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 MUSIC THEORY

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BAM
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PostSubject: MUSIC THEORY   MUSIC THEORY Icon_minitimeTue Dec 09, 2008 11:42 am

Alright I'm finally starting it! Feel free to ask any questions on here, and I'll try to answer it. It may take a while sometimes, and we'll learn together. Very Happy
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeTue Dec 09, 2008 1:13 pm

Lets start at the beginning. Scales. All music is based of off the Major scale so, obviously, it's important to know all about it. The Major Scale follows a pattern of Whole Steps, or Tones, which are 2 frets, and Half Steps, or Semi-tones, which is 1 fret. All Major scales follow the pattern:

Tone, Tone, Semi-Tone, Tone, Tone, Tone, Semi-Tone.

Or, more simply, 2-2-1-2-2-2-1.

Lets look quickly at C Major (Since it's the only Major scale with no sharps or flats.)


C-D-E-F-G-A-B-C
2 2 1 2 2 2 1

See how it works? Lets look at one other.

G-A-B-C-D-E-F#-G
2 2 1 2 2 2 1

Still with me? Yes? Alright, lets move on another step. Each note has a name depending on where it is in the scale. Once again, lets look at C Major.

I. C. Tonic (Root)
II. D Supertonic
III. E Mediant
IV. F Sub dominant
V. G Dominant
VI. A sub mediant (or relative minor)
VII. B Leading Tone, or Seventh.
VIII.C Tonic (Octave)



Now, you're probably thinking, 'Why is this important?'. Well it'll come in handy with construction of Chord progressions, but thats all in good time.

MODES


Now, lets look at Modes Of Major Scales. First, definition of Mode. A Mode is the different scales that are started from the different notes in a scale. So lets look at the Modes from the Parental scale of, you guessed it, C Major.

C - Ionian (another name for the Major scale)
D - Dorian (another name for the Melodic Minor scale)
E - Phrygian
F - Lydian
G - Mixolydian
A - Aeolian (another name for the Natural Minor Scale)
B - Locrian

Now, I'll show you the pattern for each of these Modes.

Ionian - 2 2 1 2 2 2 1

Dorian - 2 1 2 2 2 2 1

Phrygian - 1 2 2 2 1 2 2

Lydian - 2 2 2 1 2 2 1

Mixolydian - 2 2 1 2 2 1 2

Aeolian - 2 1 2 2 1 2 2

Locrian - 1 2 2 1 2 2 2

Now, it's important to remember that even though these are in the parental key of C, the mode isn't IN C. For example, the D Dorian is the same as a D Melodic Minor (Melodic Minor started from the 5th fret on the A string) The modes are separated into three groups. These groups are

Major: Ionian, Lydian, and Mixolydian.

Minor: Aeolian, Dorian and Phrygian.

Diminished: Locrian.

You may be wondering, What makes the Lydian Major and not Minor? Why is Locrain Diminished? Why is Phrygian Minor? What is the distinguishing classification feature? Well, lets take a look.

First, lets talk briefly about what it means to raise (Sharpen) or lower (flatten) something. if I play a C Major with a raised fourth, that would mean I take the fourth note of the scale and raise it one Semi-Tone.

With that being said, lets look at the Modes again.

Ionian. This ones pretty obvious, it IS the Major scale, so it's in the Major category.

Lydian. The only difference between the Ionian and Lydian Mode is that a Lydian has a raised fourth.

Mixolydian. The mixolydian is the same as a Ionian, except it has a lowered 7th.

MINOR GROUP.

The Aeolian scale is in the Minor group because it's the Natural Minor scale. Yes, indeed.

Dorian, or Melodic Minor. Now, you may have already thought by now, "The Melodic Minor scale is just the Ionian with a flattened 3rd." If so, congratulations. Now, why is it still considered Minor? Because that note (flattened 3rd) is known as a MINOR 3rd. THAT is why it is still a Minor.

Phrygian. This is just a Natural Minor with a lowered 2nd. (but still has the Minor 3rd in it).


DIMINISHED. Locrian is the only Mode in this group because it's the only Mode with a diminished 5th. Yeah, I'm not to sure about what that means, but thats OK because this scale was only suppose to exist in Theory, but Jazz and Blues guitarists didn't know that.


