Music Theory 1.1

[Chameleonfong]

No matter how experience or how new you are to music, it doesn’t hurt to know some basic music theories.

Parallel Major Minor Scale
A Major – A B C# D E F# G# A
A Minor – A B C D E F G A

You realized that the difference between the A Major and A Minor is that the A Minor Scale flattens the Third, Six, and Seven. The theory of flattening the Third, Six, and Seven imply to all the Parallel Major Minor Scale.

Below is another example.
C Major – C D E F G A B C
C Minor – C D Eb E G Ab Bb C
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Here’s the basic structure of Triads to use when writing a song.

1.Major Triad are found on the I, IV, V of a Major Scale
2.Minor Triad are found on the II, III, VI of a Major Scale
3.Diminish Triad are found on the VII of a Major Scale

Example of Triads used in a C Major Scale,

C Major, D Min, E Min, F Major, G Major, A Min, B Dim.

also known as

Major I, Min II, Min III, Major IV, Major V, Min VI, Dim VII
================================================

Will be posting more theories in the coming weeks

Cham

[ December 13, 2002, 07:33 PM: Message edited by: Chameleonfong ]

[dallas]

Re: Music Theory 1.1

Thanks, man. It never hurts to brush up on the basics.

[Suck my kiss]

Re: Music Theory 1.1

can you post that circle of fiths/fourths on 1.2 ?That is very useful

[Newc]

Re: Music Theory 1.1

OW OW OW OW OW OW OW MY HEAD HURRRRSTSSS [img]graemlins/laugh.gif[/img]

Newc

[IRM]

Re: Music Theory 1.1

Just a quick comment...
Minor roman numerals are usually represented by lowercase roman numerals:

Major I, Min ii, Min iii, Major IV, etc.

[sixx_ gunner]

Working on minor triads this week with my instructor.

I agree with Newc...my head is starting to pound just thinking about tonights lesson!

Looking forward to more help soon.

[rjohnstone]

WTF? :think:
This is a 6+ year old thread that died the day after it was started.

[sixx_ gunner]

Did a search on A minor triads......this was one of the results page.

was trying to answer my own questions.

[Spivonious]

If you have any questions about theory, just ask. I'll be glad to put my music BA to work.

[Jayster]

If you have any questions about theory, just ask. I'll be glad to put my music BA to work.

What's the deal with super string theory? I've got a guitar with strings how do I make them super?

[Grandturk]

What's the deal with super string theory? I've got a guitar with strings how do I make them super?

Aren't those the strings that are actually wormholes connecting all guitar strings together into one "supreme" string?

[Spivonious]

Yeah basically the E string is the A string and if you try hard enough, your fingers go right through the fretboard.

[Endrik]

I don't care much about theory but I've always been interested in chords so...
I'm not sure how to call my favorite chord. Let's say if it's in C, then the notes would be C, D, F#, G. The voicing would be C(root) G(fifth) with tension notes D(9) and F#(11#). It fits into Major with sharp fourth (Lydian right?).
Is it sus2add11# or something else?

[Spivonious]

That's a crazy chord.

Well it's only a sus2 if you then resolve the D to an E (or Eb if you're in C Minor). Sus is short for suspension.

Just playing the chord on my piano here it sounds like it wants to resolve the C down to a B, which would make it G-B-D-F# which would be a G7. So I'd call it a G7sus4.

It's almost a French 6th (http://en.wikipedia.org/wiki/Augment...ord#Examples_2) but that would have an Ab instead of a G.

Definitely interesting though. The actual name would depend on the context.

edit: and yes, #4 is Lydian, although I usually think of it as just a major scale starting on the 4th note.

edit2: after playing it again, you could treat it as a Db7 (D-F#-B) and resolve it to a G (G-B-D). Lots of possibilities with that one.

[Endrik]

I thought also about Gmaj7Sus4

I actually play it with G in the bass mostly (G, C, D, F#): 5th fret on D string, 5th fret on G string, 3rd fret on B string, 2nd fret on high E string.
With that voicing/fingering it sounds the best to my ears.
I may but the thumb on the 3rd fret on A string to get the low C in the bass or in C's case I can do an open voicing with 3rd fret on A string, open D, open G, 3rd fret on B string, 2nd fret on high E string.
When it's in E (E F# A# B) I can do a big 6 string: open low E, 2nd fret on A string, 4th fret on D string, 3rd fret on G sting, open B, open high E.

But usually the bass is in the fifth with the voicing I described first, In C's case G.

In jazz for example it (Gmaj7sus4 instead of that C chord) would work very well because the root and fifth are substituted all the time.

But the chord has more Mid-Asia, Hindustan-India, Pakistan etc. mystical sound do it... the kind of music which has heavily influenced me... and often there's one particular chord played all the time and the other instruments play different melodies over it.
So Gmaj7Sus4 would be kinda tricky to explain if it's only played in C.
So I thought that maybe Csus2add11# would work.

I've seen many times that there's some chords which aren't the usual type and then there's "add" or "a" or "/" added to it with a particular interval.
To my understanding it's usually done with tension notes when previous tensions are missing.
7th chords have root, 3rd, 5th, and 7th,
9th chords have root, 3rd, 5th, 7th and 9th
11th chords have root, 3rd, 5th, 7th, 9th and 11th
13th chords have root, 3rd, 5th 7th, 9th, 11th and 13th.

They would be C7, C9, C11, C13.

But when for example we take C11 but without the 7th and 9th. It would be root, 3rd, 5th and 11th. Then I've seen it's been called Cadd11.

That's why I figure it that maybe I could name it with the combination of C suspended 2 and add11#. Hence Csus2add11#.

I don't know if that kind of name could be used "officially"?