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#1
Hey guys I would like to think I am decent at basic theory. I think I have a decent handle on chord construction, modes, keys and some other things.

Would someone with a strong base of theory (Freepower comes to mind) make a list of questions for me dealing with theory to see where I stand.

I would greatly appreciate it. I would like to get to the point where I can get into a music program at a college and major in it because I really do not enjoy many things but music is one. I'd love to be a musician but even opening a local studio somewhere and giving lessons would work for me.
#3
hopefully MT will get weekly quizzes up soon and those will help you a lot.
Quote by joshjhasarrived
Little does the government suspect that it's funds are being rapidly drained through funding infinite free cardboard boxes to bored teenagers on an internet forum.
#4
Quote by one vision


the first test is wrong.. a major scale doesn't have ONLY 7 pitches

Maybe 7 different pitches per octave.. but not ONLY 7

Edit: sorry about the double post
Quote by joshjhasarrived
Little does the government suspect that it's funds are being rapidly drained through funding infinite free cardboard boxes to bored teenagers on an internet forum.
#5
Tonic and Tonic only count as 1 pitch
Last edited by standupnfall at Oct 31, 2008,
#7
An imperfect cadence is the only one of these that does not sound final, hence the name. It is commonly used in the middle of a composition, as it ends on the dominant chord. Plagal and perfect are more often used at the end of a passage or piece. The plagal cadence moves from the subdominant chord to the tonic chord, and the perfect cadence moves from the dominant chord to the tonic chord.


Hmmm, aren't imperfect cadences the ones in which the last chord is not at fundamental state, both chords (in non-compound cadences, or simple mostly) are not in octave positiom, and the last chord (or others too, depending on the cadence) doesn't fall in a strong beat?

Or does he say Perfect=Authentic?


Rare, they don't even ask about definitions at the basic stuff one (at least about definitions of concepts and not notation/scales, etc)
Last edited by gonzaw at Oct 31, 2008,
#8
Question 1: Can you confidently find maj, min and dim triads in root position on strings 3-6?
Q2: How long would it take you to create a fingering for Amadd9 from Am open position?
Q3: How many positions of each scale you "know" do you know? (correct answer - all of them! Whether major/minor, etc, you must know it inside and out)
Q4: Name me which major scales would be more easily read as their enharmonic equivalent?
Q5: Can you play modal licks from the first position of the major scale?
Q6: What time signatures are you comfortable in?

That should do.
#9
Quote by Freepower
Question 1: Can you confidently find maj, min and dim triads in root position on strings 3-6?
Q2: How long would it take you to create a fingering for Amadd9 from Am open position?
Q3: How many positions of each scale you "know" do you know? (correct answer - all of them! Whether major/minor, etc, you must know it inside and out)
Q4: Name me which major scales would be more easily read as their enharmonic equivalent?
Q5: Can you play modal licks from the first position of the major scale?
Q6: What time signatures are you comfortable in?

That should do.


NOt all of those deal only with theory.
You can know all the theory behind the major scale but you don't know the positions (like me, at least in the second part) but you would still know the theory of it, if you can play it or not doesn't matter...

Same with the fingering/playing modal licks/finding triads/etc...
#10
What notes are usually left out in an 11th and 13th chord?
What are the notes in G harmonic, melodic, and natural minor?
What would a tritone substitution in E major look like?


Edit: I'm in no way good with theory, I'm just givin a couple questions that I know the answer to.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#12
Quote by gonzaw
NOt all of those deal only with theory.
You can know all the theory behind the major scale but you don't know the positions (like me, at least in the second part) but you would still know the theory of it, if you can play it or not doesn't matter...

Same with the fingering/playing modal licks/finding triads/etc...

Isn't that the point? It does matter if you can play it or not. Theory is only as useful as your ability to apply it. I do understand your point though. Knowledge and understanding of music theory in itself is a different skill than the ability to play a particular musical instrument. Nevertheless Freepower makes an excellent point by asking the questions the way he did.
Si
#13
Quote by 20Tigers
Isn't that the point? It does matter if you can play it or not. Theory is only as useful as your ability to apply it. I do understand your point though. Knowledge and understanding of music theory in itself is a different skill than the ability to play a particular musical instrument. Nevertheless Freepower makes an excellent point by asking the questions the way he did.

