flyers: C#
Pittsburgh Penguins: Ab, C, Eb (Ab)
San Jose Sharks: F#
St. Louis Blues: C#
Tampa Bay Lightning: C#
Toronto Maple Leafs: C#
Vancouver Canucks: C#, G (dim5)
Vegas Golden Knights: C
Washington Capitals: D, F, Ab (Ddim)
Winnipeg Jets: C#, E, A, C# (A/C#)
Teams that use the same interval/chord:
m3: ARI, DET, FLA, MIN, NYR, OTT
M3: MTL, NJD, NYI
major triad : CHI, DAL, NYI, PIT
diminished triad : BUF, WSH
Teams that use the same note(s):
C#: BOS, CBJ, PHI, STL, TBL, TOR
C: COL, VGK
F, Ab: ARI, FLA, MIN
Db, F, Ab: CHI, DAL
Ab, C, Eb: NYI, PIT
Teams with unique goal horns (unique chord/note):
ANA, CAR, CGY, EDM, LAK, NSH, SJS, VAN, WPG
Why did I make this? I have no idea. Hope you guys enjoyed.
edit: thanks to u/KoalArtichaut for correcting some of the chord names
Still love my 7b913 but god damn do I need to stop using it every time I see a dominant chord (followed up by the altered scale run)
i don’t know exactly what the chord i play is called by it’s a variation of E
I think they sound....nice.
Say I'm in A Major and I want to utilize some dominant 7th chords. In the major scale, is the 5 chord (in this case E) the only chord that could be made into a dominant 7th chord to stay in key?
The reason I'm asking if because I had a guitar lesson today for the first time and that's what my teacher said. However, if I play a dominant 7th on the 1 chord or 4 chord or any chord for that matter, it still sounds good.
Is there any validity to my teacher's statement? I want to know if I should go for a second lesson or not.
I've noticed that songs that are in c major and have chords mostly in c major usually use an e major or e7 chord to break away from the key like at the end of a verse. why is this?
I mean it's a course in music college after all
found nothing in the FAQ
Disclaimer : I'm a guitar player who learned music and theory by my own, without any schooling, I am sorry if I misuse some words/concepts. Please, feel free to correct me. Also sorry, english isn't my native language.
I know this might sound dumb and unclear but let me explain what I mean :
I guess we all know what borrowed chords are, the use of non diatonic chords from parrallel keys in a given key. Like let's say we're in C major. Here is a minor plagal cadence progression :
C | F | Fm | C
I | IV | iv | I
Fm is non diatonic to C major and is from the C minor key. It is a chord borrowed from the C minor key, the [iv] chord, and brought to thr C major key.
We all know that obviously. Now I'll dive into what I mean by "borrowing from a parrallel key of a chord that isn't the tonic"
Here is a progression to help you visualize what I mean in the key of C major :
C | F | F#Maj7 | C
This is how I'd note them as chord degrees :
I | IV | bIImaj7/IV | I
Now you might be weirded out by the bIImaj7/IV chord. I would explain this as the bIImaj7 chord borrowed from the parrallel phrygian key of the F chord. I would kinda call them, from a lack of musical theory knowledge, secondary borrowd chords. Like how secondary dominants help in perfect cadences to chords that aren't the tonic, secondary borrowed chords are, for me, borrowed chords from a chord that isn't the tonic.
Following that, I'll now explain what I mean by "borrowing chords from already borrowed chords" with this progression :
C | Dbmaj7 | Bmaj7 | C
Here's how I'd explain the degrees :
I | bIImaj7 | bVIImaj7/bIImaj7 | I
Again, you might be weirded out by the bVIImaj7/bIImaj7. Here's my explanation. C is the tonic. Dbmaj7 is the borrowed bII chord from the parrallel C phrygian key. Bmaj7 is the bVIImaj7 from the Db mixolydian key. I again used the same notation in the degrees as secondary dominants. This time however I'd call them nested borrowed chords, again from a lack of knowledge in theory. Just like how nested tuplets are tuplets within tuplets, nested borrow chords are borrowed chords borrowed from a borrowed chord's parrallel key.
