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bandamp RSS Feed http://forum.bandamp.com/ admin@bandamp.com Importance of music theory today http://forum.bandamp.com/Music_Theory/14516.html Hey I'm a media composition student and I've got to do a research on the importance of music theory today, especially for media composers (adverts, games, films). I'd just like to know what you guys think: -if you know some music theory, is it helpful? when, where why do you think it's important (or if not, why?) - if you don't know or just very little about music theory, would a deeper knowledge help? or you think it's useless? Whatever you do, each comment would be of great help! The more the better! Cheers Fri, 14 Nov 2008 08:16:07 -0500 Piano Theory � Open Source Code http://forum.bandamp.com/Music_Theory/1443.html Previously featured as the most popular widget on Apple.com, the [url=http://www.nofunc.com/Piano_Theory/]Piano Theory[/url] code is now GPL�d! It�s currently being used in schools across the country to help teach people the theory behind piano. Feel free to expand upon the code, and create something even more useful. If you decide to expand upon this idea, please post your improved version to BandAMP.com forums, so other people can use it as well :D The dashboard widget has the advantage of actually being able to HEAR the notes you have selected. It would be cool if someone could convert this to work with Internet Explorer and Firefox using flash for the sound processing. Anyways, here's some examples: [url=http://www.mudcube.com/widget/piano_theory/]Online Version[/url] / [url=http://www.apple.com/downloads/dashboard/music/pianotheory.html]Dashboard Widget[/url] A lot of this code could actually be used to make a Guitar Theory application... mainly, it would be a different graphic user interface. Would be really cool with flash sound samples, or tying into MIDI files. MIDI files would make it quite a small download actually. I don't believe there is a way to do dynamic MIDI... yet. Mon, 22 Oct 2007 03:02:34 -0400 root note http://forum.bandamp.com/Music_Theory/8324.html how do u know what root note to start on in a solo also whats a good scale to lrean to play heavy metal Sat, 15 Mar 2008 13:35:53 -0400 trouble with a tab.. http://forum.bandamp.com/Music_Theory/6671.html --3p2-0---0---0-------0-----------3-2-0-------0---3---2-------0h2p0----| --0h3-------------3-------3---0---3---3---3-----------3-----3-------3--| --------0---0---0---0---0---0---0-2-2---0---0---0---0-2-2--------------| --2---2---2---2---0---2---0-----------2---0---2---2-------0------------| ------------------------------2----------------------------------------| -----------------------------------------------------------------------| In the front... what do you think is the best place to play that, and how would you finger it? Sat, 02 Feb 2008 23:13:44 -0500 just a question.. http://forum.bandamp.com/Music_Theory/6942.html if a tab says 3s5 what do you do?? slide is 3/5 so i know it's not that.. i can't figure out what i'm supposed to do... thanks Sun, 10 Feb 2008 17:37:04 -0500 Asus2...Which is the right one? http://forum.bandamp.com/Music_Theory/8344.html One site tells me that the Asus2 chord looks like this: [b]x02200[/b] Another says that the chord looks like this: [b]002230[/b] So which one is right? Or are they both, with the second one having a fuller tone? Sun, 16 Mar 2008 00:11:18 -0400 Shred Theory http://forum.bandamp.com/Music_Theory/51577.html ok guys im a newby guitarist/ songwriter and I was wondering is there any specail finger "drills" I can do to make my playing faster right now Im running a minor penatonic scale and just getting faster as I go but I only know 1 if someone could give me a link to find some more that would stuependus and also how do you make licks out of penatonic scales? I mean I'm sure you just hammer on, pull off, and bend in some random order but....how lol I know hardly anything and I am trying to get much better!!! Thanks in advance you guys !?!?!?!?!!?!?!?!?!?!?!?!?!?!?!? Fri, 25 May 2007 09:31:43 -0400 (REQUEST) Joe cocker - Every kind of people, Guitar Tabs! http://forum.bandamp.com/Music_Theory/8897.html Hello people! I have been desperately looking for the guitar tabs to the song Every kind of people, performed by joe cocker! I couldnt find them on google or any guitartab search engine, so thats why i came here to ask if by any change some1 has them laying around! I hope some1 can help me find the Guitar tabs for this song! Thanks in advance! ~Roy Wed, 26 Mar 2008 18:59:27 -0400 Blues/slide tunings http://forum.bandamp.com/Music_Theory/8500.html Hey fellas, No newbie to guitar or the blues here...been playing five years or so, but just venturing into the realm of blues slide guitar right now. My question is, say I've got a twelve-bar in D, is there a certain slide tuning that's going to sound better over that shuffle? Or is it more trial and error. Wed, 19 Mar 2008 13:22:33 -0400 Constructing/writing a song http://forum.bandamp.com/Music_Theory/45021.html Dunno if this has been covered before, but I'd like to explain the techniques/processes I got through to write a good song. Now, I know it isn't a "one method to fit them all" but, maybe if it was discussed, it would help out people who have trouble, to give some direction. Anyways... I like to start with a guitar. There are a few key elements in building up a guitar part. The chords, rhythm, riffs and several other techniques to liven up a song. I find it best to strum chords, with no particular direction, and slowly change between several to get a feel of what sounds nice in what order. Then start strumming with rhythm, bring in some patterns to add interest, shifting chords each bar, half bar, leading into the next bar etc. Don't be confined to the 4 beat bar, mix it up with 6 beat bars and 3 beat bars, whatever works best. Figure out another progression or two that can run smoothly between eachother, it is conventional to keep the same time signature, but changing the stressed beats can liven it up a bit, so can a change of time signature, which helps break the piece up more clearly into the verse, chorus, solo break etc. but a change in chords and pattern works great too. Next is the riffs. Riffs usually follow the chord progression, or the notes in the chord. Technically speaking, if your riff plays on the accent of the bar (usually the first and third beat, if you're not sure, there's a thread: genre specifics, that goes into a bit of detail), it should have a note from the corresponding chord. However, the rest of the bar can have any note from the