But the question was about theory, not how to apply it on guitar.

What if TS had been a piano player?
#14
Well, I may try puting some questions too (at least from what I remember):

1-What are the properties of sound, and how do you notate them in sheet?
2-State the difference between simple and compound meters, including unit of time, unit of beat and how you define them
3-Define interval and its different qualities (types).
4-Which intervals are consonant and which ones are dissonant and why?
5-State how tetrachords and succesions in fifths are important for scale construction
6-Define the difference between natural/harmonic/melodic minor scales, both in functionality and in construction
7-Define diatonic functionality and why it is important for tonal music.
8-State the different functions and their parallels
9-What is the difference between modal and tonal functionality? How are modes different from each other?
10-Define triad and its types
11-Say which triads are formed from the minor/major/harmonic minor/melodic minor scales
12-Define cadence and its types
13-What is the difference between each other?
14-WHat is the difference between a perfect cadence and an imperfect one?
15-Define rhythm and its types (binary, etc)
16-When do you say that the rhythm is femenine and when it is masculine?
17-Define syncopation and counter-time and the difference between them
18-What do you think are the most important aspects of a melody?
19-Name at least two different types of tunings and why they would be used.
20-What kind of music do you like? (yeah a filler)

Lol I don't know if I could answer most of these cause I don't remember quite a bit, but I remember knowing them and maybe you could practise a little...


Quote by 20Tigers
Isn't that the point? It does matter if you can play it or not. Theory is only as useful as your ability to apply it. I do understand your point though. Knowledge and understanding of music theory in itself is a different skill than the ability to play a particular musical instrument. Nevertheless Freepower makes an excellent point by asking the questions the way he did.



They are great questions for you to keep a mentality of applying theory on guitar, but it is not the kind of question that people ask you at music colleges or when applying degrees, or anything theory related...
Last edited by gonzaw at Oct 31, 2008,
#15
TS Here's some questions...

What is a P5th above E?
What is a P5th above B?
What is a P5th below G?
What is a minor 2 below F?
What is a major 7 above C?
What is a major 6 below D?
What is the lowest note in a 1st inversion D major chord?
What is the lowest note in a 2nd inversion A diminished chord?
Spell an Am7 chord from bottom up.
What is a major triad with a major 7th?
What is a diminished triad with a minor 7th?
What is the V7 chord of E major?
What is the viidim chord of Ab major?
What are the ii iii and vi chords of G major in seventh chord form?
Give the numerical formula and note spelling for the following chords. The first is done as an example:
C Major = 1 3 5 = C G E
Csus2
C6/9
Cm6
C7
Cdim7
C9sus4
Cmaj7#11
C13
Cmaj13
C+7
C7b9#5
What kind of triad provides the foundation for a maj9 chord?
What kind of triad provides the foundation for a m7b5 chord?
Is G13 a major minor or dominant chord?
What are the notes in Bbmaj7?
What chord does Bb/C suggest?
What is the parent scale of G mixolydian?
What is the relative minor of D major?
What is the relative Locrian mode of F Phrygian?
What is the modal note in C Lydian?
What is the modal note C Dorian?
True of False: Melodic Minor is like the Dorian mode but with a raised seventh degree?
True or False: The diminished scale is a series of whole tone intervals?
True of False: G7 contains the leading tone of C major?
What is the difference between a functioning secondary dominant and a non functioning secondary dominant?
Is A7 a secondary dominant in the key of C major?
In a major scale a ii chord is a diatonic substitution for what chord?
In a major scale a viidim is a diatonic substitution for what chord?
Which of the following is a Direct Substitution for a C major chord?
D7 Gm G7 G G9 Em Em6 Am Am6 Am9 C11 Cadd9
Which of the following is a Direct Substitution for an Am7 chord?
D7 Gm G7 G G9 Em Em6 Am Am6 Am9 C11 Cadd9

Ok I'm bored of writing questions now.
Si
#17
Quote by 12345abcd3
What if TS had been a piano player?


I know he's not asking in that context.

Quote by 20Tigers
Isn't that the point? It does matter if you can play it or not. Theory is only as useful as your ability to apply it. I do understand your point though. Knowledge and understanding of music theory in itself is a different skill than the ability to play a particular musical instrument.


