saturn9
pfm Member
Well played, lovely things.It's a Faith "Blood Moon" Venus
My noodler of choice...
IMG_20190808_082318216 by John T, on Flickr
Well played, lovely things.It's a Faith "Blood Moon" Venus
Beato's content is aimed at people who do music theory and learn/play guitar in a music school sort of way. So if you have a serious interest in jazz improv, re-harmonisation, etc. then he's great. Otherwise not so much.
Guitar is usually learnt through 'simple' songs (that are almost always in a single key) and the chords that comprise the harmony, together with the rhythm. The chords (i.e. the 1st, 3rd and 5th notes of that particular scale) that are played in the home key, all fall within the home scale. So a pattern emerges e.g. in a major key and ignoring the vii chord which is only very rarely played - maj, min, min, maj, maj, min, so in G maj you get Gmaj, Amin, Bmin, Cmaj, Dmaj and Emin etc, all the notes comprising these chords are in the Gmaj scale. It's really helpful to learn the notes under each finger in a chord and not just the pattern. I find it helpjul to play the Gmaj scale starting from as many G's as there are on the fretboard, and to say the name of the note to myself as I'm playing it. The pentatonic scales arises, in a guitar context from blues music, and is really a simplification of the 7 note scale that's much easier to play and to sound good in a variety of contexts. A pentatonic scale is just 5 notes of the 7 from a major or minor scale. Often solos are just notes from the pentatonic scale that can be played over the traditional harmony and sound pleasant.
I think perhaps it's the modes that people find alien.
That has practically quadrupled (at the very minimum..) my knowledge of musical theory as applied to guitar
Excellent stuff.
The only mistake you can now make in one's guitar odyssey is not learn anything else for 25 years
HMHB said:Trying to be like Lou Barlow / But I'm more like Ken Barlow
My conclusion after 30+ years of this is that it doesn't work and I will just never be someone who can play by ear or with other people (unless we all agree on exactly what will be played).
The thing about being able to "hang with the cats" is that to get good at it, you have to spend time actually playing with other people. It's not something that can come from woodshedding.
The other thing I would say is that although my ear is very sketchy I do have a good sense of rhythm.
Hmm. Thought I understood the first post but I’m a bit lost here. I’m off to buy a dunces cap.We have major and minor in most western music. Take the key of C it has no sharps or flats. There is a second scale for which that is also true - A minor. The two scales are exactly the same except one starts with C and the other A. For each major key there is a 'relative minor', with exactly the same key signature, exactly the same scale but starting on the 6th note. The brain somehow sorts this out based on where the other notes are placed. Imagine that there are 7 scales starting with C, then D, E, F, G, A and finally B but each time only playing the notes of the C scale (no sharps or flats), we know the A version is called A minor or the sixth mode of the C scale which is called the aeolian, and the others all have names too, the major scale is called the ionian. So these are the modes, and while we normally have two, there in fact 7 diffferent flavours (there are variants of the minor scales but these borrow notes from outside the home scale). Some folk music (e.g. Scottish/Irish) is based around modes where the origins date way back in time, and modern jazz too, but that's why we only use major and minor 99% of the time
When it comes to rock music I’m of the firm belief that at least 50% of the best stuff contains no music theory at all! I’d take say Practice Makes Perfect by Wire over any amount of TPS-style blues noodling any day despite my being in awe of the technical skill of both Mick and Dan.
I’d argue that was the important bit for most new-wave/indie/alt sort of stuff which I guess is where you (like me) tend to exist. In a band context being able to lock-in time-wise is the most important bit, and if you are playing original music there are no ‘wrong’ notes! If you want ‘that’ ‘there’ that is entirely your business and all anyone else can do is like/not like it, not sign your band, not play you on the radio or whatever!
When it comes to rock music I’m of the firm belief that at least 50% of the best stuff contains no music theory at all! I’d take say Practice Makes Perfect by Wire over any amount of TPS-style blues noodling any day despite my being in awe of the technical skill of both Mick and Dan.
If by no theory you mean did the band understand the structure of their songs then that's quite possibly true. Nobody wants a rigid formulaic approach to music after all and that's why particular genres become dated and things move on. The theory comes in by accident in that people become accustomed to particular sounds that fit well together. Apparently babies start to learn this while still in the womb!
It also implies he has a great ear (you kind of have to like a lot of Jazz after about 1950 IME).