scale, but sounds best when the notes are within a 4th or 5th (intervals, if you don't know what they are, I'd say type the word into wikipedia and read the corresponding page) of each-other. Also, the rhythm of the riff should be simple, and short, and catchy, probably similar to the strumming pattern, or something similar. Next, if you want to take it further than strumming and riffs (outside acoustic songs, I mean), you can add bass! Well, I'm no master of bass, I don't play bass, I don't own a bass, but it can be just as easy figuring a bassline as the rest of it. Of course, the chord structure comes back into it and, I've heard people saying the bass follows the root of the chord (for roots and inversions of chords, check wikipedia again), this is not true! However it will sound best playing the root on the first beat of the first bar, and the root or 3rd or 5th on the beat of the chord changes. However, like the riff, you can be flexible with the notes, providing they're within the scale (I probably should mention passing notes, pass between two distanced notes and not necessarily in the chord, for more, there's wikipedia: intervals). The bass can have the riff if you desire, as it is written in similar fashion, but it provides a great support for the other instruments too. Drums, well, what DON'T I know about drums. A lot really, I'm no master of drums, I can't play drums, I don't own some drums, but I have done a little fruity loop drums and if you have a rough idea and know the accented beats then you can fill in the rest with a bit of trial and error (or consulting someone who knows their stuff). As you may have figured, I'm not the complete band guy, the bass and drum info aren't my forte, but, there's still one crucial concept of the song missing: the vocals. A song can be anything, but to bring good vocals to a song is to sign the deal and complete the package. If you stuff this up, the song will collapse. But vocals aren't too difficult. You just need some inspiration. Once the instruments are completed, you should have a pretty good idea what your vocals will do melody-wise. If not, sometimes the riff can fill out the vocals, say for the chorus or verses, with the instrument peppering it out in instrumental fills to illuminate the song. Of course the song shoud have all the chorus/verse parts. If you keep the verse a tone down from the chorus, but still with melodic flow (this can be worked out on an instrument, or vocally). However, the chorus should be something else, the height of the song, the part that gets lodged in your brains. Also, it doesn't hurt to add a little vocal break, maybe as a climax to the song, or leading to a final chorus (which should be more energetic than the others). For that matter, the song should have a climax near the end somewhere, to give the listener the satisfaction that the song is over. The lyrics should tie the song together nicely, not overly complicated (like some examples of poetry), or too simple (you want people to know you have emotion and depth in your music). I'm not sure how to explain further without narrowly nitpicking on a particular specific, so just try to feel for the words, work with the mood of the song. I think I've covered the right stuff. Missed anything? Got a better way of doing things? Disagree? Then please post here. I'd like to see how other people work things. Maybe this thread could narrow down on specifics. Cheers WB Mon, 19 Feb 2007 04:21:17 -0500 When to use open chords http://forum.bandamp.com/Music_Theory/6838.html Okay... I know this is very basic but... How do I know when to use an open chord versus using a barred chord? Fri, 08 Feb 2008 11:22:03 -0500 Edelweiss on youtube http://forum.bandamp.com/Music_Theory/6952.html http://www.youtube.com/watch?v=u_znE-DMFl8 not sure if anyone plays this style... but this guy plays that song amazing.. and there is no tab for it.. anybody think they could make one? Sun, 10 Feb 2008 19:01:54 -0500 Divisi stuff http://forum.bandamp.com/Music_Theory/1601.html If I play a concert D and someone plays a concert B flat what note would that be? or is it just separate? Wed, 24 Oct 2007 20:58:11 -0400 warm ups http://forum.bandamp.com/Music_Theory/8439.html does anyone know any short warm ups that can be to loosin up my fingers before i play? Fri, 16 Sep 2005 21:50:56 -0400 Funny Music http://forum.bandamp.com/Music_Theory/19848.html Simple question. Lyrics aside, how do you write funny music? Does anyone know of any music (classical or otherwise but nonlyrical) that can be or is interpretted as funny? I'd really like to know... Tue, 21 Mar 2006 18:51:19 -0500 Question: Augmented and diminished http://forum.bandamp.com/Music_Theory/54916.html Sorry if this is a complete noob question, but, what's the difference, and how can you hear it? Thu, 26 Jul 2007 18:14:57 -0400 Uhgggg http://forum.bandamp.com/Music_Theory/1409.html I just typed up like a 5 page thing on chord-based music theory on here, then accidently x'd out [u][i][b]FUCK[/b][/i][/u] [u][i][b]FUCK[/b][/i][/u] [u][i][b]FUCK[/b][/i][/u] [u][i][b]FUCK[/b][/i][/u] :cry: :cry: :cry: :cry: :cry: :cry: :cry: Sun, 21 Oct 2007 21:22:18 -0400 Making music Expressive Help http://forum.bandamp.com/Music_Theory/16313.html I'm curious if anyone can give me any insight into how to "cement" an idea into music - without lyrics. With that said, how does one go about selecting a key in which to express a particular idea and is there any specific significance to each key/note/interval/chord like there is in art (i.e. blue represents bla bla bla, orange...). To sum it up, how does one go about turning an idea into music, and how does one decide that music is the best medium for its expression? Mon, 30 Jan 2006 17:58:47 -0500 What do u think about this? http://forum.bandamp.com/Music_Theory/56475.html Cm Cm Cm7 (that is, B-Eb-G) Cm7 Fm Fm Fm7 Fm7 it has an mp3, i don't know where to upload it to though Mon, 27 Aug 2007 21:34:52 -0400 Composing? http://forum.bandamp.com/Music_Theory/56279.html Hey guys after slacking off my lyrics I realized I have never really written a "SONG" I have never composed music not even a melody or 2 before and I tremble at the thought!!!! lol no im serious how do I go about "composing" music for a song or at the very least coming up with a chord progression is there a "right" or "wrong" way?? HELP!!!! PLEASE!!! Sat, 25 Aug 2007 22:19:41 -0400 Alternate Tunings for Guitar http://forum.bandamp.com/Music_Theory/55796.html While this might count as a shameless plug for my own material, this is also a service for learning guitarists. [url]http://www.alluvialgems.com/BookIndex.htm[/url] this