That is exactly my point, but for a player of the level I am assuming the TS to be, and indeed, the vast, vast majority of players I come across, the issues I raise (fretboard knowledge, depth rather than breadth of understanding) are more important.

We've all seen the "Can I have more arpeggios to sweep pick?" threads.

They are great questions for you to keep a mentality of applying theory on guitar, but it is not the kind of question that people ask you at music colleges or when applying degrees, or anything theory related.


I can assure you that for all the music college auditions I considered or attended, these questions were right to the forefront of what was being asked. Now, for a composition major, etc, obviously your ability to manipulate notation and "understand" theory is more important than the CAGED system, but in that case the TS should enroll with a theory tutor ASAP and quit UG.

You can know all the theory behind the major scale but you don't know the positions (like me, at least in the second part) but you would still know the theory of it, if you can play it or not doesn't matter.


Matters a helluva lot if you can't play it.

In my experience, a major, major problem with most guitarists is simple fretboard knowledge. How many of you can play ascending licks while descending the neck? Or even find every chord tone of a given chord at the rate of 1 every second? Well, why the hell are you learning about polymetricity when you can't even play a chord ascending through its inversions?

Not targeted at anyone in this thread in particular, but tbh, this rant needed aired.

It is essential that a sense of proportion is established between the breadth, and depth of your knowledge.
#18
yea, I agree with Freepower. I've been finding more and more lately that I know tons of theory that I can talk about, but I can't really apply most of it. I've been trying to go back and see what I actually can do with the theory I know and am going further into the things that I'm not so great at playing.
#19
Quote by Freepower
I know he's not asking in that context.


That is exactly my point, but for a player of the level I am assuming the TS to be, and indeed, the vast, vast majority of players I come across, the issues I raise (fretboard knowledge, depth rather than breadth of understanding) are more important.

We've all seen the "Can I have more arpeggios to sweep pick?" threads.


I can assure you that for all the music college auditions I considered or attended, these questions were right to the forefront of what was being asked. Now, for a composition major, etc, obviously your ability to manipulate notation and "understand" theory is more important than the CAGED system, but in that case the TS should enroll with a theory tutor ASAP and quit UG.


Matters a helluva lot if you can't play it.

In my experience, a major, major problem with most guitarists is simple fretboard knowledge. How many of you can play ascending licks while descending the neck? Or even find every chord tone of a given chord at the rate of 1 every second? Well, why the hell are you learning about polymetricity when you can't even play a chord ascending through its inversions?

Not targeted at anyone in this thread in particular, but tbh, this rant needed aired.

It is essential that a sense of proportion is established between the breadth, and depth of your knowledge.



I don't know if fretboard knowledge is the big problem.
Like, at least in my case, I can read sheet music pretty fast, all along the fretboard (at least till the frets kind of end though), so fretboard knowledge isn't a big problem. But if you ask someone "play an Amadd9 chord in 1 second", they have first to determine the notes of said chord, then determine the order of those notes so as to be able to play them in some part of the fretboard, and then you have to locate how you are going to play them and then do it. Much difficult than reading the notes and their order, etc.

And I dunno about licks and stuff since I don't do it, but I suppose most of the time they are done by memorizing certain patterns and positions and only "search" for which one to use, instead of looking for every note, etc (kind of ruining the hwole fretboard knowledge thing).


I would prefer to have my guitar playing and theory knowledge separated, since they don't always interwine.
When given enough time to guitar playing and practising, you should already be able to apply the theory you know to it, but you can't or shouldn't allow your lack of practise at guitar stop your progress with theory (am I going to stop learning modes just because I don't know how to play cleanly every mode from a certain note?)...


Where I learn they don't ask those kind of questions, but more like the ones I put some posts back, but well, it isn't a music college either, just an "expanded" guitar centre..
#20
Im pretty shit at theory, but I shall take a look at all the questions in this thread, and try and answer them all. Garunteed ill get abotu 50% at least wrong, but thats learning, right?
#21
Quote by gonzaw
I don't know if fretboard knowledge is the big problem.
Like, at least in my case, I can read sheet music pretty fast, all along the fretboard (at least till the frets kind of end though), so fretboard knowledge isn't a big problem. But if you ask someone "play an Amadd9 chord in 1 second", they have first to determine the notes of said chord, then determine the order of those notes so as to be able to play them in some part of the fretboard, and then you have to locate how you are going to play them and then do it. Much difficult than reading the notes and their order, etc.


