chord though

Love at first note

So I had this idea about a drarry fic… (that’s just an experimenrive title …)

•Harry wanted to get rid of the cycle of stillness and silence that his life was slowly turning into.
•Except the time when his friends come over, he seemed to do nothing other than watching time pass
•It was Luna’s idea really, to learn something new.
•She had suggested several activities like languages, painting, martial arts (no thanks, enough violence for a lifetime) and music amongst other things (things which didn’t include her creatures)
•Music seemed to strike a chord though…
•With some help from an elated Hermoine, he found and joined a music class called The Magic of Music (creative -_-) which boasted of an impressive number of instruments taught
•He could have chosen any of the instruments that people regularly played like Guitars or drums or something but no…
•He didn’t really dislike these instruments or anything it but it just seemed common to him 
•He wanted to do what seldom people did so he chose the Harp because he had noticed that there were just about 6 or 7 people learning this instrument
•So only 6 or 7 people staring at him. He could deal with that.
•And that was how he found himself sitting before Mrs. Twune and listening to her explain the most basic things about the harp
•Usually such lectures would bore him to death but the way she explained the notes and all, she made it sound like flying on broom in spring in a cloudless sky
•She said that today they would just be practising the basic of the basic things like which string to be plucked by which finger, how softly or strongly do you pluck it… and so on
•Harry decided that he really liked this because the music coming from the harp did something to him
•It was like it was not his ears that were listening to the harp but his heart
•So everyday he came to the classes right on time, mind, and left as soon as his session was done
•He was always so eager to go and practice the new things he had learnt 
•And for two whole months he was perfectly content with the knowledge that he was doing something new and wonderful with his life until Harry saw HIM
•That day Harry had stayed back a bit more and played a bit longer than he ever had 
•It was so late that the entire place was almost empty and his friends had already left (yes he had made friends with the other harp players. They were nice once they got over the Saviour image and saw that he was not that perfect after all)
•And so he had been packing up, ready to leave when he heard the beautiful melody of a violin
•The tune it was playing was so sad and lonely that Harry didn’t know if he should comfort the violinist or break down himself
•he decided to do neither and instead look for the source of this heart wrenching tune
•He followed the sound till he reached the attic where all the music supplies were kept
•There he found none other than Draco Malfoy 
•Mrs. Twune was there too but he paid no attention to her, Harry’s eyes fixed on nothing but the sight before him
•And what a sight it was! Malfoy was so lost in the music, so engrossed that he was swaying with it
•It was as if the music had possessed him and that he wanted to be possessed…
•Malfoy looked breath taking…
•The pale skin of his arms and face was shining with a layer of sweat (and were those tears on his cheeks?)
•His expression was full of so much peace and melancholy that Harry was lost
•Lost in the music
•Lost in the melancholy of the song
•Lost in the expression of Malfoy’s face 
•Lost in Draco Malfoy himself
•As Malfoy reached the crescendo indicating the end of the song Harry realized that this is what they meant by magic of music
•This was magic in one of it’s truest forms
•Magic that spoke directly to your heart
•He also realized that though he was lost in Draco Malfoy he didn’t ever want to be found.


Do you want me to go on??

When you’re editing a Mendo dirty talk video and amid all the deep growling you suddenly have an 18 yr old Benjamin “Heliumvoice” Mendelsohn thrown in, I’m cackling, this should not be that funny.

aro/aces of colour

im here for narratives of aroness and aceness from non-white aro/aces tbh… like the “broken” narrative is one that’s so prevalent and what often characterises both communities. but at the same time i feel the narrative of societally-condoned sexuality and amatonormativity could definitely stand to be more intersectional and nuanced

i think this is coming from my own perspective of being asian diaspora, living and going to school in communities which were also diaspora-heavy. i was not in a community where romance and sex were talked about, let alone condoned at a mid-teen age. i think i might even say that to many things like sex and romance were considered shameful and inappropriate and distractions for teenagers? which is why i think it took me so long to realise i was aro/ace, because the “i felt broken” story never struck a chord with me, even though for many it defines their identity

i think there isn’t much point to my rambling, just that aro/ace stories are diverse. and i value that the feeling of being “broken” was what characterised aroness and aceness for so many people, although i think its also definitely a matter of intersectionality that cultural/diasporic notions regarding romance and sex could be better considered? honestly i just value hearing self-realisation stories from non-white aro/aces, especially because my own didnt align with the “moment of realisation” and “moment of relief” things that i often see at all, almost purely because of my experience as a qpoc.