has a list of the 174 tunings in my book. The useful part is I have posted audio files in .wav format for every one of them. There are also links to sites of artists that use these tunings. The displacement code is based on standard tuning by half steps. This will show how to get to any tuning from standard, so there is no ambiguity of what the tuning sounds like or how to get there. While my book might help, this information will give a beginning or intermediate guitarist more than enough to chew on w/o shelling out $$$. Fri, 17 Aug 2007 15:17:39 -0400 Jazz theory http://forum.bandamp.com/Music_Theory/36468.html Hey everyone. Recently I've been getting into jazz music in a big way. I love how free and cool it sounds, and would love to play. Unfortunately I know little about the theory behind it and would appreciate it if someone could post some information or websites on it! Thanks! Wed, 25 Oct 2006 07:47:45 -0400 The Four Scale Theory http://forum.bandamp.com/Music_Theory/5475.html I have a new music theory that I want to share with the world. First, let's start off by defining a musical scale. The first rule that we can agree on is that it must have seven notes. But it cannot just have any notes. The notes must be regulated. This is the second rule, that no three notes can be semitones apart, ie three notes in a row. The third rule, just to make this simple, is that no scale can have a fifth that is not natural. Okay, now that we have this, we can proceed. Think of the most simple musical scale, the C major scale. C - D - E - F - G - A - B To prevent confusion, the notes of any scale can be labeled as such: 1 - 2 - 3 - 4 - 5 - 6 - 7 The C scale has all natural notes. The is always natural, and defines the rest of the scale. The 2 is two semitones away from the one. This is the natural two. The three is two semitones away from the two. This is the natural three. The four is one away, the five is two away, the six is two away, and the seven is two away. So it could look like this: 1 - 2 - 3 4 - 5 - 6 - 7 Note how there is no dash after the 7, as the 7 and the 1's octave above have no separating tone. There are many coordinations of this particular arrangement of intervals. If we start at the 2 instead, we get: 2 - 3 4 - 5 - 6 - 71 - If we move all the notes down two semitones on the 1's major scale, we get: 1 - 2 3 - 4 - 5 - 67 - Compare this two the 1's original major scale, and we see that the 2 and the 7 have been moved down a step. This flatting of the notes creates a minor seventh scale. If we do this to all the numbers of the scale, we find: 1: 1 - 2 - 3 4 - 5 - 6 - 7 2: 1 - 2 3 - 4 - 5 - 67 - 3: 1 2 - 3 - 4 - 5 6 - 7 - 4: 1 - 2 - 3 - 4 5 - 6 - 7 5: 1 - 2 - 3 4 - 5 - 6 7 6: 1 - 2 3 - 4 - 5 6 - 7 - 7: 1 2 - 3 - 4 5 - 6 - 7 - Notice how the places where the intervals are one semitone move to the left as the number increases. We can discount the 7 scale as a true scale, because the 5 is flatted. All others are true scales. They are the typical greek musical MODES. Ionian (All natural) Dorian (3b, 7b) Phrygian (2b, 3b, 6b, 7b) Lydian (4#) Mixolydian (7b) Aeolian (3b, 6b, 7b) Locrian (2b, 3b, 5b, 6b, 7b) If you arrange these starting with the lydian, and then go to the scale's fifth, you see that the change is a flat of a single note. First the 4, then the 7, then 3, then 6, then 2, then 5. The one never changes because it is a root note. Also, the order of the note flatting follows fourths in the same direction. Wierd, no? Now, you might realize that they scales do not encompass all the scales. Take for example, a scale with just a flatted 3, or a sharp 4 and a flatted 7. To ascertain these scales, you could change the root scale. But how can you arrange it so all of the three primary rules stay intact? Notice the distance between the one semitone intervals of the C major scale. If you move them one closer, it creates a scale not known above. If you move them apart, however, it is really a reflection of the original scale, just a different orientation. Any closer, and the rules will be broken (rule 2). So similarly, you can make new modes with the new scale. These do not have names though. Also, we haven't considered the possibility of having scales with 3 semitone gaps. these are possible, and to save trouble for anyone reading this, they are: 1 - 2 3 - 4 - 5 6 - - 7 and 1 - 2 - 3 4 - 5 6 - - 7 An entire listing of legal modes is below: NATURAL MODES 1 2 3 4 5 6 7 1 2 3b 4 5 6 7b 1 2b 3b 4 5 6b 7b 1 2 3 4# 5 6 7 1 2 3 4 5 6 7b 1 2 3b 4 5 6b 7b MINOR 3 MODES 1 2 3b 4 5 6 7 1 2b 3b 4 5 6 7b 1 2 3 4# 5 6 7b 1 2 3 4 5 6b 7b MINOR 6 MODES 1 2 3 4 5 6b 7 1 2b 3b 4b 5 6b 7b 1 2 3b 4# 5 6 7 1 2b 3 4 5 6 7b MINOR 3, 6 MODES 1 2 3b 4 5 6b 7 1 2 3b 4# 5 6 7b 1 2b 3 4 5 6b 7b 1 2# 3 4# 5 6 7 My favorites of these new scales are 3rd MINOR 3 MODE, the 4th MINOR 3 MODE, and the 4th MINOR 3, 6 MODE. These are all the possible scales ever. Please comment on this theory. Fri, 12 Aug 2005 11:33:27 -0400 Twelve-Tone Music http://forum.bandamp.com/Music_Theory/2780.html My experiences in listening to twelve-tone music have not been pleasant. It seems to me that this is the stuff that new composers turn to as a last resort once they've realized that they can't do anything better than what's already been done in traditional classical music. Can anyone disagree with me here and recommend some quality twelve-tone music for me to check out? Tue, 05 Jul 2005 20:34:57 -0400 Just Intonation Help http://forum.bandamp.com/Music_Theory/32206.html Hello, my name is Do. I have been teaching guitar for 1 year now. I am 16, and i just recently, in the past year encountered microtunings. I was immediately stumped.... My only problem is the numbers on either side of the ratio..... I just cant figure it out. Is it like this? a=440Hz, so a 1:1 ratio is: one cent to one cent, and 4:3 would be the D in the next octave? If so, How would you set a root note? I probably made a complete fool of myself, My father understands it my old theory teacher understands it, but i am 99% stumped.... thanks DOH! Mon, 21 Aug 2006 13:56:30 -0400 MUSIC vs PERSONALITY http://forum.bandamp.com/Music_Theory/17835.html THE QUESTION: do you think the music we create can reflect our personality? musicians - do they show their entire selves each time they create some piece of music? do you think that the music we wirte is the reflection of the features of your character, or just your feelings? Possibly both, but to what extend? If u hear a piece of music - would u be able to quess any features of someone's character? If so, what would would you base your