That's my point. However, it's very easy to adapt common voicings to include additional tones or alterations. That's fretboard knowledge as well, your intervallic as well as notational awareness.

When given enough time to guitar playing and practising, you should already be able to apply the theory you know to it, but you can't or shouldn't allow your lack of practise at guitar stop your progress with theory (am I going to stop learning modes just because I don't know how to play cleanly every mode from a certain note?)...


You misunderstand me if you think this is about technical competence. I just want people to actually know what they think they know. The closest analogy I can think of to learning theory without learning about its application is learning to read maps without learning to walk.
#22
Hey guys thanks for the questions I will take my time go through them in a little while. Need to make sure my mom is alright and hope to god I don't have this stupid Arthritis I was tested for yesterday.

Looks to be I need to LEARN A LOT...

But Freepower Amadd9. I know the 9 is the 2 which is B but I wouldn't know how to make an open voice unless you meant something like this. And I doubt this is correct haha


E0
B1
G4
D2
A0
E0
#23
^I don't know what's wrong but I hope she's alright. Hopefully you don't have arthritis either, that would suck balls.


You have that right though. You even have the B note an octave above the A so instead of 2 it's the 9. Good job

Edit: I saw you have the low E being played; that's a no-no. You play the open A chords starting with the open A string.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#24
Well thank you for the input. Metal 4 All. She's got some nasty cold stuff but she should be alright and the arthritis thing I really hope I don't have because that would not be pleasant at all. Haha.

EDIT: My Attempt!!!

What is a P5th above E?--C
What is a P5th above B? F#/Gb
What is a P5th below G? C
What is a minor 2 below F? E
What is the lowest note in a 2nd inversion A diminished chord? The 5th F
What is a major triad with a major 7th? Maj7
What is a diminished triad with a minor 7th? m7b5?
What is the V7 chord of E major? B7
What is the viidim chord of Ab major? Gº
What are the ii iii and vi chords of G major in seventh chord form? Am7, Bm7, Em7
Give the numerical formula and note spelling for the following chords. The first is done as an example:
C Major = 1 3 5 = C G E
C7-1 3 5 7 =C G E B
Cdim7 1 b3 b5 b7= C Eb Gb Bb
What kind of triad provides the foundation for a maj9 chord? Major?
What kind of triad provides the foundation for a m7b5 chord? minor?
Is G13 a major minor or dominant chord? dominant?
What are the notes in Bbmaj7? Bb Eb F A
What is the parent scale of G mixolydian? G Maj
What is the relative minor of D major? B
What is the relative Locrian mode of F Phrygian? B
What is the modal note in C Lydian? C Minor
What is the modal note C Dorian? C Minor
True of False: Melodic Minor is like the Dorian mode but with a raised seventh degree? False Meldoic Minor is like Aeolin I believe,
True or False: The diminished scale is a series of whole tone intervals? True Im not completely sure what a whole tone interval is I really suck with those. All books I've read make it so confusing to me I don't know why but they will come in time but I
Which of the following is a Direct Substitution for a C major chord?
D7 Gm G7 G G9 Em Em6 Am Am6 Am9 C11 Cadd9
Which of the following is a Direct Substitution for an Am7 chord? Am
Last edited by Myung'sMusicman at Nov 1, 2008,
#25
But Freepower Amadd9. I know the 9 is the 2 which is B but I wouldn't know how to make an open voice unless you meant something like this.


It contained the correct notes, as long as you were aware that the E was in the bass and thus the chord was a second inversion, that's fine.

Now, you obviously could get simple b9 voicings as well using that shape.

And if you know a major shape you have an easy add#9 shape as well.

Similarly, look at the ease of changing the 3rd of that voicing to a 2 or 4 (or #4) - you can see it's about realising how the notes in the chord relate to the root.

Or the 5 to a b6 or b5. Etc!

The same concept applies to scale derivation as well. If you know a fingering for a major scale, how easy is it to create a Mb9 scale? Easy!