im rambling tbh but just, shoutout to aro/aces of colour who dealt with diasporic experiences with regard to romance and sexuality? shoutout to aro/aces of colour.


there’s literally nothing about this scene that I don’t like… I think my favourite part is dianna breaking character and laughing after chord bumps into her though

Steven’s Lament

Chords for your ukulele! I FINALLY WORKED IT OUT jeez. In the key of C because I sing much higher than Zach Callison–you can stick these in a chord transposer though and get the original key, which is a couple octaves lower I think?


Everybody told me Gem stuff’s dangerous

Am                                   G     F
I guess I didn’t believe it until now

F                                      Dm
Dad always seemed apprehensive

F                               Dm
And now he’s really freaking out

Dm            F

What do I do?

F                              G
I don’t want that for you

C E Am G


Everybody tells me life is precious 

Am                                 G                F
On the planet Earth, and that means you

F                          Dm
And I have to protect you

F                           Dm
What if somehow you get hurt

Dm            F

What do I do?

F                               G
I don’t want that for you

C E Am G

F                              Am

What am I going to tell you?

F                               Am              G               F
You’re better off not knowing the trouble I’m in,

F                             Am
I don’t want you to worry

F                               Am             G                      A#

About what I’ve just seen, about where I’ve just been


You don’t have to be a part of this

Am                 G                 Dm
I don’t think I want you to be

You don’t need this


You don’t need me

C E Am G

Arbitergirl's Avengers Headcanons - #1

Tony has installed very loud speakers on the outside of his suit.

Now, in battle, whenever the other Avengers are around and someone knocks a guy out, a little song plays

Steve doesn’t get it, but Natasha wants to throttle him. Clint’s excessive eye rolls can be heard from across the street.
Meanwhile, the song has struck a chord with Thor
Even though Natasha has managed to sneak into the highly secured workshop of Tony’s home to disable the speakers, the thunder god’s booming voice can be heard miles away, singing:

“MMMM, WHAT DOES THEE SAY? ….but truly, what does she say?”

Natasha can’t do anything against Thor

Tony cackles somewhere in the background, his objective accomplished.

But things take an unexpected turn, and the cycle continues.

“P-P-P-P-POKE HER FACE- why are they poking her face, and why does she not retaliate with force at the excessive poking?”

*natasha facepalms out of existence*

“It’s Friday, Friday, what a glorious Friday, friends!”

*clint grows wings and flies away*

“What a peculiar question. Indeed, what does the fox say? Surely it isn’t ‘ring ding ding ding da ding’?”

Steve joins in on this one, and Tony isn’t sure if he’s having fun anymore

People have been saying the Nico’s kagune is in the shape of hearts or other structures of the male anatomy but I thought that it looked like an “exposed spinal cord” (as well as those things). In part one Nico says that nothing is more beautiful than an exposed spinal chord. Though, to be honest, Hinam’s looks way more like a spine than his. So Nico’s kagune shape is:

A heart

A spine

A *ahem*

  • atonal shitpost #1
  • composed by yours truly

i’m not going to apologize

(ask me for the sheet music for this abomination)

Samantha and the Superhero

I notice it first thing this morning when I get in the shower. I’m your typical American male, so naturally, I get my song on while I’m lathering up. As I hold up my hand to mimic a microphone, suddenly my garbled rendition of “Sweet Child of Mine” is amplified and rings through the bathroom.

“What was that?” yells Samantha.

“Sorry, honey!” I call back.

I’m not quite sure what’s happening, but I’m also a big fan of comic books and I recognize a super power when I see one. I start air-guitaring, and I hear the chords play as though I have an acoustic guitar with me in the shower. I mimic throwing a ball, and the shampoo bottle falls to the ground.

I get out and towel off, eager to get this party started. I’m already running through superhero names in my head when I get out into the living room and see Sam waiting by the front door for me, her bags packed for her trip to the conference. That’s right, she’s leaving for four days.