opinion on? what would be the thing that would unveil the writer's character? What could you find in someone's music - whether (s)he is a muture/immature person, with/without issues, high strung/relaxed, easy-going, etc. And why most people who create music, do not create the same type of music they listen to? Are there any theories on that, I wonder? What do u think? Any examples maybe? While listening to sth - do you think about what the writer is like? Jim Sat, 25 Feb 2006 12:13:22 -0500 Pandora Podcasts http://forum.bandamp.com/Music_Theory/46132.html Pandora.com has created an excellent series of music podcasts. The topics created so far include: * Up Next: Pedal Point * Drums and Drumming, Part II * Elements of Salsa * Recording Vocals * Electric Guitar Effects * Drums and Drumming, Part I * The Basics of Vocal Harmony * 2007 Pandora Podcast Schedule Their 2007 schedule includes the following additions: -Bass Guitar in Pop and Rock -The Blues Scale -Brass: Trumpets, Trombones, Tuba -Common Chord Progressions -Dissonance -Country and Bluegrass, Yesterday and Today -Drums and Drumming, Part Two: Swing -Electric Guitar Effects -Elements of Salsa -Hip Hop Rhyme Schemes -Holiday Music -Jazz Improvisation -M-ajor and Minor Tonality -Meters and Time Signatures -Mixing Vocals -Pedal Point -Pop Percussion -Putting Words to Music, or Music to Words -Recording Vocals -Reggae, Rock Steady and Ska -The Science of the Riff -Strings -Studio Sheen: Mixing and Mastering -Singing Intervals -Upright Bass, Bowed and Plucked -Vintage Keyboards: Hammond, Rhodes, Moog -Vocalizing: Range, Tone, Vibrato [url]http://blog.pandora.com/podcast/[/url] Good stuff. Enjoy! Max Thu, 01 Mar 2007 08:10:09 -0500 Creating drum tracks http://forum.bandamp.com/Music_Theory/38839.html Hi, I wasnt sure whether this should go in recording or music theory so if it's in the wrong forum feel free to flame me! My problem is im having difficulty writing a drum track for a recording im working on. I just don't know where to start! It's a pretty rhythmic track in 4/4 with a two bar repeat so i need two bars of basic drum beat to repeat with the riff that i can expand on. I have the basic beat programmed in but as im not a drummer i have no idea what embelishments to use to make it sound cool! Here's what ive written so far in eighth notes: I B - - - S - - - I B - B - S S - - I I = Bar line B = Bass drum S = Snare - = Eighth note rest Sorry i dont know how to write real drum tab so i had to improvise! As i said before im not a drummer! This may be a bit too vague but can anyone give me some tips on what else to add? Thanks for all your help! Sun, 26 Nov 2006 09:31:49 -0500 Genre specifics http://forum.bandamp.com/Music_Theory/42819.html Didnt know what to title this one. Basically, I was wanting to know if anyone out there could maybe do an overview of the beats and characteristics of the different genres? For example, Reggaeton has a very specific timing and beat layout (see Creating A Reggaeton beat. www.warbeats.com). So does hip hop, breakbeat, techno, etc... If anyone knows the basic formula for some of these styles it would very useful to alot of us, I would bet. Sat, 20 Jan 2007 14:53:38 -0500 Song buildup http://forum.bandamp.com/Music_Theory/10883.html Well, I can see that some people need help building their songs, from what I see on the forums and on audio review. Unfortunately, I am not an expert on many styles of msuic, but I do know my way around oldies rock such as Led Zeppelin fairly well. So I start off. Before you beging writing, you must know what you want each instrument to do. They must have specific jobs, but these of course can change during the song. Here is my list of what each instrument generally does: Drums: obviously the drums are almost always playing rythm, although if you have a good player they are not limited to this. Piano/Keyboard: The keyboard is one of the more versatile instruments. It is most often found playing a counter melody, but can also be used for rythm or melody. Bass: The bass is not nearly as flexible as the keyboard, but just as usefull. So many good songs are ruined by underestimating the bass guitar. Basses are best for rythm and counter melodies (you'll find that rock tends to include a lot of counter melodies) Lead Guitar: If there is a main melody to be found in rock, then it will be played by the lead guitar or keyboard. Guitar is just as versatile an instrument as the keyboard, although it can go in completely different directions. Guitar can be used for melody, counter melody, harmony, and rythm. Backup guitar: the backup is equally usefull as lead, but not necessary. It can be used for everything the lead does except for melody. Sorry that's all I have time for right now. Sun, 30 Oct 2005 08:42:19 -0500 Thought I'd post some lessons on modes http://forum.bandamp.com/Music_Theory/36410.html Modal Theory will help us understand how the relationship between scales, and how they work as one to make our music. The reason they are called "modes" is they are not actually completely diffrent scales, but diffrent "modes" of the same scale. If I'm confusing you don't worry I'll explain some of this later. You should familiarize yourself with the names of the 7 modes and I think it helps if you memorize them and in order. THEY ARE(IN ORDER) 1. Ionian (i-o-nee-in) 2. Dorian (door-e-in) 3. Phrygian (fridge-e-in 4. lydian (lid-e-in) 5. Mixolydian (mix-o-lid-e-in) 6. Aeolian (a-o-lee-in) 7. Locrian (low-cree-in) Imo I would say these over and over until you have them down in order ok on to "constructing Keys". Basically "key construction is giving a name to each one of the chromatic notes in any chosen key. There are twelve chromatics there will be twelve steps in key construction.(ok sidebar here you need to know what an interval is(the distance of steps between two notes)). ok to confuse you even more what we have is a bunch of intervals, each with their own name.