So now that I may be clear, I just wanted to ask if this whole thing that I wrote and maybe badly explained has already existed before, if it is a thing already, If it has a name or if I am just saying theoretical gibberish
I know that same results can be acheived with let's say chromatic mediant chords, polytonality an... keep reading on reddit ➡
How's everyone doing? Thought you might find this Piano Chord poster useful here at r/FL_Studio
Btw, I am well aware of the chord & scale functions inside DAWs, but for someone learning piano, I *personally* think this would be a great visual guide to link up with real practise on the piano or inside your DAW.
Let me know what you think!
Btw the full article & download can be found here if anyone's interested:
I've just released a video looking at examples of songs that use augmented chords and how they are commonly put to use: https://youtu.be/Ys6SDpBgWzc
If you can think of any other songs that use augmented chords I'd love to hear about them! Also, I'm planning a video on songs that use Diminished chords so if you can suggest any good examples for that then I'd love to hear them! Thanks again 😊
Why do you like this chord?
I listen to a lot of rock and metal, and I really really want to be able to play guitar and make music.
I’ve been in lessons for 3 weeks, and I’ve been practicing every day for anywhere from 20-60 minutes, but I just can’t play for shit. I mean, I can strum a C, Am, or Em chord, but thats about it.
G chord is the bane of my existence. I’m trying to play a very over simplified version of about a girl by Nirvana, and it requires switching from Em to G.
I can hardly even play G chord correctly, let alone switch to it in the middle of a strumming pattern.
I feel so discouraged right now, I mean I know guitar is something I’d enjoy playing and I can become good at it, but it’s so frustrating right now and I feel like I’m learning very slow.
I’ve heard people say they learned their first song in 3 weeks as an elementary schooler! I’m hardly even close to learning a real song, and I’m trying really hard.
Guitar just feels so unnatural to my fingers, and even when I feel like I’m fretting properly my chords never sound wrong, like a string is muted or I’m getting frett buzz. (I’m on a secondhand yamaha pacifica with a boss katana 50 btw)
I’m not exactly sure why I’m writing this, maybe just to get reassurance that this is normal or maybe some advice if it sounds like I’m learning unnaturally slow. Does this sound normal? Am I learning at a natural pace?
I'm just starting to learn music theory so please bear with me!
In the verse of "Dig A Pony", John plays A → F#min → Bmin → G7 → Bmin → G7 → E. Since the song is in A Major (according to my research), this equates to 1 → 6 → 2 → flat 7maj → 2 → flat 7maj → 5.
My question is: why does the song still sound cohesive and in-key even though John plays a G? In the key of A, the "7" chord is a G#dim, so why does it sound good when he plays a G major? I know the flat 7 sounds good in general so that makes sense, but I'm lost on why the major chord works. Bowie uses a major 6 chord in Queen Bitch, which is similar (why does the major chord work?).
explain what modes are being used, if theres a modal interchange etc, i can't wrap my head around the fm7b5 - Gdim
my guess is
i - bVII6 - dorian viø - viiº(natural diminished)
So many people are repeating the same thing about this going back to Wagner and the post-tonal/atonal movement. How I'm over 100 years late on this, etc. (even though, ironically, music theory is still almost exclusively taught through a functional harmony lens, but I digress).
But I'm not talking about post-tonal/atonal from the late 19th/early 20th century. Modern pop isn't informed by this tradition, and is still analyzable through a tonal lens. But it isn't always bound by a strict key signature/tonal center and doesn't utilize traditional functional harmony. It uses chord loops that are still tonal, and within the tonal harmony paradigm. (And actually, you could argue that "non-functional" harmony goes back way further with folk music, which is much more the tradition of modern pop than classical is anyway.)
What I'm really getting at is the gaping chasm between how Music Theory is presented as through the functional harmony lens, and how modern music is actually written.
Lately I've been thinking a lot about how so much of great modern music doesn't use classical/functional harmony. No harmonic minor. No V7-I resolutions. It just sort of moves along on chords that sound cool together without really going anywhere.
I've also thought about how only thinking in terms of functional harmony can trap you in a box and keep you from writing modern sounding good music.
I did some googling about it and found this article interesting:
>By definition, “functional” is a word that means something works, it does stuff. And yes, predominant-dominant-tonic has done a lot of stuff throughout the ages! But it doesn’t do “all the stuff” — not anymore at least. All of this music above, even without “essential functions,” still actually works. Because if it didn’t, it wouldn’t be on multiple “best of the summer” lists.
