WHAT IF THERE WERE NO MUSICAL COMBINATIONS? #5

Limits and possibilities of musical combinations

The question of the limits of musical combinations leads us to reflect on both the mathematical and the perceived and cultural aspects of music. Despite the wide theoretical variety, there are practical constraints that limit the effective use of all possible combinations of notes, especially in musical genres that follow consolidated harmonic and rhythmic patterns, such as pop music and many subgenres of commercial music. These limits influence the perception of musical originality and novelty and also raise questions in the legal field.

Structural and cultural limits in musical combinations

Structurally, music of a certain style tends to follow specific formulas in order to be recognizable and appreciated. For example, in genres such as pop, rock, and hip-hop, certain harmonic progressions and rhythmic structures are frequently used, such as the common C progression (I–V–vi–IV), which is found in many hit songs. This chord sequence is popular because it creates a sense of accessible and familiar harmony, but at the same time, it makes the music less varied and accentuates the feeling of repetitiveness.
Furthermore, “tonality” is another structural limitation that reduces the number of acceptable combinations: choosing a key (e.g., C major or A minor) implies that the melody and harmony will be composed using predominantly the notes of that scale, further reducing the acceptable combinations. The choice of keys is also often constrained by the instruments used or the vocal timbre of the singer, which make some keys more suitable than others.
Cultural expectations also contribute to what is perceived as original or acceptable. Listeners to a certain musical genre develop an “ear” for certain sounds and rhythmic patterns. This influences musicians, who tend to follow the same patterns, in order to remain recognizable within the genre. Jazz, for example, although based on improvisation, has a specific structure of progressions and chords that musicians respect, and this is reflected in the creation of new melodies and the interpretation of existing ones.

Questions of perceived similarity and limits of originality

Even when two melodies are not identical, human perception can make them very similar. For example, certain harmonic progressions create a similar emotional sensation, so melodies that use those same sequences can sound “heard” before. This perception is based not only on the repetition of specific notes, but also on elements such as rhythm, dynamics, and intensity of the performance. The perceived similarity is especially evident in modern pop, where many songs rely on nearly identical harmonic structures, rhythms, and instrumentation.
This phenomenon also raises questions about the very concept of originality. When looking at pop music from the last few decades, the repetition of similar structures and sounds makes it difficult to determine where inspiration ends and imitation begins. For example, songs like Someone Like You by Adele and Let It Be by The Beatles have similar structural elements, yet they are considered unique thanks to the artists' personal interpretations. However, this subtle distinction between inspiration and imitation is not always so clear.

Legal Implications: The Problem of Music Copyright

In recent decades, the issue of the limits of musical combinations has led to an increase in legal cases involving music copyright. With the increase in musical production and