Now it's time to transition over to Chord progressions. Over time, you'll realize that certain chords go together, while conversely, others do not. You may not know, but theres a reason for this. So, lets think back to when we talked about the names of notes in a scale. These are some of the determining factors in Chord progressions. So lets refresh your memory real quick

Tonic
Supertonic
Mediant
Subdominant
Dominant
Submediant
Leading Tone
Tonic



These are most often represented as Roman Numerals, and not as much with the actual names. One of the most common, over used chord progressions ever is the I IV V progression. Those are all Primary Chords. Don't believe me? Lets take a look....

Lets take G for example. a I IV V chord progression would be one that goes G C D. Look familiar? It should. Brown Eyed Girl, maybe. Or just about ANY bluegrass song. Even Green Day is guilty of this in some of their songs. Another band that follows this pattern almost as a religion is The Offspring. Darn punk rockers! Anyway, you probably already realize that a Chord Progression can be more than just I IV V. But, one may not realize it, but everything can't just be used as a Major Chord. Lets take a look at II III VI and VII and see what they can be. These are all Secondary Chords.

II - Supertonic. This is usually a Minor, but is also played as a Major or 7th sometimes.

III. Mediant. Called this because it is halfway between Tonic and Dominant. It's often played as a Minor chord.

VI. This is the Relative Minor. It's natural form is a Minor, but it can be played as Major or Seventh. Now, on the subject of Relative minor, I'd like to add something. Sometimes, Chords can be replaced with their Natural Minor, or followed. For example, C's Natural Minor is A, Minor, which sound very nice together. Try it!

VII. Seventh, or leading note. This is played as a Seventh Chord.

Talking about Seventh Chords has reminded me to talk about how to make Chords with numbers. (7th, 9th, 11th, and so on...)

Lets talk about 7th, since it's the most common. If you take a Chord and find the Root notes in it, take the last root and drop it down a step. Lets take GMaj for example. The final G that you end on is Small E string, 3rd fret. Thats a G note. A, Tonic Octave, if you will. Now, take that note, and drop it down a whole step. Now you've got an F instead of G. THAT is where the Seventh comes from. You can do it with any chord, as long as you remember to drop the last root. Now, you've probably guessed from reading that what a 9th chord would be. If not, lets look real quick. This time, lets use C. The end root note is B string 1st fret, which is a C note. Now, instead of dropping two frets, lets go UP two frets, which would be B/3. That is a C9th. A very pretty Chord, if you ask me.

Thats all I got for now, hopefully I'll have Pentatonic stuff up soon. But for now I've got school to do so....


Last edited by BAM on Thu Dec 18, 2008 5:40 pm; edited 2 times in total
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeWed Dec 10, 2008 9:37 pm

So far we've only focused on Diatonic scales. Those are scales that always use the notes A B C D E F G (sometimes modified, like F# or Ab, but you get the idea). But now lets talk about Pentatonic for a minute. The pentatonic scale is derived from the Major Scale, but unlike the Major Scale it is based on 5 note patterns instead of 7 (although I usually put up scales with 8 notes, the last one is just the octave, so it is still only a 7 note scale). Lets take a look, in the key of G.

Major Scale: G A B C D E F# G

Now, to change this to Pentatonic we omit the 4th and 7th note. Which gives us

G A B D E G

So, you can see how the Pentatonic was derived from the Ionian (Major) scale. But, for each Pentatonic Major, there are 5 different positions it can be played. It seemed logical, to me at least, that these were like Modes for the Pentatonic scale. But they AREN'T. They are different, in this way. MODES are each in a different key, but POSITIONS are always in the same Key as the parental scale.

With that said, lets take a look at the 5 positions of the Pentatonic Major in G.

Position 1

Code:

e|-----------------|--------(3)-5-|
B|-----------------|-----3-5------|
G|-----------------|-2-4----------|
D|-----------2-(5)-|--------------|
A|-------2-5-------|--------------|
E|-(3)-5-----------|--------------|




Position 2
Code:

e|---------------|-----------5-7|
B|---------------|-----5-(8)----|
G|---------------|-4-7----------|
D|---------(5)-7-|--------------|
A|-----5-7-------|--------------|
E|-5-7-----------|--------------|


Position 3
Code:

e|-----------------|-------------7-10-|
B|-----------------|-----(8)-10-------|
G|-----------------|-7-9--------------|
D|-------------7-9-|------------------|
A|------7-(10)-----|------------------|
E|-7-10------------|------------------|


Position 4
Code:

e|--------------------|--------------10-12-|
B|--------------------|--------10-12-------|
G|--------------------|-9-(12)-------------|
D|---------------9-12-|--------------------|
A|-------(10)-12------|--------------------|
E|-10-12--------------|--------------------|


position 5
Code:

e|----------------------|---------------12-(15)-|
B|----------------------|---------12-15---------|
G|----------------------|-(12)-14---------------|
D|---------------12-14--|-----------------------|
A|---------12-14--------|-----------------------|
E|-12-(15)--------------|-----------------------|



Obviously, the Pentatonic can be transfered into different keys depending on where you start it. Ex. F would start on the 1st fret, A would start on the 5th etc.