Hope both your hands and your mother are all fine.
#27
Quote by Myung'sMusicman

What is a P5th above E?--C ✘ B
What is a P5th above B? F#/Gb ✔ (1/2 right. F# correct. Gb is not. I'll give this one)
What is a P5th below G? C ✔
What is a minor 2 below F? E ✔
What is the lowest note in a 2nd inversion A diminished chord? The 5th F ✘ Adim = A C Eb. The answer is Eb
What is a major triad with a major 7th? Maj7 ✔
What is a diminished triad with a minor 7th? m7b5? ✔
What is the V7 chord of E major? B7 ✔
What is the viidim chord of Ab major? Gº ✔
What are the ii iii and vi chords of G major in seventh chord form? Am7, Bm7, Em7 ✔
Give the numerical formula and note spelling for the following chords. The first is done as an example:
C Major = 1 3 5 = C G E
C7-1 3 5 7 =C G E B ✘ (b7 = Bb)
Cdim7 1 b3 b5 b7= C Eb Gb Bb ✘ (bb7 = Bbb)
What kind of triad provides the foundation for a maj9 chord? Major? ✔
What kind of triad provides the foundation for a m7b5 chord? minor?✘ diminished
Is G13 a major minor or dominant chord? dominant? ✔
What are the notes in Bbmaj7? Bb Eb F A ✘ Bb D F A
What is the parent scale of G mixolydian? G Maj ✘ C major
What is the relative minor of D major? B ✔ (B minor)
What is the relative Locrian mode of F Phrygian? B ✘ C Locrian
What is the modal note in C Lydian? C Minor ✘ Lydian modal note is #4 C Lydian modal note is F#.
What is the modal note C Dorian? C Minor ✘ Dorian modal note is nat6 C Dorian modal note is A natural
True of False: Melodic Minor is like the Dorian mode but with a raised seventh degree? False Meldoic Minor is like Aeolin I believe, ✘ True - Dorian = 1 2 b3 4 5 6 b7 Melodic Minor = 1 2 b3 4 5 6 7
True or False: The diminished scale is a series of whole tone intervals? True Im not completely sure what a whole tone interval is I really suck with those. All books I've read make it so confusing to me I don't know why but they will come in time but I ✘ Diminished can be used to describe any scale with a minor 3 and diminished 5. The whole tone scale has a major 3.
Which of the following is a Direct Substitution for a C major chord?✘ Direct substitutions retain the basic quality of the chord. So it would be Cadd9 which retains the basic C major triad.
D7 Gm G7 G G9 Em Em6 Am Am6 Am9 C11 Cadd9
Which of the following is a Direct Substitution for an Am7 chord? Am ✘ The basic quality is minor7 the direct substitution here would be the chord that retians that minor7 quality - Am11 achieves this.

11/25 = 44% of the answers you gave were correct.

EDIT: thanks to the Shred for correcting my errors.
Si
Last edited by 20Tigers at Nov 1, 2008,
#28
I feel like having a go at them quickly if you don't mind:
P5 above E is B
P5 below G is C (your grading is wrong, G is a fifth above C, a fifth above G is D, a fifth below C is F, and a fifth below G is C....)
Lowest note of an Aº6/4 is Eb
C7--1, 3, 5, b7
What triad forms the foundation of a m7b5 chord. Diminished
Notes in Bbmaj7--Bb, D, F, A
Parent Scale of G mixolydian--C Major (ionian if you want modal names)
Relative locrian of F Phrygian--C
Modal note in C Lydian--F#
Modal note of C Dorian--A
T/F: The Diminished scale is a series of whole tone intervals--False, WHWHWHW/HWHWHWHW
Don't know about the chord substititutions
Out of the chords you listed I'd go with Cadd9 and Am9

Hey, and I did that before you edited in the correct answers...

Regarding the answers you posted:
F phrygian will not have any sharps in it. Otherwise it would have F, F#, not F Gb, so it can't be C#. I got C natural when I checked.

Also, I believe you had the question T/F, Melodic minor is like dorian with a major 7th, and you said false. It should be True (specifically when ascending). Melodic minor is not like aeolian, Natural minor is.
Last edited by TheShred201 at Nov 1, 2008,
#29
Quote by TheShred201

P5 below G is C (your grading is wrong, G is a fifth above C, a fifth above G is D, a fifth below C is F, and a fifth below G is C....)