***Every chromatic note in the key we are in will have it's own name and some type of designation as to what kind of note it is. you'll have 4 major notes,4 minor notes,2 called perfects and 1 diminished. Oh yeah the ones called perfect are Major also though. The Twelve intervals in key contsruction go like this: *root *minor 2nd *Major 2nd *Minor 3rd *Major 3rd *perfect 4th *Dimineshed 5th *Perfect 5th *Minor 6th *Major 6th *Minor 7th *Major 7th *Root (octave) 0r 8va these steps will help name any note in an octave that we need and will show us where the ionian mode comes from. Ionian mode is also known as the Major scale. lesson 2 oh boy Most of you know the Do Re Mi Fa So La Ti Do thing that they teach you in grade shcool. That scale is the Ionian or Major scale. It has a certain sound to it. I'll now explain how this scale is built from our 12 steps of Key construction. We start on the Root and use all of the "major intervals". So no matter what key we are in. if we use the root, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, major 7th and then the root again we have just made the Ionian mode or major scale. Key Construction____________Major Intervals_________Ionian Mode 1. Root ~~~~~~~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~~> DO 2. Minor 2nd 3. Major 2nd ~~~~~~~~~~~~~~~~~~~> Major 2nd ~~~~~~~~~~~> RE 4. Minor 3rd 5. Major 3rd ~~~~~~~~~~~~~~~~~~~> Major 3rd ~~~~~~~~~~~~> MI 6. Perfect 4th ~~~~~~~~~~~~~~~~~~> Perfect 4th ~~~~~~~~~~~> FA 7. Diminished 5th 8. Perfect 5th ~~~~~~~~~~~~~~~~~~> Perfect 5th ~~~~~~~~~~~> SO 9. Minor 6th 10. Major 6th ~~~~~~~~~~~~~~~~~~~> Major 6th ~~~~~~~~~~~> LA 11. Minor 7th 12. Major 7th ~~~~~~~~~~~~~~~~~~~> Major 7th ~~~~~~~~~~~> TI 1. Root (octave) ~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~> DO now that we have built the Ionian mode we take a look at it's construction of intervals. If you start at the root note and go to the next note the major 2nd, this interval is a whole step(each of the 12 notes being 1/2 steps). Then we do another whole step(maj2nd to maj3rd). Then from the major 3rd to the perfect 4th we only go 1/2 step If you look at the intervals(steps) they go like this Whole,whole ,Half,Whole Whole, Whole, Half you can play this pattern starting on any note(key) and it will always be the Ionioan mode. here is an example of how this works: some smarty guy says lets play this song in the key of A ok so I'm just startin out don't know the notes of the major scale in this key but I read the earlier stuff (yay). So I think I can figure this out. 1st lay out all 12 notes A,A#,B,C,C#,D,D#,E,F,F#,G,G#, and A Finding The Ionian Mode Using Key Construction : Chromatics____________Major Intervals_________Ionian Mode (key of A) 1. A ~~~~~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~~> A 2. A# 3. B ~~~~~~~~~~~~~~~~~~~> Major 2nd ~~~~~~~~~~~~~> B 4. C 5. C# ~~~~~~~~~~~~~~~~~~> Major 3rd ~~~~~~~~~~~~~> C# 6. D ~~~~~~~~~~~~~~~~~~~> Perfect 4th ~~~~~~~~~~~~> D 7. D# 8. E ~~~~~~~~~~~~~~~~~~~> Perfect 5th ~~~~~~~~~~~~> E 9. F 10. F# ~~~~~~~~~~~~~~~~~~> Major 6th ~~~~~~~~~~~~> F# 11. G 12. G# ~~~~~~~~~~~~~~~~~~> Major 7th ~~~~~~~~~~~~> G# 1. A (octave) ~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~> A So now we know our major scale notes for the key of A : A,B,C#,D,E,F#,G# and A again. so as long as you use the interval pattern for the Ionian mode, you can always find the notes for the Ionian mode in any key. F# ionian F#, G#, A#, B, C#, D#, F, F# C ionian C, D, E, F, G, A, B, C Ok if your with me so far your doing good (alot of you already know this stuff). Now to go on the the other 7 Modes. Back to Grade school again DO,RE,MI,FA.SO,LA,TI.DO Ionaian mode again. steps are w,w,h,w,w,w,h (I'm going to add something here) most musicains use a numbering system that has been in place for centuries. DO=I, RE=II, MI=III, FA=IV, SO=V, LA=VI,TI=VII or just 1,2,3,4,5,6,7 what happens if we start on RE and end with the next Re? RE,MI,FA,SO,LA,TI,DO,AND RE. lets look at the interval pattern of this it's W,H,W,W,W,H,W. This is the interval pattern for the Dorian mode Ionian mode is W,W,H,W,W,W,H Dorian mode is W,H,W,W,W,H,W if you start on MI(Phrygian) to MI it's H,W,W,W,H,W,W and so on through the 7 steps or modes. Do you remember all the mode names still? Here is the seven modes and there interval patterns Ionian W,W,H,W,W,W,H DO Dorian W,H,W,W,W,H,W RE Phrygian H,W,W,W,H,W,W MI Lydian W,W,W,H,W,W,H FA Mixolydian W,W,H,W,W,H,W SO Aeolian W,H,W,W,H,W,W LA Locrian H,W,W,H,W,W,W TI i hope this helps some in learning your modes. I'll post more later. Tue, 24 Oct 2006 01:38:33 -0400 Music form http://forum.bandamp.com/Music_Theory/23263.html one of my biggest problems about music is the form I have to give to my music. I know there is thousend of forms you can use, but i dont wanna just pick a form and use it, I wanna feel the form, I want the form to say something I want to say. Let's see an example: House of the rising sun goes like this: Part A: A minor, C major, D major, F major Part B: A minor, C Major, E major Part A: A minor, C major, D major, F major Part C: A minor, E major, A minor If you listen to it, you will see how circular it is. Is like a cuestion and an answer, is something like (I know I can't really translate music into words but let mi try it) Why does cats exist... = Part A ?... = Part B Cats exists... = Part A because goad created them. = Part C I know it sounds stupid, it always going to sound stupid when you try to put music into words, but here you can see how simple, how obvious is musical form. You don't need much theory to see it, you can just feel it. So what I try to do is to make a song that has the same principle, but longer and more complex. Something that when is over you can say, "men, this is really over, there is nothing else to say". You may say now "hey, don't be so hard with your self, just let the music be". I know. I'm not trying to be hard with my self, is just that when I start making a song, I don't want to make a collage of parts without sense, or to make a pop song by using the form "Intro, theme, chorus, theme, chorus, theme, chorus, chorus, chorus, fade into silence", because that is just not what I'm trying to say, but I'm not sure about what am I trying to say!!. Look, if you listen to my song guitarrrrrrrrrr, you will se a little bit what I'm trying to do. Here is the link: http://forum.bandamp.com/Audio_Review/722.html As you can see, at 0:39 it stars a seccond theme, that goes to another tone, but then, at 1:16, the first theme restarts (I would say that it try to restart) at the new tone, but it doesn't really finalize, but it falls in to the main tone, where I repeat the seccond theme (at 1:48), now played in a diferent way, that returns to the main theme and that's it. Hey I'm tired, I had some other things to say buy I may say them tomorrow. Wed, 17 May 2006 04:19:16 -0400 okay...this is a test! http://forum.bandamp.com/Music_Theory/39894.html check this out: http://www.musictheory.net/trainers/html/id81_en.html Sun, 10 Dec 2006 20:29:53 -0500 Building up a solo http://forum.bandamp.com/Music_Theory/3637.html When there comes the time to improvise, let's say on a "twelve bar blues" in E, and let's take the following progression you play the E chord in the first four bars, then