cbreen's Theory/Lessons Thread

[cbreen10101]

mod edit: Let's keep your stuff here instead of starting a new thread every time you post something

Hey everyone,

Check out my video on merging the Pentatonic & Blues Scale into 3-note per string patterns. I also show the patterns in a Drop tuning scenario and how you can utilize 4 note per string legato runs as well. You can download the scale diagrams for free at my website (|) and let me know what you think.

 

[cbreen10101]

Hey everyone,

I wrote up an introduction to music theory on my site in hopes that it can help some people with the basic concepts. It doesn't cover everything (I leave out circle of 5ths and modes) but I plan on writing future posts to add to the topic. Let me know if anyone has benefited from checking it out!

An Introduction to Music Theory

 

[meambobbo]

So I read through, and I like it. It's well-written and easy to understand. As a suggestion to make it more gripping, I would supplement with audio clips.

My only criticism would be to work the word "diatonic" in there somewhere, as well as explain how the frequencies of the fifth and octave compare to the root to understand their harmonic value. Also, the 7th power chord in the major scale (2nd in minor) can be played as a perfect fifth instead of a tritone interval with the same "stability" to the sound as any other perfect fifth, IMO. Technically using only diatonic intervals, you'd use the tritone, but I find most rock riffs substitute a pefect fifth. Look at pretty much ANY Metallica song in E minor. The F# power chord is always a perfect fifth, not a tritone.

Compositionally, power chords often aren't used compositionally the same way triads are. Triads tend to fit into harmonic progressions, whereas power chords can work either as progressions or simple embellishments of the root note in melodic playing.

Also, when you explain the chord scale, it may help to pick a specific scale and give the note names, so that you can see the 2nd chord's root is the 2nd note of the scale. I appreciate the approach to keep things abstract and focus on the relationships between notes rather than notes themselves, but sometimes this can be a difficult concept to grasp without seeing it in the context of a specific key.

 

[cbreen10101]

So I read through, and I like it. It's well-written and easy to understand. As a suggestion to make it more gripping, I would supplement with audio clips.

My only criticism would be to work the word "diatonic" in there somewhere, as well as explain how the frequencies of the fifth and octave compare to the root to understand their harmonic value. Also, the 7th power chord in the major scale (2nd in minor) can be played as a perfect fifth instead of a tritone interval with the same "stability" to the sound as any other perfect fifth, IMO. Technically using only diatonic intervals, you'd use the tritone, but I find most rock riffs substitute a pefect fifth. Look at pretty much ANY Metallica song in E minor. The F# power chord is always a perfect fifth, not a tritone.

Compositionally, power chords often aren't used compositionally the same way triads are. Triads tend to fit into harmonic progressions, whereas power chords can work either as progressions or simple embellishments of the root note in melodic playing.

Also, when you explain the chord scale, it may help to pick a specific scale and give the note names, so that you can see the 2nd chord's root is the 2nd note of the scale. I appreciate the approach to keep things abstract and focus on the relationships between notes rather than notes themselves, but sometimes this can be a difficult concept to grasp without seeing it in the context of a specific key.

I definitely understand where you're coming from with the audio clip suggestion...I'll try to work that into my future posts. I'm aware that you can substitute a regular power chord in the 7th chord of major progression and 2nd chord of a minor progression, but (to my ears) the diminished power chord definitely fits better. I guess that part of it is up for opinion. I appreciate you reading it and giving the constructive advice

 

[wespaul]

Great writeup. My only critique would be to write out examples on actual staff, and, if you want to, get into the basics of that, too (what's staff, bar line, stems, beams, etc). It'll be helpful in the long run when you start talking about enharmonics, and when to actually use a Cb instead of a B, etc.

 

[cwhitey2]

Oh my gerd....i think im starting to understand theory!

I have been playing for about 8 years now and dont know shit about theory, but this makes it too easy

Thank you very much!

 

[cbreen10101]

Great writeup. My only critique would be to write out examples on actual staff, and, if you want to, get into the basics of that, too (what's staff, bar line, stems, beams, etc). It'll be helpful in the long run when you start talking about enharmonics, and when to actually use a Cb instead of a B, etc.

Yea good point...I might get into that when I start talking about the circle of 5ths in my next post.

CWhitey2, I'm glad it helped you out!

 

[Poho]

Effective. I may refer students to this to save myself some time

 

[cbreen10101]

Effective. I may refer students to this to save myself some time

Hope it helps them out!

