Music Theory Questions- Ask Away

Still, this is a great thread to resurrect.
And thanks for resurrecting it! Superb thread, thanks Aaron! I had fun with those modal chord progressions last night - they sound great. The theory is always brain-hurty stuff but well worth trying to get the head round. And at this level it reminds me of just how MUCH I still need to get my head round! Another little study session tonight I think....
 
learn scales and the intervals between the notes. chords are constructed by playing every other note in the scale so the 1st, 3rd & 5th notes of a major scale will be a major chord when played together. if it's a minor scale, it will be a minor chord. to make a 7th chord, add the 7th note in the scale. when it comes to 9ths & 13ths, subtract 7 to find the interval. 9-7=2 so to play a 9th chord add the second note in the scale an octave higher. good luck on your journey!

Thanks Ramone thats really useful info and I understood the first two sentences............the last two sentences seemd liked a maths formulae and sent me into panic causing a mental block !! Lol

Cheers bud, much appreciated
 
The only "simplified" way of learning music I've heard of isn't all that simple: learn a ton of songs. You can learn other people's songs or make up your own. The way to get better at playing is, as you're learning songs, apply these rules:

  • Whenever something sounds good, do it again.
  • Whenever something doesn't sound good, stop doing it.
Just play and listen, play and listen, play and listen...

Thanks T.O.U.T.M, thats kinda the way I tend to stumble along but its always good to hear that what I'm doing is ok.
I must admit that the one benfit I've found from not being able to read music is that I've created some awesome riffs in error !! lol

Cheers bud
 
Can any one help me on writing out tetrachords.I am using Edlys Music Theroy book and while I like it he just slid by on tetrachords.And now my instructor want us to write out tetrachords in progressing flats and sharps. HELP
 
Tetrachords fall into the category of interesting thing to know, but really serve little practical purpose in playing music…

In a nutshell, a tetrachord is a series of four notes that, combined, span a perfect fourth (five half tones). The concept originated with the Greeks (i.e. the name that is Greek for four strings – as in a lyre) – who defined musical intervals as ratios (Pythagoras was a pioneer of this type of musical thinking…. And you thought he only did triangles.)

Any four note combination within that five half ton span is considered a tetrachord, but my guess is that your instructor has you dealing with major tetrachords (whole step, whole step, half step – or WWH). If that is the case, then if we start on the root of C, the tetrachord would be C, D (whole step), E (whole step) and F (half step)..... (CDEF).

If we then skip a whole step (to G) then the next tetrachord would be (GABC). Skip another whole step, and then you get (DEF#G)… again (ABC#D)…… so, our series of tetrachords looks like this:

(CDEF) (GABC) (DEF#G) (ABC#D) … and so on.

Notice that the first two tetrachords combined give you the C Major scale. Tetrachords 2 and 3 combined give you the G Major scale…. 3 and 4 give you the D Major scale……. And so on, all around the circle of fifths until you get back to CDEF.

I hope that this helps. If you keep going, you should end up with 12 tetrachords that include all of the sharps and flats.
 
Mahalo

Tetrachords fall into the category of interesting thing to know, but really serve little practical purpose in playing music…

In a nutshell, a tetrachord is a series of four notes that, combined, span a perfect fourth (five half tones). The concept originated with the Greeks (i.e. the name that is Greek for four strings – as in a lyre) – who defined musical intervals as ratios (Pythagoras was a pioneer of this type of musical thinking…. And you thought he only did triangles.)

Any four note combination within that five half ton span is considered a tetrachord, but my guess is that your instructor has you dealing with major tetrachords (whole step, whole step, half step – or WWH). If that is the case, then if we start on the root of C, the tetrachord would be C, D (whole step), E (whole step) and F (half step)..... (CDEF).

If we then skip a whole step (to G) then the next tetrachord would be (GABC). Skip another whole step, and then you get (DEF#G)… again (ABC#D)…… so, our series of tetrachords looks like this:

(CDEF) (GABC) (DEF#G) (ABC#D) … and so on.