Last edited by BAM on Thu Dec 18, 2008 5:45 pm; edited 9 times in total
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeThu Dec 18, 2008 5:45 pm

Minor Pentatonic

Alright, now that we've covered the basics of Major Pentatonic, it's time to focus our attention of Minor Pentatonic for a bit. Much like the Major Pentatonic, the Minor is derived from a diatonic scale, except this is from the Aeolian (Natural Minor). Lets look at an example in A, since it's a natural scale (no sharps or flats).

A Aeolian

A B C D E F G A

A Pentatonic Minor

A C D E G A

Once again we remove two tones from the scale. Except this time, we omit the 2nd and 6th note. (Notice we still have a Minor 3rd...just food for thought...). Of course, again we have 5 positions for the scale, which are all in the same Key.

After studying, I have come to the conclusion that it is best to NOT go through the Blues notes just yet. It will be better in the long run if we look over just the patterns first, and then later we'll go into detail about the Pentatonic scales, Blues Notes, how they're used and all that good stuff. But for now, I'm just going to put tabs for the 5 positions.


5 POSITIONS IN A (MINOR)

Position One
Code:

e|---------------|---------(5)-8-|
B|---------------|------5-8------|
G|---------------|--5-7----------|
D|----------5-(7)|---------------|
A|------5-7------|---------------|
E|(5)-8----------|---------------|

* Root notes are in parenthesis

Code:


Position Two (Also known as Major Position 1)
e|-----------------|-----------8-10-|
B|-----------------|-----8-(10)-----|
G|-----------------|-7-9------------|
D|----------(7)-10-|----------------|
A|------7-10-------|----------------|
E|-8-10------------|----------------|

Code:


Position Three

e|--------------------|-------------10-12-|
B|--------------------|-----(10)-13-------|
G|--------------------|-9-12--------------|
D|--------------10-12-|-------------------|
A|-------10-(12)------|-------------------|
E|-10-12--------------|-------------------|

Code:


Position Four

e|-------------------|--------------12-15-|
B|-------------------|--------13-15-------|
G|-------------------|-12-(14)------------|
D|--------------12-14|--------------------|
A|------(12)-15------|--------------------|
E|-12-15-------------|--------------------|

Code:


Position Five

e|---------------------|---------------(15)-17-|
B|---------------------|---------15-17---------|
G|---------------------|-(14)-17---------------|
D|---------------14-17-|-----------------------|
A|---------15-17-------|-----------------------|
E|-15-(17)-------------|-----------------------|

* This can also be started on the 3rd fret of Low E string
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeThu Dec 18, 2008 6:16 pm

I've realized now that I have not been including the notes of scales in hardly any of my other posts. I haven't stressed enough how important it is knowing where every note is on the fret board. So, if right now you are not able to locate many notes that's my fault. I'm sorry. But, I have decided to make a list right here that will show all the notes. Lets look at them. I'm not going to list any Modes (except Ionian and Aeolian) Because they are so similar that it would just be a waste of space to type out ALL the notes just so one difference can be noted. Now, you don't have to have all of these memorized, as that would be difficult and would take away from learning more important things, but it's important to know where at LEAST one of each note is on the fret board. With that said, here is the list.

