#1
I've been playing Piano for a long time (not really a couple of years but that's on an off) and recently took up guitar (started thinking like a guitarist and being serious for a year.) Though I've never really had a guitar lesson and always apply theory from Piano to Guitar... I'm not sure where I'm at etc etc... sooo I was wondering if y'all could test me
Last edited by RockThisCity at Jul 6, 2009,
#2
eddie van halen did exactly this.
In speed versus emotional playing, i think of an M16 versus an M24. You can have 650 rounds per minute, or one round, one kill. Both should be in your arsenal.

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#3
Quote by RockThisCity
I've been playing Piano for a long time (not really a couple of years but that's on an off) and recently took up guitar (started thinking like a guitarist and being serious for a year.) Though I've never really had a guitar lesson and always apply theory from Piano to Guitar... I'm not sure where I'm at etc etc... sooo I was wondering if y'all could test me


WTF why?

u know what u know and if u wanna learn more than go ahead and learn it.
*reported*... twice in one reply!


OH NOES!!! Theowy is scawY!!!
#6
Quote by Ssargentslayer
Give me the difference between a Gsus4add13(no5) and a C major


I see what you did there.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#7
Quote by SimplyStrings
what's the 5th of Bb?


diminished = E
natural = F
Augmented = F# or Gb
#8
Quote by Ssargentslayer
Give me the difference between a Gsus4add13(no5) and a C major


add13(no5) I don't know but according to the guy under you I'm going to assume that is an E and there is not a difference between the two unless it might be inverted or something...
#9
Quote by RockThisCity
Augmented = F# or Gb


Just F#. Gb is a minor sixth.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#10
Quote by Archeo Avis
Just F#. Gb is a minor sixth.


why? they are the same note. I understand there is an official way to say it but I've never learned it F# is going to be Gb and vice versa >< wanna explain
#11
i believe its because f is the 5th of bflat and therefore an augmented fifth would be the 5th up a semitone and f up a semitone is f#.

if you threw in the g# it would imply that the 6th is lowered a semitone when infact its the 5th being raised, not the 6th being lowered.

hope that made sense
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#12
Quote by RockThisCity
add13(no5) I don't know but according to the guy under you I'm going to assume that is an E and there is not a difference between the two unless it might be inverted or something...

Same notes just different bass/root note. Its tricky.

To expand that question, If a progression resolves to a Gsus4add13(no5) does that make the progression G mixolydian or is it still C Ionian...
#13
Quote by lanzaa
i believe its because f is the 5th of bflat and therefore an augmented fifth would be the 5th up a semitone and f up a semitone is f#.

if you threw in the g# it would imply that the 6th is lowered a semitone when infact its the 5th being raised, not the 6th being lowered.

hope that made sense


Yea plenty!!! thanks ill remember that now.
#14
Quote by Ssargentslayer
Same notes just different bass/root note. Its tricky.

To expand that question, If a progression resolves to a Gsus4add13(no5) does that make the progression G mixolydian or is it still C Ionian...


Ack I have no idea lmao mixolydian Ionian I haven't even heard of these... my friend showed me my pentatonics and using my piano knowledge I filled in the rest to make the Diatonic and that's it.

But I'm going to guess either as G E and C are in both G major and C major scales. But if it resolves that would make it G...
#15
Answering random questions from UGers won't help you find out where you are. You can do theory exams, which is a good start...still kind of pointless but if you want, they're there.

If you want to test your theory, write a good song, figure out songs with complex chord progressions by ear, write a song for strings or choir, see what you know on the guitar...Apply it practically.

There's no "level" you need to be at. You need to be at the level you want to be at to create the music you want to create, and that's it. I could be another guitar wank and call you a noob for not knowing what a certain type of chord is, but that's just a waste of both our time and proves nothing.
Last edited by ChrisBG at Jul 6, 2009,
#16
Quote by Ssargentslayer
Same notes just different bass/root note. Its tricky.

To expand that question, If a progression resolves to a Gsus4add13(no5) does that make the progression G mixolydian or is it still C Ionian...


I honestly cannot think of a single situation in which those notes would not function as a C major triad. It's just a C major chord in the second inversion. Gsus4add13(no5) doesn't really exist.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#17
Quote by ChrisBG
Answering random questions from UGers won't help you find out where you are. You can do theory exams, which is a good start...still kind of pointless but if you want, they're there. But yeah, knowing theory is all good, but you want to put something practical to it..

If you want to test your theory, write a good song, figure out songs with complex chord progressions by ear, write a song for strings or choir, see what you know on the guitar...

There's no "level" you need to be at. You need to be at the level you want to be at to create the music you want to create, and that's it. I could be another guitar wank and call you a noob for not knowing what a certain type of chord is, but that's just a waste of both our time.