 

[cbreen10101]

Hey Everyone,

I wrote a blog exploring how music theory might be best applied in songwriting and refining your initial ideas. I thought it'd be a cool topic to discuss and am curious to see if people agree or disagree and hear everyone's perspective.

How to use music theory in your songwriting

Let me know!

 

[Tyler]

Great read! Thanks for making this

 

[Konfyouzd]

I usually use music theory for... "That riff is sweet... Now what the hell is the harmony to that?"

 

[guitarguyMT]

Seems legit. I've shared similar thoughts about theory, just never broken down with such a structured format. Haha. I'm a bit of a stubborn ass when it comes to theory though and do believe that without a basic understanding of at least how theory applies to your instrument, at even a fundamental level, it's stifling your ability to grow as a musician and perform to a full potential. So yeah, it may not be the most important thing, but IMHO it's still vital to at least try and grasp. Not arguing with anything you said, just forcing my two cents in the thread as well

 

[cbreen10101]

I usually use music theory for... "That riff is sweet... Now what the hell is the harmony to that?"

Yea I agree, that's how I use it, in that '2nd phase' of the process when you're trying to build an entire song around the initial idea.

 

[Konfyouzd]

Yup yup... Then I start worrying about what works rhythmically... Where there's the potential for dissonance... Whether or not I want that and how I can use it within what I feel is still tasteful... Blah blah.

I think some folks let music theory write their songs and they come out sounding like harmonized scaled practice.

 

[Fantomas]

Good read.
I tend to think in terms as "which feeling/mood do I want to go with?" and find a scale that matches that and then build a riff/progression on that, or most of the time: rework an existing riff to work with that scale. Also use it to figure out leads and such but not much more, sadly enough.

When I was still studying music full time I could get lost in substitutions and drive myself crazy.
Since I quit that and got a real job it get's harder and harder to bring myself to apply/think about that stuff consistently and not take the easy way out. The knowledge is still there but I need to think know, thinking is hard

 

[cbreen10101]

Yup yup... Then I start worrying about what works rhythmically... Where there's the potential for dissonance... Whether or not I want that and how I can use it within what I feel is still tasteful... Blah blah.

I think some folks let music theory write their songs and they come out sounding like harmonized scaled practice.

I hear ya, I think it's definitely a tricky balancing act. But it can be beneficial to utilize theory if you're stuck at a creative "fork in the road".

 

[Konfyouzd]

Absolutely.

 

[Solodini]

Except, where the people of antiquity believed it was the spirit of gods they were inhaling, I believe it is the inhalation of other people’s ideas. Let’s face it; no artistic work is created in a vacuum. We all have probably felt moments of inspiration when reading a book, watching a movie, or listening to music. Just think about when you’ve watched a movie for the first time and the ending completely disappointed you! What do you do after the movie? You start talking with your friends about how the ending would’ve been so much better if they did it ‘this way’ or ‘that way’. It might just be casual conversation amongst you and your friends, but those ideas are creative endeavors that your mind is ‘exhaling’ after it ‘inhaled’ a 2-hour long movie. Our reactions (whether positive or negative) towards other ideas seems to be the precursor for true inspiration...

The initial rendering of a building is very similar to the initial melody you hear in your head. It is simply a concept. This concept should be dissected, expanded, and improved upon. In architectural terms, the visual idea needs to be reinforced with competent engineering. This means you need people with technical knowledge to engineer and design the internal anatomy and framework of the structure. This will ensure that it can physically withstand the elements and literally stand the test of time. Architects have the responsibility of being both creative and technical, in that they have to maximize the aesthetic appeal of a building while making sure it is structurally sound.

Nicely put. Some nice, unpretentious views there, which I basically agree with. I feel theory is very much the structures of language with ties to an equivalent of public speaking. When you learn how to build sentences you're not usually taught about how volume of what you say or spaces between phrases helps to separate things but, wonderfully, you are in music.

 

[cbreen10101]

Nicely put. Some nice, unpretentious views there, which I basically agree with. I feel theory is very much the structures of language with ties to an equivalent of public speaking. When you learn how to build sentences you're not usually taught about how volume of what you say or spaces between phrases helps to separate things but, wonderfully, you are in music.

Thanks, I appreciate that. Yea I definitely agree that theory is comparable to language. It helps musicians communicate with one another, and also helps teachers establish a consistent vocabulary with their students.