undeadstrife
New member
Re: Forced motivation
No, I wish I did. I just don't have the ability to upkeep with the insurance and payments.
No, I wish I did. I just don't have the ability to upkeep with the insurance and payments.
Forced motivation
- Thread starter undeadstrife
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Obsessive Compulsive
New member
Re: Forced motivation
You ain't gettin' nowhere with that ol' pentatonic scale.
You ain't gettin' nowhere with that ol' pentatonic scale.
Re: Forced motivation
Go see live music.
Work on a way to get to the places you want to go.
No music scene? How important is that to you? Either work towards building one where you are or going somewhere where there is one.
YouTube helps. Lots of great playing, and live shows. Think of guitar playing as your way out of there. You'll get better in no time. Network with the musicians who are in the area.
Go see live music.
Work on a way to get to the places you want to go.
No music scene? How important is that to you? Either work towards building one where you are or going somewhere where there is one.
YouTube helps. Lots of great playing, and live shows. Think of guitar playing as your way out of there. You'll get better in no time. Network with the musicians who are in the area.
Joey Voltage
New member
Re: Forced motivation
So before I post anything, do you know the names of the notes on at least your E and your A string? I also want you to memorize seven names in this exact order with the Roman numeral and case that accompanies them, the case will denote whether it's a Major tonality or a minor one, and the Ronan numeral is their pecking order:
I Ionian
ii Dorian
iii Phrygian
IV Lydian
V Mixolydian
vi Aeolian
viiø Locrian
This pecking order will never, ever change ex. you know that anywhere on the neck Lydian will always be followed by mixolydian, just as Ionian will always be followed by Dorian.
So before I post anything, do you know the names of the notes on at least your E and your A string? I also want you to memorize seven names in this exact order with the Roman numeral and case that accompanies them, the case will denote whether it's a Major tonality or a minor one, and the Ronan numeral is their pecking order:
I Ionian
ii Dorian
iii Phrygian
IV Lydian
V Mixolydian
vi Aeolian
viiø Locrian
This pecking order will never, ever change ex. you know that anywhere on the neck Lydian will always be followed by mixolydian, just as Ionian will always be followed by Dorian.
undeadstrife
New member
Re: Forced motivation
I know very basic notation from where I played clarinet in middle school but it is a very limited knowledge.
I can memorize those. That has always been one of my strong suits.
I know very basic notation from where I played clarinet in middle school but it is a very limited knowledge.
I can memorize those. That has always been one of my strong suits.
Joey Voltage
New member
Re: Forced motivation
Good, I'm going to post bit by bit so you have time to let it sink before I move on. Those numbers will also be associated with corresponding chords as well. Im assuming you know a little bit about chord tones and how basic ones are built? If not let me know.
Good, I'm going to post bit by bit so you have time to let it sink before I move on. Those numbers will also be associated with corresponding chords as well. Im assuming you know a little bit about chord tones and how basic ones are built? If not let me know.
undeadstrife
New member
Re: Forced motivation
Again i'm sorry but I have a very iimited knowledge. I know about 5 chords total besides bar chords. I think it is g c a minor e minor and one other.
Again i'm sorry but I have a very iimited knowledge. I know about 5 chords total besides bar chords. I think it is g c a minor e minor and one other.
Joey Voltage
New member
Re: Forced motivation
So your basic chords are called triads (there are others but well ignore that for now). And they are called that because they are composed of three tones; the root, the third (third note from the root), and the 5th (5th note from the root). Notice also that these are also separated from each other by an interval of three or a third. The root to the third is a third, and the third to the 5th is a third as well. The root will always be the root, but the other chord tones will be what determines what tonality the chord takes on. This is decided by what intervalic relationship these other chord tones have in reference to the root and each other which you will soon see. What ever the root is decided to be is typically called your tonic. Now not all of these chord tones have to be in order, meaning that the root doesn't always have to be the lowest in pitch nor does the third have to immediately follow it followed by the 5th. When any of the other notes take the form of the lowest note in the chord, that chord is said to be inverted or an inversion, you will see this sometimes noted in modern chord charts with a slash like Cmaj/G, that means it is a Cmaj chord played with the g as the lowest note instead of the c or as you will soon learn Cmaj in second inversion. In the old days it would be notated with a number or what looks like a fraction indicating where the root note was in relation to the lowest note, but that notation has fallen out of favor, you rarely ever see it, so I'm not really going to touch on it.