you go to A in the next 2 bars... as in the following: I II III IV V VI VII VIII IX X XI XII E E E E A A E E B A E E Can I keep playing the E scale througout all the bars? Otherwise, What scale should I use? How can I make the solo sound cool??? Tue, 26 Jul 2005 08:47:49 -0400 Beggining To Learn http://forum.bandamp.com/Music_Theory/34913.html can you suggest some sites, authors or books or any other medium... to learn music theory.. well i am an starter..ameteur... so some advise for a begginer?? Sat, 23 Sep 2006 05:49:41 -0400 Beginning Music theory website http://forum.bandamp.com/Music_Theory/36640.html I think this is a good music theory website. They explain the basics well plus they have interactive lessons on the lessons tab. The scales are played on a virtual piano while learning them and I really like the note and interval trainer. I'm going to start sending my students to this website. http://www.musictheory.net/ Fri, 27 Oct 2006 19:47:56 -0400 Lead Scales http://forum.bandamp.com/Music_Theory/36350.html Ive been playing lead guitar for 5 or 6 years.The only scales I really know are the pentatonic scales. I would like to know more about some of the other scales like Mixolydian,Dorian etc.Can anyone help? Sun, 22 Oct 2006 18:04:40 -0400 Just Intonation Tutorial http://forum.bandamp.com/Music_Theory/3732.html The fundamental basis of harmony. I created a thread asking a question about Just Intonation vs Equal Temperment and I think it might have been above the heads of most people on this forum. So, here is a light introductory tutorial to what all this is. Some of this is grossly oversimplified for the sake of the venue in which it is presented, none-the less I think all the important concepts are here. [u][b]Sound Physics Basics:[/b][/u] All sounds are comprised of waves. There are two types of sounds: Harmonic and Chaotic. Examples of Harmonic sounds include the human voice, vibrating strings, lawn mowers, jet engines, jack hammers, cars and fans. Examples of Chaotic sounds include crumpling paper, blowing leaves, sneezes, the background conversational din in a restaraunt and firecrackers. Waves have these characteristics: Wavelength. Wavelength is the size of one full cycle of the sound wave lengthwise through time. Volume is the amount of air pressure applied by the sound, measured in diameter of the wave. Frequency is how many times the wavelength occurs in one second. Frequency is measured in Hertz, abbreviated Hz, the namesake of Heinrich Rudolf Hertz. Hertz means "times per second" and many things are measureable in Hertz. The second hand on a clock moves at 1Hz, or one time per second. Electrical lights usually vibrate at 60Hz, or 60 times per second. Sound combinatorics: Two waves which are exactly opposite, when combined, form silence. This is theoretically speaking, in reality this rarely happens. It is known as being out of phase. This is however the basis of some new breeds of "noise cancelling" headphones manufactured by people such as Sony and BOSE. These headphones only work with Harmonic noise. Two waves which are exactly identical, when combined, form a much louder but rather identical wave. Any time any two other types of sound waves combine, a "beat" is created. This beat, which is audible, is the increase and decrease of volume created by the addition and subtraction of the two waves from each other. Harmonic sounds have overtones: every harmonic tone, called a fundamental, generates other harmonic tones which are higher in frequencey than the fundamental. These tones being higher or "above" the fundamenal are called "over" tones and are also called simply "Harmonics". You guitarists out there are probably familiar with harmonics where you place your finger very lightly on a string over the 5th 7th or 12th frets and then play it and what results is a totally different higher pitched note. [u][b]Just Intonation:[/b][/u] Fibonacci sequence: The Fibonacci Sequence is a mathematical ratio which generates the classic spiral. It is evident in many many things such as, nautilus shells, the growth pattern of thorns on a rose, davinci's paintings and drawings, the pyriamids and even sound. The distances between the overtones of a note progress and change in the ratio of the Fibonacci Sequence. Resonance. Any two sound waves combined, if properly aligned frequency wise, will create resonance. Essentially, two tones which are "in tune" resonate, while two tones which are not in tune do not resonate. Resonance also gives an increase in volume and pleasant perceptics. Resonance is generally aesthetic. Overtone ratio sequence: Now this section will require a small amount of knowlege of music theory concerning intervals and the major scale. The overtones of any note occur in exact whole number multiples, 1 2 3 4 5 6 and so on. All the intervals of the modern musical scales come from this overtone series. The first over tone lives at multiple 2. This overtone happens to be the octave of a major scale, or any scale for that matter. Why is it the octave? I don't know, it just is. The next over tone happens to be at multiple 3. This overtone happens to be the Perfect Fifth of a major scale. The next overtone is multiple 4, which is the octave again. Anyway, the ratios of these latest two overtones, 4:3 gives us a Perfect Fourth. The next overtone is at the multiple of 5. This is the Major Third of the major scale. The next overtone is at 6, this again, like 3, is a Perfect Fifth. And so on down the line. Interestingly, all 12 intervals on the piano can be derived from jumps of only Perfect Fifths and Major Thirds. Notice that the names of the intervals and the corresponding numbers in their ratios are absolute coincidence. The names have to do with the major scale, the ratios have to do with the overtones. From the study of these intervals we can define a very nice orderly progressional sequence of ratios which provides us with all the primary intervals in existence. 