IONIAN

C Maj. C-D-E-F-G-A-B-C

D Maj. D-E-F#-G-A-B-C#-D

E Maj. E-F#-G#-A-B-C#-D#-E

F Maj. F-G-A-Bb-C-D-E-F

G Maj. G-A-B-C-D-E-F#-G

A Maj. A-B-C#-D-E-F#-G#-A

B Maj. B-C#-D#-E-F#-G#-A#-B

C# Maj. C#-D#-E#-F#-G#-A#-B#-C#

Eb Maj. Eb-F-G-Ab-Bb-C-D-Eb

F# Maj. F#-G#-A#-B-C#-D#-E#-F#

Ab Maj. Ab-Bb-C-Db-Eb-F-G-Ab

Bb Maj. Bb-C-D-Eb-F-G-A-Bb


AEOLIAN

C C-D-Eb-F-G-Ab-Bb-C

D D-E-F-G-A-Bb-C-D

E E-F#-G-A-B-C-D-E

F F-G-Ab-Bb-C-Db-Eb-F

G G-A-Bb-C-D-Eb-F-G

A A-B-C-D-E-F-G-A

B B-C#-D-E-F#-G-A-B

C# C#-D#-E-F#-G#-A-B-C#

Eb Eb-F-Gb-Ab-Bb-Cb-Db-Eb

F# F#-G#-A-B-C#-D-E-F#

G# G#-A#-B-C#-D#-E-F#-G#

Bb Bb - C - Db - Eb - F - Gb - Ab - Bb



I don't feel the need to post the Pentatonic Scales, since they are just other forms of the Ionian and Aeolian Modes. I hope this helps you with learning where notes are. Remember, it's not nesecary to learn EVERY single note, but it's important not just to "Play by shapes". It's good to know the reasons behind the patterns and to know where the notes are on the fret board.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeThu Dec 18, 2008 6:50 pm

I need to learn more notes.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeThu Dec 18, 2008 10:13 pm

Thats what the above chart is for. Very Happy
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeFri Dec 19, 2008 10:18 am

Where should I start memorizing notes? like where on the fretboard?
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeFri Dec 19, 2008 3:04 pm

You should start by recognizing the notes in the C Major scale. That will cover all the notes (A-G) Then, you know when someone says C# you know that thats just a C note one step up. It will be slow at first, but after you catch on you'll be able to recognize notes all over the fret board. Remember, theres a lot of repetition of notes on the guitar. Octaves are relatively close together, and the same octave is repeated often.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeFri Dec 19, 2008 5:42 pm

Im hoping I get a looper for christmass that should help me stay on track omg I forgot to get u something for christmass!!! what do u want?
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeFri Dec 19, 2008 10:08 pm

Lol it's no big deal. I'll go ahead and tell you, I didn't get you TDG One-X. they didn't have it at GC. But I got you something that, I hope, you'll enjoy just as much.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSat Dec 20, 2008 11:15 am

ya but what do u want?
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSat Dec 20, 2008 11:48 am

Uh....I don't know.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSat Dec 20, 2008 6:14 pm

tell me before I have to pay more money for shipping lol
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Dec 21, 2008 10:15 am

I really don't know!!!!
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Dec 21, 2008 12:37 pm

dont make have to think about it
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Dec 21, 2008 8:53 pm

use your own judgment. I had to make a fast call on your present.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeMon Dec 22, 2008 11:44 am

now Im going to send u coal
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeMon Dec 22, 2008 11:48 am

OK, lets start talking about Pentatonic Scales again. Yeah, you thought it was over didn't you? Not quite.

If you start playing the Positions you might start to notice that the Pentatonic Minor has the exact same Intervals as the Major Positions, and this really stumped me for a while. But it goes back Relative Minors. Remember to find a Relative Minor you go 3 semi tones down from the Root of the Key. For instance, the relative minor of C is A. But then using that logic doesn't that mean that we can find a Relative MAJOR for a minor scale? Why, yes. Yes it does. Finding a relative major would be going three semi tones UP from the Root of the Key. So, where does Pent. A minor start? On E/5. Where does position 2 start? E/8. WAAAIIIT! Right there, look at that. E/8 is a C note right? Plus it's 3 semi tones down from the Root! HOLY CRAP! That is why the second position in Pent. A minor is the same as the first in Pent. C major. Relative Minors/Majors my friend, relative Min/Maj. I hope that helps with any Confusion.
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Feb 15, 2009 9:28 pm

lol I dont use them tho
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeMon Feb 16, 2009 4:52 pm

.....What is wrong with you??????
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeTue Feb 17, 2009 6:25 pm

dude nobody I know uses them and the all say wtf? just play a major scale
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Feb 22, 2009 3:56 pm

Play a Major Scale....what if it's in A Minor? Just play C Major the whole time???
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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeSun Feb 22, 2009 9:04 pm

I don't know I havent run into very many minor songs
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BAM


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PostSubject: Re: MUSIC THEORY   MUSIC THEORY Icon_minitimeMon Feb 23, 2009 12:15 pm

But still...don't they realize Pentatonic scales ARE Major scales? You just take away the 4th and 6th note....it's still a Major. Do they mean just play the Ionian? Because just improvising on an Ionian is hard. I usuallly sit down and compose some solo's in Ionian, but never just improvise.
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