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Awesome John
Ordered your book
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04-15-2011 03:52 PM
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yeah very nice chart.
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Im completely self taught in theory, as far as my music teacher... the only real help Ive ever had was I asked my school music teacher the definition of a mode.
But thanks I understand it now.
There are 7 modes of the Major scale, there is no such thing as the Major mode.
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There is nothing named the Major mode, but there are modes that contain Major chord.
Originally Posted by cravingmusic
Ionian: 1 2 3 4 5 6 7 8---C D E F G A B C---1 3 5 7 9 11 13---C E G B D F A
Lydian: 1 2 3 #4 5 6 7 8---C D E F# G A B C---1 3 5 7 9 #11 13---C E G B D F# A
Harmonic Major 1st degree: 1 2 3 4 5 b6 7 8---C D E F G Ab B C---1 3 5 7 9 11 b13---C E G B D F Ab
Harmonic Minor 6th degree: 1 #2 3 #4 5 6 7 8---C D# E F# G A B C---1 3 5 7 #9 #11 13---C E G B D# F# A
The 1st two are common and the other two less so.
Pentatonics also can represent major chords
Major Pentatonic: 1 2 3 5 6---C D E G A C---1 3 5 6 9---C E G A D
Other pentatonics can be generated by extracting them from modes or by starting with a chord and filling in the missing note(s).
Here's a few using the latter method, structures containing C E G.
C D E G Ab
C Db E G A
C Db E G Ab
C D# E G A
C D# E G Ab
C D E G B
C Db E G B
C D# E G B
C E F# G A
C E F# G B
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pls xplain playin the chord
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Well, for me at least, that is the clearest and most user-friendly explanation of scales I've ever read. It cleared up questions I've pondered since childhood in one morning of study and reflection. The trouble I have always had with beginner books on music theory is that they never address this interval thing from the start. Most go straight to showing pictures of notes on staves with sharps, flats etc. The staff is a fairly abbreviated symbolic representation and if you don't know what hides beneath that, therein confusion lies. For years I believed that what we called the major scale was made up of evenly spaced tones, with a semitone between each. It must be a conditioning of my western ear as that was what my perception told me when I heard a major scale. And look - there's the proof! The notes of C major all nicely, evenly spaced out on the stave. The flats and sharps of the other keys was a weirdness I couldn't penetrate because of my false preconception. It was therefore with shock and wonder when I later learned there were two things called tetrachords, stacked together, with that surprising semitone interval at the end of each. Was that what I was really hearing? I had to convince myself by watching my fingers on the piano and listening hard. Incidentally, the piano also tricks the unsuspecting. How did I know there was only a semitone between B-C and E-F. (Perhaps there should be a "learners piano": All white notes, all semitones, that you can write on and colour in with erasable pens, while you figure out various relationships.) Anyway, this is a big piece of the puzzle for me while I begin to figure out chord relationships. Great job, Cravingmusic - you should write a book!
Last edited by terence1957; 04-01-2013 at 12:14 AM.
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Without going into merit of your first post, obviously, you are not self taught, you've already said you learned some of this from your teacher, so ... Originally Posted by cravingmusic
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Ha, ha,
just realised I replied to a post from 2011, thnk you for that Terence, is the "wise kid" still arround?
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Originally Posted by Vladan
Yes, this is probably a bit redundant, Vladan - sorry for that. I didn't realise myself until after I'd hit send.
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Don't be sorry, it was a pleasure , like being young again.
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Thank you, Javier - excellent! I could have done with this a ways back.
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solomarce1 - That's an interesting video. Is there anything that this information can be useful for in playing? Or is it just a good way to learn major scales?
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Funny thing is that the way the OP originally stated things is pretty much the way that Jimmy Bruno teaches it. Sure he's teaching modes but he doesn't address them the same. He uses the term pitch collection..not original but interesting.
In his initial lesson JB sits at the piano and plays a C - C scale, then plays it D - D and G - G. He talks about how you have the notes of the C pitch collection on the white keys and the black keys are "outside" notes. He then plays a very nice improvisation over a ii-V-I progression in C showing how you can just use the white keys to make music. Later he adds the "outside" note to cover extensions etc.
I think that while it's not correct according to the book that it's a very simple and effective way to get people to start making music without being overwhelmed with terms, and as human nature would have it, we like to see/hear results in a short time.
So maybe "the kid" isn't that far off....Hell maybe it's Jimmy masquerading as the kid.
The tone of extreme responses to the OP way back when are outside my understanding, no matter what his age. I thought for a moment that ksjazzguitar had returned.
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Originally Posted by ColinO
Well, each chord has a scale and some variations of scales that can be used. Most of these scales come from A Major scale even Minor and you will always use those in your improv, now, if you want to get a little fancy you can go chromatic just make sure you revolve around your chord tones 1, 3, 5, 7 (by these I mean: end whatever crazyness you get going on the one chord tone note). I just learned that 1 and 5 have a good pole attraction, this means it is good to resolve in them, they give a sense of stability.That will give you some sense of direction and your improv will sound better. Try to not start in 1... thats already in the chord and bass, its good to resolve there though. LOL I just learned these on my last class. Originally Posted by terence1957
Last edited by solomarce1; 04-18-2013 at 03:14 PM.
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^^^^
Thanks. I get that the major scale is useful. I just thought that the point that the first four notes of the I are the same as the last four notes of the IV and that the last four notes of the I are the same as the first four notes of the V is interesting and was wondering if that knowledge has any practical application in either comping or improvising or whether it is just one of those neat factoids that we run across from time to time?
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Yes, you can always do for example arpeggios of the IV in the I and it gives it a neat flavor... Try it out, very related, just explore and your ears will tell you a lot Originally Posted by ColinO
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Some resolution notes are stronger than others, from the chord tones, I think the Root has the weakest resolution. Originally Posted by solomarce1
IMO, I'd say that the order for strength of resolution is: 5th, 3rd, 9th, 7th, 6th, Root.
Guy
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This is so true. We use two different bassists in the band I'm currently working with and I prepare simple chord charts for them that they can't follow, don't see the simple repetition of ii-V-Is and as a result miss things. It's very frustrating not to able to make a simple statement like "it's just rhythm changes". Originally Posted by garydriver5
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According to my teacher 1 & 5 have a great gravity pull and less tension. I will ask more so I can be sure of what I am saying, I could be wrong.
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a few hints about terminology is all you need. Originally Posted by cravingmusic
Thanks for the encouragement
Again if you see anything wrong with my lesson please let me know, I'd rather get cussed out and learn what's wrong than just have someone pass it up.
modes are synonymous with scales for the most part, with medieval church music being an example of an exception to this oversimplification.
learn the concepts of major scale, minor scale, tonality, and key.
some good theory books for beginners:
Aaron Shearer - the one with the yellow cover.
ABRSM resources.
college textbooks by Bruce Benward and others
and then there is "jazz theory" or "modern harmony" that emphasizes contemporary, jazz and popoular practices.Last edited by fumblefingers; 04-28-2013 at 09:54 PM.
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