Well, I see where your coming from... but I'm not really doing this to see where I'm at I'm doing this to get back into it I haven't done theory in a long time etc etc. And my band mates dismiss it a lot of the time unless they have no idea what chord or note to make a transition then I will try to help normally.... When I write songs I like to add in all this stuff and etc etc but everytime I do that they whine that I put too much into songs and the best are always simple and sweet and I don't know lmao (I especially do this on songs that I write on piano)
#18
Okay well I'm only going by what you said in your first post... "I'm not sure where I'm at so if you could test me". All I'm saying is this thread is kind of wanky, just people listing random things they probably learned last week and "testing you".

Kind of a side topic, but if your band mates are whining that you put too much into songs, they're the wrong kind of bandmates man. Unless the songs they write are chart topping or causing some sort of stir, then there's always work to be done. This is one reason why a lot of bands fail at songwriting, because they think it's cool not to put in work.
#19
Quote by ChrisBG
Okay well I'm only going by what you said in your first post... "I'm not sure where I'm at so if you could test me". All I'm saying is this thread is kind of wanky, just people listing random things they probably learned last week and "testing you".

Kind of a side topic, but if your band mates are whining that you put too much into songs, they're the wrong kind of bandmates man. Unless the songs they write are chart topping or causing some sort of stir, then there's always work to be done. This is one reason why a lot of bands fail at songwriting, because they think it's cool not to put in work.


Ack...

www.myspace.com/thewhitesable

horrible quality but that is a song written by the singer of our band... we just started but the songs I write normally start out normal then I always like to put in a Key change time signature change etc etc... and they always say its too much to put into a song... ("Your always wanting to put everything you know and possess into one song.") I don't get it lmao in this one example all I did was go from B to Abmin not too tough? then changed to a 4 chord progression instead of only 2 with a 6 beat to 2 ratio to just a straight 2 beats per chord. Also the bassist complained he couldn't play the bass I wrote for him on the piano which was just going up the E5 B5 Ab5 and Gb5

I mean I see where they are coming from most of the bands nowadays don't even understand what a X5 is... yet it is the only thing they use. However I'd probably rather be revered for quality over popularity... or maybe both like Queen those were talented blokes.
Last edited by RockThisCity at Jul 6, 2009,
#20
If you're playing a song in Gx locrian nat 5 nat 2 and you decide you want to use an Fx# in the last chord in your progression to provide a better resolution, what convention are you using?

LOL.

Seriously, why don't you just refresh with some of the articles on this site instead of having us quiz you? (Optionally, tell me the four basic triads and give examples with C as the root.)
i don't know why i feel so dry
#21
Sounds to me like you need to start working with some dudes who really like to craft their songs. But not the point of making things unnecessarily picky. There's a nice balance, somewhere in the middle. I think if you keep working with a band who just don't give a **** about songwriting, you're going to just be wasting your time and slowing down your progress. Being with guys on a different level will also force you to improve your theory/ you'll learn new tricks etc. But you still want to have fun and jam out, so again, the right balance...
#22
Quote by Eastwinn
If you're playing a song in Gx locrian nat 5 nat 2 and you decide you want to use an Fx# in the last chord in your progression to provide a better resolution, what convention are you using?

LOL.

Seriously, why don't you just refresh with some of the articles on this site instead of having us quiz you? (Optionally, tell me the four basic triads and give examples with C as the root.)


No idea lol haha... I assume you are taking the Fx# to make it seem like you stepping up into the chord progression again starting with Gx.

I C
ii Dmin
IV F
V G (most people use G7 I believe.)
#23
The first part was a joke :P

By four basic triads I mean the four most basic types of chords (consisting of three notes, hence triad). I see that you can harmonize the major scale though, nice.
i don't know why i feel so dry
#24
Quote by Eastwinn
The first part was a joke :P

By four basic triads I mean the four most basic types of chords (consisting of three notes, hence triad). I see that you can harmonize the major scale though, nice.


ahh

C E G - major
C Eb G - minor
C E G# - augmented
C Eb Gb - dimished

OH YEA and there is that D F G way of doing a G with the 5th and 7th in the key of C not sure what it is called though...

I think those are them also seen C E Bb - Cmaj7 with the 5th left out I forgot the word they use...
Last edited by RockThisCity at Jul 6, 2009,
#25
Quote by Archeo Avis
I honestly cannot think of a single situation in which those notes would not function as a C major triad. It's just a C major chord in the second inversion. Gsus4add13(no5) doesn't really exist.

Yeah I agree with you. To me, its like the pointless stuff you do in math. You'll never need to use half of that stuff in real life but they still teach it.
#27
Quote by mdwallin
explain how
Cmaj7, A7, Dmin7, G7, Cmaj7
can be substituted into
Emin, Eb7, Dmin7, Db7, Cmaj7
(clue: you will have to make 3 substitutions in total)


I assume u mean each chord... lol I have no idea what you want me to do otherwise

1. C lowered a half step and the Bb left out
2. the fifth flattened to Eb, the root sharped to A#, and the 3rd raised a whole step to D#
3. same chord
4. 5th flattened to Db, root sharpened to G#, 3rd raised a whole step to C#
5. same chord
#28
Quote by RockThisCity
diminished = E
natural = F
Augmented = F# or Gb
Yo back a few you were asked the fifth of B♭.

