What oddly specific musical elements make you feel disproportionately good?

  1. If M7 chords are basic bitch, then get me some uggs and a pumpkin spice latte, cause I'm ride or die.

  2. Add2 chords. Major or minor, regardless of inversion (but no 7th). I can always identify them even if I'm not trying to do so consciously just by how they make me feel.

  3. I love the way that Chopin did Picardy thirds, instead modulating to major before the final resolution (

  4. For me, one of the most powerful things is when a bit of music wanders away from the home key, but then finds itself cadencing on a dominant harmony, waiting a bit, then coming back in strongly on the main motives on the tonic again. Extra extra extra bonus points if it's in minor!

  5. My favorite thing in marching band/drumline front ensemble was writing sick cymbal-choke split runs into the percussion breaks.

  6. Oh like when a jaunty number ends in a musical and after the singer and horns cut off we hear a truncated cymbal sound at the end all 1920s style? I love that lol it's cheesy but cute

  7. I like it when a song ends on a plaintive (<-- not quite the right word) unresolved note -- for example, the last note in Yes's "And You And I".

  8. Damn I recently made a comment in the questions megathread asking if a #4 counts as sus chord. Now I'm seeing it mentioned everywhere. I hadn't heard of a sus#4 before that

  9. Came here just for this. When carefully placed it just feels so good. Or it can be so in your face that you can't ignore it as in the section starting at 2:14 of

  10. I was OBSESSED with borrowed iv chords in my university days, very validated to know this exists

  11. Staccato barre chords on guitar, reggae shit. Most people can’t skank properly but to me I have to try and not to skank if I’m playing with more on-beat players

  12. When the Harmony goes Im to IVmaj in Dorian and the melody highlights the movement by going from Sol to La. It’s so simple, and so stereotypically Dorian that’s it’s not super creative or anything, but it just gives such a musical lift.

  13. I get this! Also, as a video gamer since child, my mind always instantly connects this movement to

  14. This isn't music theory but drone in music really amplifies the root note and makes the listening experience so much more intense. Finding drone music was like finding something I'd been looking my whole life

  15. As a drummer, crashing on the 4 in the last bar before a new section rather than crashing on the following 1 to make the new section

  16. In the song Hellrider by Judas Priest, the kick drum is playing constant sixteenth notes p much the whole song, but there's a moment (i think it only happens once) where he plays a really short sixteenth triplet in there. That tiny moment makes the whole song for me.

  17. I love 6/5 suspensions (or adding the 6th on top of a triad or under the 7th) and any 9/11/13/etc chords and inversions used in 40’s-60’s jazz (I’ve found it typically in NY or LA studio styles). I remember times when it’s been on the radio and someone with me would say ‘ooh what was that’ or ‘that was nice’.

  18. I remember one time in high school I was playing with new musicians, I suggested we ended a song with the 6th on the 1 chord, and they actually mocked me. They validated all of my fears of playing with other musicians. To this day an add 6 chord is one of my favorites, maybe only in spite of those close minded losers

  19. Diminished Sevenths. Love me a good old diminished seventh chord. A dominant seventh flat ninth has the same effect on me. And when the minor key comes out of the blue in a major key piece, like C minor showing up in a D major piece, I just love it. Just as much, I love it when it sounds like the piece could end in major, but then in the space of 1 chord, often a diminished seventh chord, it's brought back to minor, like in the Rondo of the Pathetique Sonata or the coda of the first movement of Beethoven's Fifth. And I love the C minor key in general. All are reasons that I love Beethoven more than any other classical music composer.

  20. When I can tell the musicians are locked into each other. Good musicians play together on the beat like they're following a metronome. Great musicians really listen to each other and place their notes in exactly the place that's going to contribute the most to the overall sound. The difference is a matter of milliseconds, but you know it when you hear it.

  21. Suspensions in general, but especially when there's a huge 4-3 suspension over the final tonic chord of a minor-mode piece, and you're certain that it's going to be a Picardy third, but then it isn't a Picardy third. No letdown is more satisfying!

  22. Counterpoint. For some reason I really love it. From it's complex iterations, like on the 'Goldberg Variations' by J. S. Bach; to it's more rudimentary use, as in when the harmonic-rhythmic accompaniment in a 'vernacular' piece is slightly more elaborated than what's usually seen on that style (e.g. the hook on 'Reptillia' by The Strokes).

  23. The climactic 9sus chord towards the end of Close to the Edge (right around the 17:00 mark). Such a big tension and release moment; they way they build into it really makes the moment imo.

  24. A stinky, fat double bass line doubled with a piano, especially if the piano is doing parallel fifths. Actually it doesn't really need to be that stinky, it's just the timbre of the double bass and piano that I feel compenetrates so well.

  25. Major scale songs where the verse and bridge are kind of mellow in energy and turn to a blast of a chorus that starts on the IV chord. See the best case in point: "Waiting on a Star to Fall" by Boy Meets Girl.

  26. Polymeter, especially with repeating sequences or phrases. I love the way they start in phase and then diverge to build tension only to come back together and resolve it after a number of repetitions.

  27. Something very specific that I discovered and makes me super uncomfortable in a good way: take some emotional, minor-key melody, then play it in parallel thirds and sevenths. Kind of like the opening to movement 4 of Tchaik 6. If you consider the third and seventh not as notes of a chord but as upper extensions of the base melody, and then further harmonize the main melody with its own progression (again, disregarding the third and seventh), you get this beautifully rich sound with so much depth. If the base melody is chromatic by nature, it just becomes so wonderfully tragic.