2:1 3:2 4:3 5:4 6:5 7:6 8:7 9:8 and so on to infinity. The Justly Intoned major scale intervals are generally considered to be as follows. C:C = 1:1 Unison D:C = 9:8 Whole step E:C = 5:4 Major Third F:C = 4:3 Perfect Fourth G:C = 3:2 Perfect Fifth A:C = 27:16 Major Sixth B:C = 15:8 Major Seventh C:C = 2:1 Octave These ratios are what form the most basic of basic intervals in our musical scale, and it is these intervals which are termed "Just" in fact, any interval which exists in a perfect mathematical ratio can be termed Just, for example 1395:4287 is a just interval, however, in practice only such simple ratios as those above are termed "just". Overtone combinatorics: When two waves combine which share overtones or whose fundamental notes and or overtones combine to form perfect ratios as above. These combined notes are said to be Resonant, They are also said to be "Justly Intoned" Just Intonation is not without it's problems: For example the basic unaltered diatonic scale is considered to be 1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1. Theoretically the major sixth plus the major third should give a perfect forth, count it, that's four notes, 6, 5, 4, 3... that's four notes, a pefect fourth. A perfect fourth (check the chart) has a ratio of 4/3 however since (27/16):(5/4) = 27:20 and (27/16):(5/4) does not equal 4/3 we've got problems. 27:20 is called a "wolf interval" and don't worry if you didn't follow that at all, just try looking at the chart of the major scale interavals again above, otherwise just go on. The point is that - within Just Intonation - ratio's get screwy when you try to combine more than the fundamental and one other note. [u][b]Equal Temperment:[/b][/u] Accomplishments and why: Equal temperment was invented to solve some of the problems of Just Intonation. It allows you to play music in all major scales and with multiple notes but with an equal amount of detuning on each note in each scale. This is good. In Just Intonation the balance of unequal tuning can be so lopsided that things sound bad. In Equal Temperment, everything is fully and proportionately out of tune compared to everything else. Mathematical basis: The octave is a multiple of two. There are twelve notes in modern harmony these days, thus two divided by twelve is: The Twelfth Root of Two. Every half step is exactly The Twelfth Root of Two apart from the next half step. Where do you find equal temperment? Well basically every modern instrument in the world is tuned with equal temperment. Particularly pianos are tuned with equal temperment. Guitars are fretted with equal temperment, saxophones and flutes and clarinets and such are manufactured to equal temperment. Violins are general meant to be played inside of equal temperment. The human voice is really the one main instrument that has the option of playing in either euqal temperment or just intonation. It is certainly possible to tune other instruments such as guitars and violins into just intonation as well, but is more difficult. End of Story. Hope that was informative and also readable. Any smarty pantsers out there? Did I miss anything? Questions, comments, confused? :o Did anyone actually get this far? :evil: Wed, 27 Jul 2005 12:19:56 -0400 Walking Bass http://forum.bandamp.com/Music_Theory/19608.html I've been learning to play bass a year ago... I thought I'd be easy since I play guitar. However, I discovered that techniques differ considerably. Anyway, I've been practicing some songs such as "Autumn Leaves" and "Tune up" from the real book. I play with some other amateur musicians. [color=red]The questions is: How can I play the walking bass following the harmony and, at the same time, communicating with the soloist and the drums? I've tried using the arpegiated cords. So for example if the bar is A-7 I'd play A C E G. It sounds ok, but I've heard some other musicians and noticed they use a very different style. It's more Chromatic.... but how do they do it?[/color] :o Thu, 16 Mar 2006 19:22:57 -0500 Philosophy of Music and Art http://forum.bandamp.com/Music_Theory/17963.html Below is in brief several conclusions I have recently been making on the nature and philosophy of music and all art. My basic idea is that art exists to express an idea. This can be thesis, narrative, conceptual, celebratory, really anything but it has to have some sort of driving idea or point in order to be considered 'good' art. Therefore I come to compare a composition (lyrical or non) with an essay. Singling out a thesis based essay, I say this. A piece of music should contain a thesis (or numerous thesises), often in the form of a theme or motif that may be repeated, and the rest of the music comes to support that idea in the same way that an essay does. Thus, the best piece of music is one in which every note, rhythm, rest, etc. can be justified as being crucial to the existance of the piece's thesis and is therefore important. Note however that this justification won't always be all that good but even to say that a note or chord exists to tie two ideas more smoothly is a valid justification. Therefore I conclude that music and all art must exist in complete economy. The result of such a notion is that a musical piece becomes a work of poetry where one can make conclusions on the notes and harmonies that are present as well as on the ones that are absent. What I find interesting about art and literature and anything of this nature (which is ironically everything), is that there is a natural flow towards which the art proceeds. In music we call it tonality, in dance or poetry it might be rhythm. This is where I feel music gets both easier and harder. Tonality aids composition in that it allows a composer to write music he can't understand and justify it later. However, tonality means constraint. It binds the composer to the rules of harmony that are deemed acceptable to his listeners (i.e. parallel 5ths, quarter tones, atonal harmony, acceptable disonence, etc.) which can be a serious hinderance to his actual ability to consciously create a clear and valid idea without it getting muddy with passing notes and unnessesary consonences. The hardest part I would conjecture is the inate bias that we all accumulate against atonality and different forms of music that differ from popular harmony, while simultaneously respecting that music does not need to be complicated to be expressive. In short, I feel that the two major challenges that face the composer are how one goes about turning an idea into music, and having the ability to deconstruct himself and his own biases so that he can use music as an accurate vehicle for his own expression, whereby insuring that he expresses solely his idea and not the restraints of contemporary harmony. Tue, 28 Feb 2006 16:43:17 -0500 n00b need HELP! http://forum.bandamp.com/Music_Theory/5850.html Hey, ya all! Im really new here, and to composing too. I have a lot of written stuff I need to composite. but I'm having a difficulty. I mean, I have musical ideas but they seem to repeat once in a while. so I figured out that I need to think of the accords make them sound good and sophisticated, and then write my music. How is my approach? Do you have another way of composing? I really need help so Ill be thankful for