Notice that the first two tetrachords combined give you the C Major scale. Tetrachords 2 and 3 combined give you the G Major scale…. 3 and 4 give you the D Major scale……. And so on, all around the circle of fifths until you get back to CDEF.

I hope that this helps. If you keep going, you should end up with 12 tetrachords that include all of the sharps and flats.

AWESOME. That is just what I needed.
 
Ivan- Thanks, glad it's helping. I should put it all in a book, it would compliment the others nicely.

:agree: Yes. And it would save me having to copy and paste your posts to a Word document for repeated referencing. ;-)
 
What scales/modes have a funk feel? I know chords with 7th and 9ths sound funky but what other chords should I be using in funk?
 
cool link!
so what would an e7 - e9 funk 'lick' look like on a uke?
like this one?
http://guitar.about.com/od/funkguitar/ss/funk-guitar-lesson_10.htm

The top four strings of guitar tabs can be converted to ukulele by subtracting 5 from the fret number... so, in this case, 16,15,16 becomes 11,10,11 and 7,7,7 becomes 2,2,2.

My preferred funk lick is a ii7-V9... for example, I will play Dm7 (5,5,5,5) for a bar then G9 (4,5,5,5) for the next. The form is completely moveable to any key.

The important thing is the rhythm.
 
Thank you,
Also, which scales/modes should be used when improvising in blues. For blues in major and minor keys? Same question for jazz.
I know its been mentioned in this thread that mixolydian sounds bluesy.
 
Just checking back in, lots of good info and interesting questions.

Betelgeuxy: Mixolydian is a good basic mode for blues and jazz soloing. But, I have to say, the common approach of picking a mode and then just noodling over a chord progression sounds like fun but doesn't really sound like proper jazz or blues to a serious listener. It just sounds like noodling. I recommend that you spend more time copying licks, solos and passages by ear. After you figure them out, write them down and learn them in a few different keys so you understand them better. Then, if you analyze them, you may find that they come out of certain scales and modes.

What I am saying is, the mode/scale is the alphabet, but it is not the word/paragraph/essay/conversation/vocabulary/slang/speech/poem/novel/haiku.

does that make sense?
 
I have a music theory question! When you strum the chords of a song and sing the melody, the chords and the melody seem to... match. Why is that? Do certain notes match with certain chords?
 
Hi Aaron - Here is my question. Think of the Kinks song, the beginning chords of "All Day And All Of The Night". A real simple way to play that intro is C Bb Eb C, or more specifically just sliding the closed major chord shape around, 5433, 3211, 8766, 5433. Now my question is, even tho those are all major chords, why do the Bb and Eb sound minor? I'm guessing it has something to do with the notes in the Bb and Eb chords not falling within the C major scale. Anyway I've always thought it interesting that a major chord sounds minor in a different context. Thanks!
 
Brilliant thread! Not stumbled on it before, but will file away a lot of the info I have read on it this evening. Some of the best explanations I have read of certain aspects are here. Thanks so much!

My problem with written music, however, is not the notes themselves but the timing. I have never come across an easy way to learn how to work out note lengths.

If I come across a tune in a music book and I want to be sure of how it sounds (It NEVER sounds like how I read it ;) ) I use a simple music writing programme called Melody Assistant - If I want to hear how a tune goes, I enter it into MA and then press play. The problem comes if I try and read music myself without MA. I basically end up playing the right notes, but never at the right durations. I am hopeless at counting beats. I failed Math at school (but I speak 5 languages fairly fluently) - go figure.

It is even worse when I have attempted to write down my own tunes in music format, because I can spend hours with MA and still not get the durations right. Is there an easy way to work on this aspect of music notation?
 
wow, thanks for this Aaron. I don't understand most of it as I'm music theory illiterate . I would like to learn to improvise breaks, and there is plenty of food for thought at this lavish banquet . Hope to get to see you in person sometime now that I'm in the great Northwest. Would like to get to the MM picnic, but it's almost 6 hours from where I am in north[way north, 15 miles from Canada] central WA.
 
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