Duh! I'll edit.
Si
#32
Quote by TheShred201
Regarding the answers you posted:
F phrygian will not have any sharps in it. Otherwise it would have F, F#, not F Gb, so it can't be C#. I got C natural when I checked.
I had C first then checked by quickly going backwards in my head three steps to D instead of Db then arrived at C#. But how right you are. If the F is natural it can't be a key with sharps. Parent major scale would be Db. So relative modes Eb Dorian F Phrygian Gb Lydian Ab Mixolydian Bb Aeolian C Locrian.

Quote by TheShred201
Also, I believe you had the question T/F, Melodic minor is like dorian with a major 7th, and you said false. It should be True (specifically when ascending). Melodic minor is not like aeolian, Natural minor is.
I didn't even read that question when I was marking it. I read your post and was thinking "was that even a question." Then looked back and thought how did I miss that.

I'll edit again. Good spotting and thanks.
Si
#33
God, I could about die after doing this.

What notes are usually left out in a 11th and 13th chord?

The fifth and 9th are usually omitted, the root is sometimes omitted

What are the notes in G Harmonic, Melodic & Natural Minor

G Harmonic Minor: G A Bb C D Eb F# G

G Melodic Minor Ascending: G A Bb C D E F# G
Melodic Minor Descending: G A Bb C D Eb F G

G Aeolian/Nat Minor: G A Bb C D Eb F G

State the difference between simple and compound meters, including unit of time, unit of beat, and how you define them

A Simple meter is a meter where the beat value is an undotted note

A Compound meter is a meter where the beats value is a dotted note.

The meters are classified as to how many beats they have in a bar.

Duple = 2 Beats
Triple = 3 Beats
Quadruple = 4 Beats

4/4 is classified as Quadruple Simple
9/8 is classified as Triple Compound

Which intervals are consonant and which ones are dissonant and why?

Perfect Unison
Perfect Fifth
Perfect Octave

These are the most consonant intervals

Major Third
Minor 6th
Minor 3rd
Major 6th

These are the Imperfect Consonant Intervals

Diatonic Dissonances

Perfect 4th
Major 2nd
Minor 7th
Major 7th
Minor 2nd

The Most dissonant interval

Tri-Tone (Augmented 4th/Diminished 5th)

(Im not confident on this, is this right?)
Last edited by Galvanise69 at Nov 2, 2008,
#34
State How tetrachords and succession in fifths are important for scale construction

The only thing I know about Tetrachords & scale construction a Major Tetrachord with is a 4 note chord with the intervals of Tone - Tone - Semi-Tone

In a Major Scale, there are two tetrachords, an upper & lower tetrachord.

The lower and upper tetrachord are separated by the space of a tone

To start with C Major. Than to find the next scale round the circle of fifths, make the upper tetrachord of C Major your lower tetrachord of your next scale.

This is how you can build scales with tetrachords

i.e C - D - E - F (T) G - A - B - C

Than taking the higher tetrachord

G A B C

and making that the lower tetrachord

G A B C - D E F# G

ect.

Define Rhythm and its types

Im wondering if this was meant to be form.

Binary Form: Is A B
Ternary Form: Is A B A
Rondo Form: Is A B A C A

What would a tri-tone substitution in E Look like

A Tri-Tone substitution is replacing the V chord of a Diatonic key with another Dominant 7 chord a tri-tone away.

The reason this works is

The voice-leading is made smoother, the bass note descends chromatically, and the all tonicizing tri-tone present in a V chord is also present in the Dominant 7 chord a tri-tone away.

In E, Tri-Tone subbing the V in a ii - V - I would be

F#-7 - F7 - Emaj7

What are the properties of sound, and how do you notate them in sheet?

What? Can someone please explain?

Can you confidently find Maj, min, dim, triads in root position on strings 3 - 6

Yes
Last edited by Galvanise69 at Nov 2, 2008,
#35
How long would it take you to create a fingering for Amadd9 from Amin open position?

1 - 2 mins

-0-
-1-
-2-
-2-
-0-
--


To


-0-
-1-
-4-
-2-
-0-
--


How many positions of each scale do you know?

Major & Modes, Harmonic & Melodic Minor Modes, Whole-Tone, & Diminished Scales.

On all strings

Name me which major scales would be moer easily read as their enharmonic equivalent

Fb Major, G# Maj, D# Maj, A# Major, E# Major ect.