Well, by the time she gets back, I’ll have this mastered. She’ll be my Lois; my Mary Jane. She turns and gives me our good bye guns, pointing her index fingers at me and pretending to shoot. Out of thoughtless habit, I return the gesture.


Music Theory #15

Hi kiddoes! 
If you aren’t caught up, please take a look at past lessons HERE

This lesson is going to be a bit of a collage, as there are a few loose ends to tie up before we get started on part-writing next week. 


A nonharmonic tone (NHT) is a note that doesn’t fit into a surrounding chord. Below are the most common kinds of NHTs, thought there are other kinds which we’ll discuss those later. Note that there are two types of intervals important to NHTs: steps and skips. As you know, steps refer to any interval of a second, and skips refer typically to a third, but also to intervals larger than a third. Okay, here we go: 

Passing Tone
A chord approaches the passing NHT then keep moving forward in the same direction, either upward or downward:

Accented Passing Tone
This NHT can sit within a chord (though it is still not a part of the chord in any way), then progress to the resolving tone (a note that IS a part of the chord), which has been offset:

Neighboring Tone
This NHT is approached upward or downward by step, then returns by step to the original note. These can be accented as well, and would sit similarly to the accented passing tone.

This NHT is approached by step then stays on that note. This type of NHT is never accented. This can happen in either an upward or downward movement.

Escape Tone
This NHT is approached by step then leaves via skip always in the opposing direction of the approach. This type of NHT is never accented.

This NHT looks like the opposite of an escape tone, as it approaches by skip then leaves via step in the opposite direction as the approach. This NHT is always accented.

This NHT moves to the same note (like it’s suspending it), then resolves downward via step. This NHT is always accented.

This looks like the opposite of the suspension, as it moves to the same note, then resolves upward via step. This NHT is always accented. (In this example, look at #9):

Changing Tones
These are also known as “Double Neighboring Tones” or a “Neighbor Group,” and are two NHT used back-to-back.


There are a couple other cadences available to you as a composer than the ones I introduced in the previous lesson. I didn’t include them last week as they are a bit more advanced than the rest, but ultimately I decided to include them here for continuity, especially after discussing nonharmonic tones. With that said, let’s take a look at the Picardy Third, and the Empty Fifth cadences.

The Picardy (say: pick-curd-dee, not like Captain Picard) Third is a great example of NHT in a cadence, and is a popular feature in Baroque-era music. Here’s an example, from J.S. Bach’s Cantata No. 4, “Christ lag in Todesbanden” (ignore the colors - I’m still trying to master using Finale lol):

For example, the final tonic chord in the key of e minor is actually E-G#-B, a major chord. We can define a Picardy Third cadence here as the final major triad in a minor key. We will always notate a Picardy Third with a capitalized “I.” Note the NHT in the pink eighth note in the second to last measure (okay, the layer coloring did come in handy after all): it’s an anticipatory NHT, a hesitation before resolving to a final major chord.

The Empty Fifth is another final tonic chord, but it does not have a third. Even though this is normally a no-no idea, it is still allowed in certain circumstances. Despite its inability to be identified as major or minor, we still use lowercase/minor roman numerals to identify it because it is used almost exclusively in minor keys. This comes from an earlier time when it was considered suitable to use something more consonant as a final chord in a minor key. 


We can also have intervals in a melodic line, which will occasionally outline a triad (so, it’s not in typical chord form):

Here we see notes of two triads in three instances. It won’t necessarily happen this often, but it’s not uncommon. This works if a composer wants the Left Hand of the keyboard to just play a single note at a time, rather than chord blocks, for change of pace.


Note: When analyzing music with roman numerals, it is always helpful to keep these steps in mind:

  1. Write down the notes of each chord, and reorder them so that you have a stack of thirds.
  2. Find the root note, which should be the bottom note of the chord.
  3. Write down the correct roman numeral based on the determined root, and make sure you remember any extra notation for diminished chords or inversions.

OKAY! That’s it for today! Next week we’ll talk about contrapuntal movement and voice leading, which will help build a solid foundation for part-writing. Remember, ask me if you have questions!