>So why am I pointing all of this out (besides nana-nana-booing my old music school’s curriculum and thinking I’m better than theorists who’ve been dead a hundred years)? I want to scrap, to do away with, the word function altogether.
>It’s gotten to the point where it’s just confusing people. [We need different words to express what we mean.](http://flypaper.s
I havent listened to the chord cutting episode since it came out, but from I remember, the chord cutting was supposed to cut the chords with toxic people in his life.
A few months later and Joe is completely out of his life.
The chord cutting seemed to work and now im thinking about looking into it myself.
I’m not sure if my terminology is correct, but I’m looking for examples of rock and pop songs that use new chord progressions or substitution chords when a section of the song repeats. Thanks for any examples anyone can point me to!
Ok so a little bit of backstory. I've taken French for 4 years, and I've been in French honors society for the past year. I'm really close with my teacher, and I've been her TA the past 2 years.
This year, school was all virtual until the very end of the year, where about 3/4ths of the students went back and the rest stayed online. I was one of those who stayed online.
This was a really difficult time for me. Being a senior, I was burned out and had the "seneroitis" already. Switching to hybrid made it worse because there wasn't really a lot of accommodation for us. When we were online, we only had 4 days a week of synchrones sokm classes, block schedule so 4 classes a day, each an hour. We had 20 minutes between classes and a 1 hour lunch break. When we went hybrid, it was zoom 6 hours a day, 5 days a week, with the only break being a 15 minute lunch break.
I figured out pretty quickly what classes I needed to attend and the ones that I didn't. I'm a good student, but only because I know my limits. I knew I couldn't get all my work done on top of 6 hours of zoom every day. So, with 3 weeks of school left, I chose to do some of my classes asynchronously. One of those classes was french- im really good at French and can figure things out on my own, and during zoom my teacher very rarely stayed on track.
So anyway, there was one class where 5 things were assigned, including a quiz, and for whatever reason I forgot about the quiz, i guess, because it was put in as missing last Friday.
So, I emailed my teacher on Monday and asked about making up the quiz while asking about when to pick up my chord for French honors society, which I'm supposed to wear for graduation. She responded and blew up at me. It was a long email chain, and we've been going back and forth all week, so I won't go over everything said. But she said some very hurtful and rude things, and essentially accused me of cheating, lying, and skipping her class because I didn't like her (by the way, I had been in contact with the principal who said remote students were supposed to be allowed to do work remotely- i was not "skipping").
Anyway, its been the battle of a lifetime just trying to take this quiz and I dont want to bother asking about the chord. We aren't allowed to buy our own, but WIBTA if I did?
Edit: just for info, the reason its not allowed is because they don't want people buying chords for honors societies they arent in
The phrygian mode is often labeled as an exotic mode. Or as one of the darker and heavy sounding modes. Of course this has a truth to it. But is the phrygian mode also capable of different emotions and sonorities?
For this video I have written 4 phrygian chord progressions in 4 different styles to show you how versatile it can be. Also I will show some tips and tricks for when you want to write your own phrygian progressions.
I hope this will spark some creativity and hopefully some fresh and new phrygian chord progressions!
I guess they’re supposed to be used sparingly but yo I can’t stop playing it all the time. Halp.
But in seriousness, damn what a juicy chord!
Dark, yet serene as hell. Hella ambiance.
One website calls it “C add ♭5,” which just seems... weird. Shouldn’t it be “add ♯4,” if anything, since there’s already a natural 5 (G)? Another calls it “Em ♯5 add 2,” which seems even worse. And the chord-naming app I use doesn’t recognize it as a valid chord at all.
Apologies if this is a dumb question - I’m a music theory noob.
Comment with all your chord progression questions.
Example questions might be:
What is this chord progression? [link]
I wrote this chord progression; why does it "work"?
What chord progressions sound sad?
Hope everyone is doing well. Thought this piano chord poster would be useful to some of you EDMProduction lot.
I am well aware of the chord & scale functions inside DAWs, but for someone learning piano, I think this would be a great visual guide to link up with real practise.
Let me know what you think!
Btw the full article & download can be found here if anyone's interested: