MUSIC THEORY 101 Don't Be Afraid :)

Discussion in 'Guitar Lessons' started by jonesy, Sep 24, 2008.

  1. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    MINOR ARPEGGIOS MADE SIMPLE...:naughty:

    E minor barre chord
    ------7--
    ------8--
    ------9--
    ------9--
    ------7--
    ---------


    E minor arpeggio 1 Octave (1 b3 5 Octave 5 b3 1)

    -------------------------------------------------
    -------------------------------------------------
    -------------------9-----------------------------
    ---------------9--------9-----------------------
    -----7----10----------------------10-----7-----
    ---------------------------------------------------

    E minor arpeggio 2 Octaves...

    -------------------------7-----12-------7--------------------------
    ----------------------8---------------------8------------------------
    -------------------9---------------------------9---------------------
    ---------------9---------------------------------9------------------
    -----7----10---------------------------------------10-----7-------
    -------------------------------------------------------------------------

    These are very melodic and kinda fun, so start slowly and work up to a fluid speed. These can also be used for "sweep picking" if you are into the metal riffs. Your first finger should be able to hold on the 1st string 7th fret while your pinky plays the 12th fret Octave E on the 1st string. You should play this in chord fashion with your 4 fingers and not try and play these with just one finger...Lol :cool:
    Originally these were from Classical Music and can be used for warm ups. The ROOT note is the first note on the 5th string 7th fret in this case in the key of E. This form is based on the open Am chord and is slid up the neck in various positions...

    Hope your day is filled with Music...:jam:

    Peace, jonesy
     
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  2. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    DRONING IN DROP D ON INDIA/MOUNTAIN TIME BY JOE BONAMASSA

    I was listening to this song off his new CD LIVE From nowhere in particular (track 4 disc 1)while I was Relic'ing some .022 Sprague caps. I have an amp and a guitar about 5 feet away from my bench :naughty: so I sat down for about 15 mins by ear with this song and this is what I came up with...

    The Intro is in Drop D and the scale he is using is a bit unusual at first I thought it to be one of the MODES but it is not. It is very close to the D Mixolydian Mode
    but it has a b6 as well. I looked it up in my scale book and found it to be the Melodic Minor #5 so it is more like a mode of a mode. Confused? Don't be...

    D E F# G A A# C D This is Melodic minor #5 or Mixolydian b6
    Here it is on open D string..
    ----0---2---4---5---7---8---10----12----------
    Here is the D Mixolydian on same string
    D E F# G A B C D
    ----0---2---4---5---7---9---10----12----------

    HERE IS THE FIRST FEW NOTES OF INDIA/MOUNTAIN TIME..
    If you play around with it and listen closely, on the first part of the intro th he is just going up and down this scale in a LINEAR fashion...

    ***D**********************D*********************
    ----3----------------------------3-----------------------------------------
    ----2----------------------------2-----------------------------------------
    ----3----------------------------3-----------------------------------------
    ----0----2-2-/4-4/5-5/-7-7---0---2-2-/-4-4-/5-5/-7-7/-8-8/-7--/5 etc
    ----0----------------------------0----------------------------------------
    ----0----------------------------0----------------------------------------

    The second part of the Intro where he starts climbing up and does the pull offs and flourishes, he uses the Mixolydian scale and does not play the b6 but the major 6, the mixolydian also has b7 and so does the Melodic minor #5. Joe really had me scratching my head on this one. Now here is the chord progression for the rest of the song

    4/4 Time Drop D Tuning, listen for picking pattern....

    ***D***D/B***Cadd 9***D/B***** repeat
    ---2-----3-------3---------3-------------
    ---3-----3-------3---------3-------------
    ---2-----2-------2--------2-----------
    ---0-----0-------0--------0--------------
    ---0---0-2-----2-3------3-2----------------
    ---0----------------------------------------

    I didn't spend a whole lot of time on this so I hope I got it right. Anybody else out there try playing this song???
     
  3. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    12 BAR BLUES WITH JOE BONAMASSA, WALK IN MY SHADOWS
    4/4 KEY OF G WITH A SWING....Thats a G chord you hear him playing while he is dialing in his amp before he starts playing the riff (G box)

    /:G /G /G /G /C /C /G /G /D /C /G /G :/

    Joe put's a few little variations on the riff I am going to tab is straight up and you can listen and add your stuff in as you go along...you can also use open strings for the part over G but I am tabbing it in a pattern for you to make it easier.
    FOLLOW THE 12 BAR WITH THESE 3 RIFFS, EACH RIFF IS ONE MEASURE LONG...OR 4 BEATS :naughty:

    INTRO G repeat Riff 4 x then to C 2 x then back to G 2 x etc..
    ---------------------------------------------------------------
    ------------------------------------------------------------
    --------------------------------------------------------------
    ----3H5-5--------3-3----5----------------------------
    ------------5-5-------------------------------------
    -----------------------------------------------

    C Riff 2 x

    ------------------------------------------------------------
    --------------------------------------------------------------
    ----3H5-5--------3-3----5----------------------------
    ------------5-5-------------------------------------
    -----------------------------------------------
    ----------------------------------------------

    D Riff 1 x then down to C 1 x G 2 x
    ------------------------------------------------------------
    --------------------------------------------------------------
    ----5H-7-7-------5-5----7----------------------------
    ------------7-7-------------------------------------
    -----------------------------------------------
    ----------------------------------------------
    THE FIRST PART OF INTRO IN G MAY BE PLAYED LIKE THIS USING THE OPEN STRINGS...G
    ---------------------------------------------------------------
    ------------------------------------------------------------
    -----------0-0--------------------------------------------------
    ---------0------0-0----3-3-----5--------------
    -------------------------------------------------
    -----------------------------------------------

    SOUNDS LIKE G MIXOLYDIAN AND MAJOR PENTATONIC ON THE LEAD??
     
  4. rodneyk915

    rodneyk915 Senior Member

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    Hey Jonesy! I just came across this and have read through all of the posts and I wanted to tell you what a great teacher you are. So many people who know all of this want to try to impress us with very complicated explanations and in what seems like a foreign language. They end up not actually teaching anyone because the students give up because it doesn't make sense. Thanks for keeping it "normal". I've always been a rhythm guy who can copy lead parts but never improvise because I didn't understand how things worked. Like you, I learned by ear queing the needle over and over on the parts of songs until I figured them out. I still don't use tabs unless it's been done by someone I know who knows what they are doing. I have found most of the tabs online are so wrong I wonder what they were listening to when they wrote it. I am going to start working on your lessons tomorrow. Thanks again :thumb:
     
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  5. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Thanks Bro, then this thread is for you. I have tried to keep it simple, because theory does not need to be confusing. Yes some people get a bit caught up in wordy explanations that do not really tell you anything and that is exactly what I have tried not to do. As far as tabs go they are hit and miss and it is hard to find good ones that are correct. If I mess up a tab please forgive me this thread is actually the first time I have Taught Guitar online. I work best with a guitar in one had and pen and paper in the other.:naughty:

    If you have any questions on anything let me know I will try and clear them up the best I can...

    Thanks & Peace, jonesy
     
  6. specflec

    specflec Senior Member

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    I am not sure of the procedure on this but...

    I would hope that this thread could be made to stick. What a great resource. I am old and it was a long time ago when I was struggling with music theory - not exactly on the fingertips right off the bat - so, to see all the work and enthusiasm put out here should be made to last for anyone who jumps on this forum and wants to find some answers.

    Thanks.
     
  7. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Not sure either, Just kinda doing my thing at the moment...lol
    I am just glad to see all of those who have made good use of this information and discussion to help further their Music Theory Knowledge and Playing Abilities...I really appreciate all of your Posts!

    Peace, jonesy
     
  8. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    MUSIC THEORY TERMINOLOGY AND REVIEW...
    THE ABC's OF MUSIC: LEARN THE LANGUAGE OF MUSIC THEORY :)


    YOU SHOULD KNOW THE MEANINGS AND DEFINITIONS OF THE FOLLOWING WORDS/TERMS TO BE ABLE TO UNDERSTAND THE BASICS FULLY. IF ONE CAN MASTER THE BASICS AND HAVE A CLEAR UNDERSTANDING OF THEM, YOU CAN THEN GO ON AND CONQUER EVEN THE MOST DIFFICULT MUSIC THEORY PROBLEMS. MOST PEOPLE MISS THE BASICS THEN GO ON TO BE LOST AND CONFUSED BY THEORY. I WANT ALL MY STUDENTS TO HAVE THE BASICS DOWN; JUST LIKE MATHEMATICS IF YOU CANT ADD 1 + 1 THEN YOU WILL NOT BE ABLE TO MULTIPLY AND DIVIDE NUMBERS.

    WHITE KEYS
    BLACK KEYS
    INTERVAL
    MELODIC INTERVAL
    HARMONIC INTERVAL
    HALF STEP
    WHOLE STEP
    CHROMATIC SCALE
    NOTE
    CHORD
    TRIAD
    MAJOR CHORD
    MINOR CHORD
    MAJOR SCALE
    MINOR SCALE
    MODES
    ROOT
    OCTAVE
    3RD
    5TH
    b3RD
    MAJOR 7TH
    DOMINANT 7TH
    MAJOR 3RD
    MINOR 3RD
    INVERSION
    PENTATONIC
    BLUES SCALE
    IONIAN
    DORIAN
    PHRYGIAN
    LYDIAN
    MIXOLYDIAN
    AEOLIAN
    LOCRIAN
    MELODY
    HARMONY
    DISCHORD

    I THINK MOST OF THESE TERMS ARE COVERED IN THIS THREAD, IF NOT A QUICK GOOGLE SEARCH WILL TURN UP AN ANSWER FOR YOU...
    MUSIC THEORY IS THE LANGUAGE OF MUSIC. YOU CAN GO TO ANOTHER COUNTRY AND "GET BY" WITH OUT SPEAKING THE LANGUAGE, BUT ONCE YOU LEARN IT LIFE BECOMES SO MUCH EASIER...CIAO :naughty:
     
  9. Gigan

    Gigan Senior Member

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    Jonesy could you possibly explain ,with a picture or chart the idea of adding the 7th to a standard open chord like c major 7th or g major 7th, or a major 7th??? and how that rule applies to al possible 7th chords?
     
  10. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    GOOD QUESTION GIGAN, :applause: THE MAJOR 7TH OR WHAT I REFER TO AS THE JAZZ 7TH IS THE 7TH NOTE OF THE MAJOR SCALE IN THAT KEY. SO...FOR THE C CHORD LOOK AT C MAJOR SCALE AND IT WILL BE THE 7TH NOTE, THE LAST ONE BEFORE THE OCTAVE. IF YOU FLAT THE MAJOR 7TH THEN YOU GET THE DOMINANT 7TH OR WHAT I CALL BLUES 7TH...

    HERE IS A CHART I MADE FOR YOU, NOTES WITH SLIGHT RED HIGH LIGHT ARE THE ROOT NOTES. LOOK AT THE C CHORD AND THEN LOOK AT THE C Maj 7th..THE OCTAVE GET'S FLATTED GIVING US THE MAJOR 7TH.
    SO IN OUR C CHORD WE NOW HAVE 1 3 5 7
    THE DOMINANT 7TH WOULD BE........ 1 3 5 b7

    [​IMG]
    HOPE THIS HELPS CLEAR THINGS UP...LISTEN CLOSELY TO THE DIFFERENCE BETWEEN THE SOUND OF THE C AND THE C MAJOR 7TH CHORD AND YOU WILL SEE HOW MOVING ONE NOTE 1/2 STEP CAN MAKE A BIG DIFFERENCE IN VOICING.

    PEACE, jonesy
     
  11. Big_dawg

    Big_dawg Senior Member

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    ooh, thats a coincidence ive been using 7th's on some blues riffs lately - B7, E7, A7, but my A7 is a standard A with the 3rd fret of the high E fretted - are you saying there are different 7th chords for jazz & blues??:hmm:

    Also Ive seen A7 asa standard A with the G string unfretted....:naughty:.... just when I thought I was getting the hang of this...
     
  12. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Hey Dawg, you are getting it to the point where you are making observations and asking good questions. You are starting to clear away the Fog of Music Theory...Lol


    Yes the chords you have been playing B7 E7 etc are the Dominant 7th or what I call the Blues 7th. That A chord you play and then add the 3rd fret of the 1st string, which is a G note makes it A7. If you play a A Maj 7 the note to add would be G#. Here is the chord formula for Dominant 7th 1 3 5 b7 and the formula for Maj 7 is 1 3 5 7 the Blues 7th is flatted giving us that "Blues" sound...do you understand that by moving the one note 1/2 step changes chord??? :hmm: They are both Major chords and have 3 of the same notes 1 3 5 but the 7th is different
    So The notes in A7 are A C# E G
    and the notes in A Maj 7 are A C# E G# it is that simple....:naughty:
     
  13. mikemack

    mikemack Senior Member

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    This is a great thread:thumb: Its funny how you related theory to math. One of my teachers was a Math college proffeser and thats how he saw theory.. from a math point of view.It made more sense to him if he thought of it that way. He taught it much the same way you are teaching it here.
     
  14. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Thanks bro that is good to hear.:) I made it through high school, no PHD for me...lol But I think it is like math in a sense that there are always constants and it is in numerical format and there is a certain natural logic to it I suppose.:hmm:

    Peace, jonesy
     
  15. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Easy Blues intro in E
    I think that just about all the modern music we listen to and play, besides classical music comes form the blues. Rock, Jazz and a lot of country all contain many elements from the blues. The more I studied early blues music the better understanding I had of my guitar and basic riffs and chord progressions...blues uses lot's of triplets and accents on the upbeat.