So far the qualities of chord tones we have to worry about is just a few since we are only dealing with triads. That is
Tonic (has no quality it's the point of reference)
minor 3rd
Major 3rd
Dimished 5th
Perfect 5th
Augmented 5th
The quality of the 3rd is mostly responsible for determining whether the chord will be a major or minor, with some exceptions that the 5th imparts the deciding factor in the case of an augmented or dimished chord.
Let me know if you have any questions or if I'm going too fast for you.
So your basic chords are called triads (there are others but well ignore that for now). And they are called that because they are composed of three tones; the root, the third (third note from the root), and the 5th (5th note from the root). Notice also that these are also separated from each other by an interval of three or a third. The root to the third is a third, and the third to the 5th is a third as well. The root will always be the root, but the other chord tones will be what determines what tonality the chord takes on. This is decided by what intervalic relationship these other chord tones have in reference to the root and each other which you will soon see. What ever the root is decided to be is typically called your tonic. Now not all of these chord tones have to be in order, meaning that the root doesn't always have to be the lowest in pitch nor does the third have to immediately follow it followed by the 5th. When any of the other notes take the form of the lowest note in the chord, that chord is said to be inverted or an inversion, you will see this sometimes noted in modern chord charts with a slash like Cmaj/G, that means it is a Cmaj chord played with the g as the lowest note instead of the c or as you will soon learn Cmaj in second inversion. In the old days it would be notated with a number or what looks like a fraction indicating where the root note was in relation to the lowest note, but that notation has fallen out of favor, you rarely ever see it, so I'm not really going to touch on it.
So far the qualities of chord tones we have to worry about is just a few since we are only dealing with triads. That is
Tonic (has no quality it's the point of reference)
minor 3rd
Major 3rd
Dimished 5th
Perfect 5th
Augmented 5th
The quality of the 3rd is mostly responsible for determining whether the chord will be a major or minor, with some exceptions that the 5th imparts the deciding factor in the case of an augmented or dimished chord.
Let me know if you have any questions or if I'm going too fast for you.
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Obsessive Compulsive
New member
Re: Forced motivation
Have you seen Appalachian Outlaws? They either make moonshine or hunt for ginseng in WV.
Have you seen Appalachian Outlaws? They either make moonshine or hunt for ginseng in WV.
Obsessive Compulsive
New member
Re: Forced motivation
The first one is called unison, not tonic. We are talking intervals not quality.
The first one is called unison, not tonic. We are talking intervals not quality.
Joey Voltage
New member
Re: Forced motivation
Never heard it called that before in the context of the root singularity. Unison from my understanding was always exclusively used to denote two or more pitches of the same note. In my old course material it was usually referred to as "root", or "tonic" especially for chordal analytical purposes.
Never heard it called that before in the context of the root singularity. Unison from my understanding was always exclusively used to denote two or more pitches of the same note. In my old course material it was usually referred to as "root", or "tonic" especially for chordal analytical purposes.
Obsessive Compulsive
New member
Re: Forced motivation
Yeah cause you also mentioned minor 3rd, major 3rd, perfect 5th, etc., then you must be talkin' bout intervals, not quality. Hence, the interval of the same note toitself is 'unison'.
If you were talking about quality, then you should've mentioned the fifth degree as 'dominant' not 'perfect 5th' (which is the interval from the first degree to the fifth degree, for example C to G); and some other conventions pertaining to quality such as sub dominant (for sixth degree I think?), leading tone for the seventh degree, etc.
Yeah cause you also mentioned minor 3rd, major 3rd, perfect 5th, etc., then you must be talkin' bout intervals, not quality. Hence, the interval of the same note toitself is 'unison'.
