Separate names with a comma.
Discussion in 'Tab & Music Forum' started by Antstrat, Apr 10, 2021.
Lessons are good. But I learned all of my theory myself, and I am glad I did. I got to work it out without the rote, and I really understand it now, down to being able to write modally.
I have an objection to make here. If you list the four different types of triads the 3rd on your list should be the augmented (1-3-#5). The 7th (no 5) is a 4-note chord with an omission, not a triad type.
I would start with building triads which are the most basic chords (1-3-5) before applying 7ths, which although very common they are still extensions.
You can take the chords you can already play and see which notes they use and what is the relationship between them.
This one for instance is an F major triad with the root (1) of the chord (F) doubled so you play four notes.
If you extend this to a full barre chord adding the C (A string, 3rd fret) and F (low E, 1st fret) you're still playing the basic triad but some of the notes are doubled (C) and tripled (F).
I got lucky.
Plexiglass went up in every lesson room where I go.
Lol. I'd have to care.
You need to harmonize synthetic scales to get to augmented or dim7. I'm talking strictly diatonic stuff.
Which is my biggest issue with it. I’m atrocious at math .
The classification of triad types is intervallic. Nothing to do with harmonizing scales. And triads have no 7s.
That’s ok. It’s called rehearsal.
Actually it is, and I've had several teachers describe in that way. Music is very mathematical.
If you can use math to help you be a better player, more power to you.
There are certainly numbers involved. But I dont think that equals math.
I'm not going to argue it. Simply type "the mathematics of music" into your favorite search engine and be prepared for a LOT of reading.
Yeah..but you only, in this case, need to count to about 15, at most, can get by with 7.
Math is a universal language. You can use it to describe anything. Theory is a specialized language or way of communicating.
But what I'm trying to teach Ant is basic theory. That starts with harmonizing the major scale. That's what gets you playing. And that's the point here...not pedantic adherence to intervallic triad types. Short chords...are essentially a triad...three notes. And a 7...or a bb7...can be there.
Dude wants to play...and understand what he's playing.
Enjoy the parking lot.
Harmonizing the Major scale is not necessarily the start for everybody and many people who start to learn theory need to move one step at a time.
Triads are chords built on the root, third and fifth not any 3-note chords (although etymologically triad means group of three). I'm not being pedantic, just want to provide correct information.
I believe you and everybody else here want to help and that is my intention as well.
Agreed. And understanding what we're playing means, for me at least, building up from the beginning and being accurate from the beginning. A lot of music pedagogy has been built to get students, usually children, performing first and understanding later. That works for some people of all ages. It didn't work for me.
OK, here's where I'm at so far. Been taking small bites and grasping the 1st, 3rd, 5th, 7th concept.
Revisiting the C major scale and after beating my head with a rock it finally clicked with some guidance:
C D E F G A B:C
W W H W W W H
The last H half step simply takes you back to either the C note on the first fret B string OR it starts all over 1 octave up on the 13th fret.
7 is the magic number, count to 7 then start over (in this case)
Did I add another brick to my road?
And if you move to Dorian of C Major?
It's them dam names.
Jeeezzuuus I can't keep em straight.
Why da hell can't we make it easy & just say start it from the third or fifth or whatever the hell that friggin names mean.
I'd do better if they called em Bill or George,
... anything but Sue