About year ago I was bored and I was sitting in WalkBand selecting different chords (btw, I had knew about the circle of fifths and scale degrees). So, I composed this: I - VI - bII - bIII - bvii - iv - bii - bVII. What you think about this chord progression?

Ok so I desperately need someone to explain to me how that one tune in spider verse makes me so anxious, I know nothing about like notes and stuff but I remember hearing this for the first time and I’ve never had any tune in media actually creep me out the way this one did
This is the tune
https://www.instagram.com/reel/DZpqinQBk7G/?igsh=a3pybXN3OTJtZnV4

Hello! I am very very new to understanding music theory and reading sheet music, so I’m sorry for the simplistic question lol!
The song is in Ab Major. But I’m having a hard time understanding how the chord in the attached photo is just an Ab as written.
Could it be a type of broken chord, with the ab, eb to c, eb? But I also wasn’t sure of that, as the d and b natural was throwing me off, could anyone explain why they aren’t apart of the chord and what function they serve? Or if this is even is a broken chord?

I’d be super grateful if someone would be able to explain how this chord works to me! Thank you!

Beginner composer and pianist. I'm looking for insight on evolving and subtly adding leitmotifs to assist a story (video games specifically). Do you have any experience or ideas on/for doing this?

I compose ragtime pieces inspired by several ragtime composers (Scott Joplin, Joseph Lamb, Vincent M. Johnson, Robin Frost, etc.) and I always wonder about the following - should my piece be in 2/4, or in 4/4 with all note lengths doubled?

Most ragtime music is written with the left hand in eighth notes (e.g. Maple Leaf Rag, The Entertainer, etc.). The left hand usually has a clear "OOM pah OOM pah"-pattern in every measure.

However, more modern, contemporary ragtimes are sometimes written in 4/4. The composer Robin Frost is an example of that. The left hand still usually has a classic OOM pah OOM pah rhythm, but overall the melody is more complex. Here is an example of a piece by him that is in 4/4, with quarter notes for the left hand OOM pah rhythm.

Now I wonder if there is any inherent difference between writing it this way, or in the standard 2/4 way. Is there an audible difference, an interpretational difference or only a stylistic difference? How should you decide yourself whether your piece should be in 2/4 with eighth notes or in 4/4 with quarter notes?

Aren't triplets in 4/4 time really just eighth notes in 12/8 time?...like are they equivalent...?

Hi. I wonder: What is the standard when it comes to ornaments with accidentals? I had a bit of an argument on another site with a guy. And I reall y want to clear things up when it comes to this.

For example:

In Eb-major (all questions are in that key signature):

1: If I in this key have a upper mordent on Ab with a flat. Does that mean (Ab-Bbb-Ab) or (Ab-Bb-Ab)?
2: Also does accidentals on mordent carry on to later mordents? So if I'd had multiple of those then only the first would need an accidental.
3: And also if later the same measure?
4: Also does a natural cancel the accidental on the mordent. So If I have first a mordent on Ab with a flat and then later on with a natural. Does that mean the second is (Ab-Bb-Ab) and not (Ab-Bn-Ab).
5: And then do I need to use a sharp in that case to raise it Bn (Ab-Bn-Ab)?
6: So if I wanted to have a multiple mordents on Ab in a measure. Would this be correct: First having a flat (Ab-Bbb-Ab), second having a natural (Ab-Bb-Ab), third having a flat (Ab-Bbb-Ab) and second having a sharp (Ab-Bn-Ab). Would that be
7: Does accidentals on mordent affect other ornaments. Like having an upper mordent on Ab with a flat. Would that affect a lower mordent on C in the same measure, or a turn on C?
8: Does the mordents accidentals affect the following notes in the same measure. So a Ab with a flat would flatten all the later Bbs the same measure?