If you were talking about quality, then you should've mentioned the fifth degree as 'dominant' not 'perfect 5th' (which is the interval from the first degree to the fifth degree, for example C to G); and some other conventions pertaining to quality such as sub dominant (for sixth degree I think?), leading tone for the seventh degree, etc.
Obsessive Compulsive
New member
Re: Forced motivation
I don't think 'quality' is the correct term, probably the position in the diatonic scale. Quality, there are only 2 in general, major and minor, right?
And some ambiguous gender like those ol' tired metal diad/ power chords (that riff in Smoke and the Water).
I don't think 'quality' is the correct term, probably the position in the diatonic scale. Quality, there are only 2 in general, major and minor, right?
And some ambiguous gender like those ol' tired metal diad/ power chords (that riff in Smoke and the Water).
Joey Voltage
New member
Re: Forced motivation
Ah, I see where the hangup was. What I was trying to imply was that as a scale degree, the tonic or root is always the intervalic reference point and doesn't have any displacement of its own, such as there is no such thing as an augmented root, or a diminished root, etc... but there is a perfect fifth in relation to the root.
Subdominant is usually the denotation for the 4th scale degree, but tonic supersonic, dominant, sub dominant etc.. usually denotes more their functionality within the set, although I have seen those terms used interchangeably to denote scale degrees.
Ah, I see where the hangup was. What I was trying to imply was that as a scale degree, the tonic or root is always the intervalic reference point and doesn't have any displacement of its own, such as there is no such thing as an augmented root, or a diminished root, etc... but there is a perfect fifth in relation to the root.
Subdominant is usually the denotation for the 4th scale degree, but tonic supersonic, dominant, sub dominant etc.. usually denotes more their functionality within the set, although I have seen those terms used interchangeably to denote scale degrees.
Joey Voltage
New member
Re: Forced motivation
I would argue three main ones: Major, Minor, Diminished. Smoke on the water is just inverted root/fifth power diad, but the argument for that may be that there is implied harmony even with the third missing.
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Re: Forced motivation
There are also some really informative theory blogs right here on the SD Site.
There are also some really informative theory blogs right here on the SD Site.
playas
Well-known member
Re: Forced motivation
Hi, I felt like adding a comment here as I found the info in it useful.
I'm probably not at the same place musically as the OP, but my music theory knowledge is basic and I like the idea of the thread.
I am slowly but surely concentrating on individual thing I want to improve on / learn about. One thing I find off-putting though is the tendency for these type of threads get into technical arguments that don't mean anything to me or skip directly to something technical without any explanation.
Eg "quality" - never heard of it before.
Nevertheless there is some usefull info in here. Thanks to both the op and subsequent posters.
Hi, I felt like adding a comment here as I found the info in it useful.
I'm probably not at the same place musically as the OP, but my music theory knowledge is basic and I like the idea of the thread.
I am slowly but surely concentrating on individual thing I want to improve on / learn about. One thing I find off-putting though is the tendency for these type of threads get into technical arguments that don't mean anything to me or skip directly to something technical without any explanation.
Eg "quality" - never heard of it before.
Nevertheless there is some usefull info in here. Thanks to both the op and subsequent posters.
Joey Voltage
New member
Re: Forced motivation
Well that's why it's better to treat these threads like a sort of open discussion classroom and ask lots of questions if there is something that needs to be expanded on. Honestly it would be easier if the op chose one chunk or aspect he wanted explained. I was just going to post some fret board navigational techniques for the op so he can start to visualize where everything is, as how things relate, but I admit some of it is kind of hard without the op knowing the basic fundamentals first. But I agree, they can have the tendency to go off into related but unfocused discussions.
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playas
Well-known member
Re: Forced motivation
I don't want to hijack the thread and am happy to open another if you feel it's going off on a tangent, but what techniques?
I don't want to hijack the thread and am happy to open another if you feel it's going off on a tangent, but what techniques?
Joey Voltage
New member
Re: Forced motivation
Just a rudimentary, easy way for a beginner to visualize the fret board.
Just a rudimentary, easy way for a beginner to visualize the fret board.
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