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Originally Posted by pamosmusic
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02-05-2024 02:53 PM
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Originally Posted by Christian Miller
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Originally Posted by mr. beaumont
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Originally Posted by pamosmusic
Actually I think there was an Adam Neely video about how many keys there are. I don’t remember much about it, but I do remember that you are all wrong. So there.
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Originally Posted by Christian Miller
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Originally Posted by mr. beaumont
Well….. you’re not wrong
In theory guitar should be ET, in practice you need dem squiggly frets like what Steve Vai has
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Of course, horn keys are different from everyone else’s keys.
Write something in B major concert. See what happens. They like C flat major.
Tbh by that point you might as well dump the whole idea of key signatures and correct enharmony…. Which of course is what everyone does…
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Originally Posted by mr. beaumont
Apparently Keith Emerson had the ill tempered .... he sure had some good fights with it -LOL
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Btw. The thread was about the problem that in first 7 years, kids learn a few basic chords but are swamped with learning keys.
Dunno if it is just an eastern Europe's problem - should have asked this first.
As a guitar teacher, the main concern is that they'd get the good technique and get the pieces memorized. Thats about 75% of the time.
I do try to get them to know about different things inside a scale. But since the theory teachers need me to focus on learning those basic I IV V chords in 30 keys (otherways they'd fail in their class),
there is very little time to get familiar with all the things happening inside a scale.
For example, an arpeggio of chords happen in a piece: I V VI III IV I V.
When I explain this to help them learn it fast and secure, the theory class actually have no part helping with those. No help at all. And our time has been consumed by learning the scales and I IV V7 in 10 keys...
Because all they do there is I, IV, V7 at this point of time...for 7 years. But in every key required for current year. When this sort of problem comes, I'm always in a dilemma "should I explain the theory here or just have them to memorize where the fingers go" - the latter is faster way to get the piece working. The first one takes lots of time and is not backed up by theory class. And would damage their grades there.
Again, probably just an issue with the traditions in eastern Europe's music schools.
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Originally Posted by emanresu
I'm also curious to know why you think teaching the kids more theory than they need would actually damage their grades in theory? It doesn't make any sense, to me.
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Originally Posted by James W
We don't use capo.
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Originally Posted by emanresu
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Originally Posted by ragman1
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Playing tunes in different keys or modes etc... does actually happen a lot...
It's fun to transpose or play a tune with the outro in Min. if original was maj or Dom. etc...
The skill of transposing is more about.... being able to actually do it... rather than learning tunes in all keys.
And Allan... the key(s) are not about scales... they are about a Pitch... the key of C maj or Cmin.... are both the Key of "C"... the quality or the organization of the rest of the pitches... are about what kind of Key it is.
You can create new and different relationships. Key sigs are not about keys, they are about notation. So yes there are 12 keys.
Tonal generally refers to relationships between pitches, and tonality refers to the other notes of a Key or tonic.
This is still the basic starting point...
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emanresu... maybe already mentioned... but many musicians, (myself included), use Roman Numerals.
Like ... // I-7 bVI9 / II-7, V7#9 / I-9 bIII13 / II-9 V7alt //
So the key doesn't really matter.
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I can actually agree with the idea of 30 keys. (C + 7 sharps + 7 flats) x major and minor. 24 if you don't count enharmonic keys.
AA: minor keys are distinct from major keys. The key of C minor is not the same key as C major or Eb major. They're separate.
All music uses chromaticism. That doesn't change the base key or create a new one. Chromaticism is used over the key to add interest or make it more effective. Using a dominant chord as the 5 chord in minor doesn't create a new key. Playing blues scale over a major blues doesn't create a new key, it modifies the tonality.
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This thread is a complete shit show. We are all discussing different things. I love it.
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Originally Posted by Reg
Stop making sense.
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Originally Posted by emanresu
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Originally Posted by ragman1
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So why is he still there?
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Originally Posted by emanresuOriginally Posted by AllanAllen
- teaching young children
- acquiring another cadence key each year, for grading
- time conflict for theory
Solution:
- children can do anything with enough motivation and fun
- learn all the cadences early
- use the saved time for theory
How:
Play verses of the cadence
Add verses for subsequent keys
Have them compose so a verses' lyrics indicate the roots of the cadence chords
Let them figure out the schema for how to turn root note letters and accidentals into lyrics
This will give time for theory (harmonized scale)
Result:
Annual full recital of Louie Louie played the right way... like this
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School teachers do not have the freedom to choose the curriculum. School is not like Dead Poets Society.
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Originally Posted by Litterick
The Guild Surfliner ... So much to like for so...
Today, 04:57 PM in Guitar, Amps & Gizmos