  28. When i hear extreme double bass drum right at the start of the song. I just know that i am in for a ride

  29. Contrary motion landing on the root of the chord an octave (or octaves) apart. So cliched and simple but good god I love it.

  30. I believe the less I actually understand the underlying mechanisms the more likely I am to get there interestingly enough. I love a good chromatic ascension/descension in the right circumstances. Jacob Collier has tons of particular moments

  31. That's an interesting view shared with some of the most creative prog-metal guitarists. They're somewhat afraid that learning too much theory will cause them to stop branching out as much.

  32. I'm not sure what to call it, but anything where absolutely massive chords are played with a great deal of attack and a rumbling, bassy peak before dropping off with washy reverb. Doing this in a span of 2 seconds per chord (minus reverb) is the ideal "oh yes" moment for me.

  33. Probably modulation by enharmonic reinterpretation of melodic resolution of stepwise melodic augmented 4th downwards.

  34. Check out “Free” by Phish (especially live in Brooklyn) for a good vamp between I and bVI. It’s a little obscure because sometimes it’s a B major and sometimes a B minor but I’m like 90% sure it’s just a B7#9 so that’s why you hear both, vamping to the G major. Great sound, and super excellent soloing

  35. Major tonic to the second inversion major third triad. So simple, gets me every time. Take a major chord, and make you melody note the third. Then drop the root down a half step, and raise the fifth up a half step, all while pedaling that same melody note. It’s so good. Examples:

  36. Chord progressions containing a chromatic descending line (such as I V bVII IV), bVI chords in progressions with a major I chord, pedal tones in the bass, lydian mode. I'm pretty much guaranteed to love a song that has any of those elements.

  37. Picardy 3rd but a close second are the augmented chords in first 6 measured of some day my prince will come.

  38. Borrowed chords, but specifically things that push a minor key briefly into a major-esque feel, like the "Picardy third" or in other terms the sharpened third but in the middle of a progression and not the end of a piece of music, I find this a TON in Japanese-composed music and I've always been curious as to why but I've been cataloguing just the examples in my own musical favorites

  39. No idea what it's called or what's so specific about it but a lot of the old ps1 Era final fantasy games have overworld themes with a super relaxing arpeggio going on. One of my go to's for stressful times.

  40. I would also posit that what makes you feel so good about this track is the driving 16th note rhythm in the guitar loop that starts the track, coupled with the slow melodic line juxtaposed with the highly intense drumwork, the four bar phrase sections, the slow bass line that jumps to a dope bass fill at the end of every phrase along with some really stellar drum work. Or maybe I'm describing why I love music. Your song is good though. I do wish there was a screaming/soaring ethereal vocal track over the second break that goes into the sort of prog drum section. It needs one more voice, in my opinion.

  41. Any time there’s a minor chord followed by a major chord a half step lower (e.g. iii > bIII, vi > bVI). The shared 3rd with the subtly shifting root and fifth is such an interesting feeling to me. I guess it’s sort of a combination of feeling anchored while the floor gives way? I’m not exactly sure. Possibly my favorite example of all time is 0:43-0:50 in

  42. I don't know the exact word for it (motif? Trill?) but I love the sound of a three-note descent like in Hounds of Love by Kate Bush (the word "be" in the phrase "and I'll be") and in Make Our Garden Geow from Candide (first example, the word "wife" in the phrase "come and be my wife").

  43. Kinda basic, but I love 3/16th note (aka dotted 1/8th) patterns over standard 4/4 beats, especially when multiple layers of this are out of phase with each other.

  44. For me, it’s a ii-V-I in 3/4 where the chords land on 1, the + of 2, and then 1 on the next measure.

  45. Ahhh, I'm a huge fan of good voice-leading and counterpoint, but not necessarily in the Baroque way--think more along

  46. In jazz, when an improviser keeps repeating the same cell or note grouping while translating it up a diatonic step upwards at each cell. I have no clue how to make that easier to understand. It makes me raise my upper body with the music, usually jamming my head hard.

  47. Cadential 6-4 Chords followed by a typical V - i in a minor Song, especially after a iv or bIV or something of the sort. The most epic cadence I know and I use it unhealthily often

  48. A song that centers around the IV chord without resolving to the tonic. Fleetwood Mac’s “Dreams” is a good example of this. Floating, moody and emotive.

  49. Major tenth intervals, especially when they're really low, as in the root note is like in the second octave of the piano or something. Not low enough to sound muddy, but low enough to hit some sweet spot in my heart.

  50. Not sure how to describe this but an example is the end of Mozart’s 13th Piano Sonata, 2nd Movement. There’s a sustained tonic in the bass, and a 5-7 to 1 cadence above it in the right hand without the root of the 5. In the Mozart piece I mentioned, there’s an Eb as the pedal note and a D/F/Ab to Eb/G above it. Soooo satisfying, everytime (many times) Mozart does it.

  51. Replacing a resolution to the I with its first inversion, especially when it's at a climax in the song or within a phrase like the 3rd time through, or on a particular lyric. Some fave examples: Rat Tally - Feel Something

  52. I like the kinda random 'add a measure' or 'add 2 beats' that shows up in tons of folk musics. I like it especially when you know it's not just a by-rote timed thing, it's the musicians feeling the phrase and breath, and not changing or moving on based on a planned or squared phrase length, but by watching each other.

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