some... Yoshi. Tue, 16 Aug 2005 06:14:17 -0400 Theory Books http://forum.bandamp.com/Music_Theory/20341.html Buried somewhere on BandAMP Entheon Recommended two books: The Jazz Theory Book by Mark Levine ISBN: 1883217040 A Chromatic Approach to Jazz Harmony and Melody by Dave Leibman ISBN: 3892210306 Already owning the first, and trusting his judgement, I am buying the second. I would also like to make a qualified recommendation for the book: Harmony for a New Millennium by Randy Sandke ISBN: 6340-4426-5 I only recommend it to people who are interested in dissonant chords, and are already familiar with diatonic and altered chords. What Sandke offers is a new naming system that I hope catches on. The book lays out and names all the 4-note chords in a way that makes them easy to understand and use. The second half of the book is a novel composition method that is not for everybody but I believe the first half will enhance communication between musicians who use it. Thu, 30 Mar 2006 16:11:53 -0500 Saddest Mode. http://forum.bandamp.com/Music_Theory/29950.html What is the saddest scale in your opinion? For me I'd say: E(flat) melodic minor. Tue, 25 Jul 2006 00:42:56 -0400 riff scales http://forum.bandamp.com/Music_Theory/21538.html what are some good riff scales Thu, 20 Apr 2006 17:30:14 -0400 Iranian Traditional Music http://forum.bandamp.com/Music_Theory/5924.html Music Designs, masonries and miniatures belonging to the pre-Islamic history of Iran all indicate Iranians� interest and taste in music. In the post-islamic era, too, despite some opposition which made music lose its former success, this art survived. The survival of music the Safavid era can be found inChehel Sotun palac. and the music chamber ofAli Qapu Monumen in Isfahan. Iran�s music is an amalgamation of tunes and melodies which have been created in the course of centuries Iran and have evolved along with other aspects of the Iranian life. They refelct the moral characteristics, as well as political, social events and geographical features of a countly with an ancient history. The subtlety and profundity of Iranian music leads man to reflection and deep thought and takes him to a celestial world, Iranian music includes the following branches: 1-The pre-Islamic music (the music of ancient Iranian tribes such as, Bakhtyari, Kordi, Lori, etc.) 2-The post-Islamic music:a)Maghaml (mystic) music; This music includes epic music, tyric music for marriage, birthday and other happy occasions, and elegiac music for mournful occasions. b) Radif music which Includes the Dastgahs(modes) of Traditional music. In the contemporary era, Iranian music includes three branches; the two above-mentioned groups in addition to a third one which is Iran�s national music. This branch covers the traditional melodies of the two above groups, but with a classic rendition. According to the new classifIcation of Iranian Awaz (songs) and modes, which has been set since a century ago, Iran�s traditional singing and music has been divided Into 12 groups. The seven groups which are wider and more independent are called Dastgah (mode) and the other five groups which are not independent and have been derived from the Dastgahs or modes are called Awaz (a group of melodies with the same gamut.) So, Iran�s present traditional music is only a remainder of the former 12 Maghams (modes) and what we have today is a very small part of the Iranian traditional music. The seven main Dastgahs (modes) and the five Awaz groups have several pieces (gushe) which are now the models of the contemporary musicians and singers. The number of these pieces (gushes) is said to be 228. The varoius and well-known Radifi (Iranian classical music) of the masters of the 100-year old Iranian traditional music such as Agha Hosein GhoMirza Abdollali, Darvish Khan, and Saba follow the same order. The Dastgahs (modes) and Awazes (melodies) in iran�s Traditional Music. The seven main Dastgahs or modes are: Shoor, Mahoor, Homayoon, Segah, Chahargah, Nava, and Rast Panjgah. The five Awazes or melodies are: Isfahan, Abou Ate, Bayat-e-Tork, Afsharl and Dashti. Wed, 17 Aug 2005 02:30:02 -0400 Can anyone help http://forum.bandamp.com/Music_Theory/7150.html Anyone got advice for a new songwriter Thanks Wed, 31 Aug 2005 12:52:42 -0400 Just Intonation: Need Help http://forum.bandamp.com/Music_Theory/10383.html I'm a little confused about just intonation. Why are scales required at all? I've read that you can design one just intonation scale which has a different 'color' or 'flavour' to another that is similar. Is this true? Can you play in a mode of it and still have your music sound good? I've also read you can have many different chords, i.e. for minor it could be 1:1, 6:5, 3:2, or 1:1, 7:6, 3:2. These would both be minor, but different ones. Is this true? The way I understand it, there are two types of transpositions. One is where you use the same intervals, but choose another note as a tonic. This means your music will sound the same, only higher or lower. The other is where you use the same notes with a different tonic, which changes the intervals between notes. Is this correct? I know in equal temperament, both of types of transpositions can sound good in the right place. Is the same true for just intonation? So back to my first question. Why use scales? Is it because each scale has a mood, and changing scales changes the mood? If you can work out from any one note which notes will sound good with it, then you should be able to just use this rather than a fixed scale... is this true? Lastly, i'd be interested in knowing if there is any software for composing in just intonation. Thanks in advanced, any help would be appreciated. I'll check back here in a few days. Sat, 15 Oct 2005 22:00:00 -0400 A GAME! http://forum.bandamp.com/Music_Theory/11640.html I want to know if anyone can write music. I wonder if anyone can write them sheet music to CrystalClear! Complicated no? Sun, 13 Nov 2005 00:54:44 -0500 New Bands http://forum.bandamp.com/Music_Theory/5402.html Hey we have just made a new band and done 3 succsesful gigs ( out of 3) but we just want to know what to do to start off with? we have worked only very small places such as a family party and in 1 pub on 2 diffrent nights. so i was wondering if anyone could offer us any advice? Thu, 11 Aug 2005 13:12:48 -0400 Vocal Harmony. I Just Don't Get It. http://forum.bandamp.com/Music_Theory/10937.html Need help. I bet a lot of people can relate... I understand what fourths, fifths, sixths, etc., but what is a typical vocal harmony? When is a good time to use them? Mon, 31 Oct 2005 13:40:49 -0500