Technically the correct answers would have been
Diminished = F♭
Perfect = F
Augmented = F♯

The reasoning for the use of F was given earlier and you can boil it down into letters. Some kind of B to some kind of F is always some kind of fifth. Some kind of B to some kind of E is always some kind of fourth and some kind of B to some kind of G is always some kind of sixth etc.

Also the B♭ to F interval is called a Perfect fifth as opposed to a "natural" fifth.

As for the chord progressions question above - there is one diatonic chord substutition or common tone substitution and two tritone substitutions that take you from the first progression to the second.

That's an area you can look into - chord substitutions.

Here's a few questions:
What interval is an inverted minor third?
What is another name for an Am7 in first inversion?
What is the relative minor of D major?
What is a perfect cadence?
What is a plagal cadence?
What is a major triad with a minor seventh?
What is the V7 chord of E major?
What is the iii chord (seventh chord form) of B♭ major?
What three chords are found in a standard 12 bar blues?
Si
Last edited by 20Tigers at Jul 7, 2009,
#29
Quote by RockThisCity
I assume u mean each chord... lol I have no idea what you want me to do otherwise

1. C lowered a half step and the Bb left out
2. the fifth flattened to Eb, the root sharped to A#, and the 3rd raised a whole step to D#
3. same chord
4. 5th flattened to Db, root sharpened to G#, 3rd raised a whole step to C#
5. same chord


He's looking for stuff like this: http://www.ultimate-guitar.com/columns/general_music/the_crusade_part_9_secondary_dominants_and_tritone_substitution.html


I think the example he gave made use of tritone substitution, but I'm not sure. I still haven't gotten around to really learning chord substitutions. I just have a basic idea how they work.
#30
that's the kind of stuff I want!!! I just read the thing sooo

1. I'm actually not sure it isn't tritone substitution but I don't think it is secondary dominant either.
2. tritone to the D
3. same
4. tritone to the C
5. same chord

Probably wrong lol
#31
Quote by 20Tigers

Here's a few questions:
What interval is an inverted minor third?
What is another name for an Am7 in first inversion?
What is the relative minor of D major?
What is a perfect cadence?
What is a plagal cadence?
What is a major triad with a minor seventh?
What is the V7 chord of E major?
What is the iii chord (seventh chord form) of B♭ major?
What three chords are found in a standard 12 bar blues?


1. a fifth
2. Cmajadd6
3. B minor
4. not sure what a candance is ill look it up
5. ^^^^
6. A 7th chord
7. Bmaj7
8. Dmin
9. I IV V?
#32
1. - Not a perfect fifth have a look at this and try again...

C D E♭ F G A B C
^minor third = C to E♭

C D E♭ F G A B C
^inverted minor third = E♭ to C = ?

2.Correct though CMajadd6 is just written C6

3.Correct

4. cadence question - check out section 13 and 14 (harmonic function and cadences) at
5. cadence question - this site Theory on the Web

6. A 7th chord yes but what kind of seventh chord. What is the name of that kind of seventh chord?

7. No the root is indeed B but the type of seventh chord is wrong

8.Correct.

9.Correct.


The chord substitution thing.

The Cmaj7 = C E G B. Em = E G B. (Do you see what they did there?)

They simplified the Cmaj7 chord to include just the top three notes (dropping the C root). The result is a chord that retains the "body" of the original chord and so performs the same function but provides a different sound with the new root note that sets up a nice descending chromatic root movement in the new progression.
Si
Last edited by 20Tigers at Jul 7, 2009,
#33
how many chords contain Fb/E# in there basic triad

And yes i do know the answer
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Last edited by travs2448 at Jul 7, 2009,
#35
damn thought i could fool at least somebody
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is the puppy solid state or tube?

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solid state. when she screams it pisses me off

^

Quote by GrizzlyFnAdams6
Dimebag had s*** tone and that guitar plays like an abortion. Come at me, bro!


Quote by jpatan
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#36
Never mind.

The answer isn't 0.

What are the notes of C♯major?

C♯ E♯ G♯. You could call it D♭ major - if it were D♭ major. But if I'm in A major and play a iii chord it would be C♯m ( C♯ E G♯ If i raise the third and make it a major chord the root is still a major third above A which means it's still a C♯ triad and a C♯ major triad in particular.

My point - sometimes it is correct to call the pitch a semitone above E, E♯. Similarly, it is sometimes correct to call the pitch a semitone below F, F♭.

IV iv I is a popular extension of the plagal cadence. If we look at the progression in the key of A♭ Major we get D♭ D♭m A♭. So what is the minor third in that D♭m chord? None other than the F♭.

So yeah they are used.
Si
Last edited by 20Tigers at Jul 7, 2009,