    Here is a simple Blues Intro you just might have a little fun with ...
    4/4 time and you are playing 4 sets of "triplets", 3 notes that get one beat,
    123 123 123 123 with the turn around at the end.


    ----------0----------0-------------0-----------0--------0--------------
    -------5-----5----3-----3------2------2----1------1-----0--------------
    --------------------------------------------------------------------------
    --------------------------------------------------------------------------
    --------------------------------------------------------------0--1-2--2---
    --------------------------------------------------------------------------

    That would get you into 12 bar pattern like this one...

    E E E E A A E E B A E E There are several variations of this pattern, here is a boogie pattern in E and then in A, each pattern is one measure or 4 beats long...tap your foot in time and play slow and steady...

    ---------------------------------------------------------------------
    ----------------------------------------------------------------------
    ----------------------------------------------------------------------
    --------------------------------22---44---22---44---------------------
    -------22--44---22----44-----00---00---00---00-------------------
    -------00--00---00----00---------------------------------------------

    Your first finger holds down the 2nd fret and your 3rd finger or pinky reaches out to the 4th fret. You are only playing on two strings so be careful not to play other strings with your right hand. Also try palm muting the strings with your right hand while you pick for a gritty blues sound...have fun and take your time until you gt it down smoothly :naughty:
     
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  16. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    DOUBLE STOPS & THE 'CHUCK BERRY PINCH...

    I used to hear this term "double stop" in guitar mags and had no idea what it meant. Then somehow I found that it was simply two notes played at the same time. Two notes will sound bigger and fuller than one note right?

    Here is something I all the "Chuck Berry Pinch" ala Johnny B Good etc...
    timing is triplets or 1 2 3 or choc-a-late, that is how they teach it to drummers so they can understand it as a 3 syllable word. :naughty: You don't have to use the triplet timing I am just using it because it is often played that way. Also listen to the beginning of "Revolution" by the Beatles, it is very similar to what I am talking about...

    Example Key of A double stop Root and 5th inverted,(A & E notes) Root note is on top....

    -----555--555--555--555--555--------------------------------------------
    -----555--555--555--555--555--------------------------------------------
    ----------------------------------------------------------------------------
    ----------------------------------------------------------------------------
    ----------------------------------------------------------------------------
    ----------------------------------------------------------------------------

    E7 double stop(actually triple stop) used in Blues for fills and intros...
    the notes are D B E or b7th 5th and root note, also inverted with root on top of chord. :hmm:

    -----000--000--000--000------------------------------------------------
    -----333--333--333--333------------------------------------------------
    -----444--444--444--444------------------------------------------------
    -------------------------------------------------------------------------
    -------------------------------------------------------------------------
    -------------------------------------------------------------------------
    There are dozens of different combinations you can use all over the fret board to make your playing sound fuller and more interesting than single note lead lines. Listen to the Intro of "Pride & Joy" by SRV he is using double stops on the 1st & 2nd Strings to play that line...

    Peace, jonesy
     
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  17. FLICKOFLASH

    FLICKOFLASH V.I.P. Member

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  18. mikemack

    mikemack Senior Member

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    Ok Ive got a question:hmm: In another forum (I stumbled upon while googling the thrill is gone) they have a thread called the music theory game. here is one question If we are playing the thrill is gone by BB King and the first chord is Bmin what key (in theory) are we in?
    Here are all the chords in the progression.

    Bmin
    Emin
    G9
    Gbsharp9

    The answer was given by another and he explained how he got there. It was the key of d. I get that part it was very clear to me but then he threw this in...we are in the key of D, and an A major scale sounds real nice over it, that would be playing in dorian mode. How is A the dorian mode of D. Dorian is the second mode so wouldnt that be E. :confused: My head hurts now:laugh2: Here is the link if you are interested TrueFire - ignited we stand - The Music Theory Game! Also I tried your "going fishing" trick with the backing track for this song. To my ear the B and D both sounded right.
     
  19. mikemack

    mikemack Senior Member

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    "Here is an example of the Phrygian Mode over an E5....

    1--------0---1------3------5-----3----1------0------
    2----------------------------------------------------------------
    3----------------------------------------------------------------
    4------------------------------------------------------------
    5----2------------------------------------------------------
    6----0---------------------------------------------

    This is a great scale for Spanish or Metal licks "


    The notes on the E sting are part of Jimmy's "spanish" bit form Babe Im gonna leave you.
     
  20. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Sorry, Had to re do it video was no longer available...
     

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