Can you play modal licks from the first position

No

What time signatures are you comfortable in?

4/4 3/4 2/4 3/8 6/8 9/8 12/8 5/4 7/8 108/ 11/8

Define intyerval and its different qualities (types)

C - C: Unision
C - C# Augmented Unsision (1 semi-tone)
C - Db: Minor 2nd (1 semi-tone)
C - D: Major 2nd (Two semi-tones, 1 tone)
C - D#: Augmented 2nd (3 Semi-Tones, 1 and 1/2 tones)
C - Eb: Minor 3rd (3 Semi-Tones, 1 and 1/2 tones)
C - E: Major 3rd (Four semi-tones, two tones)
C - Fb: Diminished 4th (Four semi-tones)
C - F: Perfect 4th (Five Semi-Tones, 2 1/2 Tones)
C - F#: Augmented 4th (Six Semi-Tones, 3 Tones
C - Gb: Diminished 5th (Six Semi-Tones, 3 Tones)
C - G: Perfect 5th (7 semi-tones, 3 1/2 tones)
C - G#: Augmented 5th (8 Semi-Tones, 4 tones)
C - Ab: Minor Sixth (8 Semi-Tones, 4 Tones)
C - A: Major Sixth (9 Semi-Tones, 4 1/2 Tones)
C - A#: Augmented Sixth (10 Semi-Tones, 5 Tones)
C - Bb: Minor 7th (10 Semi-Tones, 5 Tones)
C - B: Major 7th (11 Semi-Tones, 5 1/2 Tones)
C - Cb: Diminished Octave (11 Semi-Tones, 5 1/2 Tones)
C - C: Perfect Octave, (12 Semi-Tones 6 Tones)

Define the difference between natural/harmonic/melodic minor scales, both in functionality and construction

Natural Minor is the sixth mode of the Major Scale, also reffered to as the Relative Minor or Aeolian Mode

Its intervallic pattern is T S T T S T T

Harmonic Minor, is made by restoring the LT of the Aeolian Mode, making the V chord once again Dominant in the natural Minor Scale.

Itervallic pattern is: T S T T S M3/A2 S

Melodic Minor is made by restoring the LT to the Dorian Mode, making the V chord once again Dominant in the Dorian Scale.

In Jaz terms, its used soley as a Dorian with a raised 7th, but in classical, its form ascending is

1 2 b3 4 5 6 7 and descending reverts back to the Nat Minor/Aeolain: 1 2 b3 4 5 b6 b7

It was formed to eliminate the augmented second present in the harmonic minor scale, which was considered melodically dissonant.

This is accomplish by raising the sixth when moving towards the seventh, and flatting the sixth and seventh when moving towards the fifth as demonstrated above.
#36
Whats a P5th above E

E - B is a Perfect 5th

Whats a Perfect 5th above B

B - F# is a perfect 5th

Whats a Perfect 5th below G

C is a perfect fifth below G

What is a Minor 2nd below F?


E is a Minor 2nd below F

What is a Major 7 above C?

B is a Major 7 above C

What is a Major 6 below D?

F is a Major sixth below D

What is the lowest note in a 1st Inversion D Major Chord?

F# is the lowest note in a 1st Inversion D Major Chord.

What is the lowest note in a nd Inversion A Diminished Chord?

Eb is the lowest note in a 2nd Inversion A Diminished Chord

Spell Am7 from the bottom up


A C E G

What is a Major Triad with a Major 7th?

A Major Seveth Chord

What is a Diminished Triad with a Minor 7th?


A Half-Diminished 7 (also notated Min7b5)

What is the V7 chord of E Major?

B7

What is the viidim chord of Ab Major?

G Diminished: G Bb Db

What are the ii iii and vi chords of G Major in seventh chord form?

Amin7 - Bmin7 - and Emin7 respectivley.

Give the numerical formula for note spelling for the following chords. The first is done as an example

C Major: 1 3 5 = C E G

C sus2 = 1 2 5 = C D G

C6/9 = 1 (3) (5) 6 9 = C (E) (G) A D

Cm6 = 1 b3 5 6 = C Eb G A

C7 = 1 3 5 b7 = C E G Bb

C Dim 7 = 1 b3 b5 bb7 = C Eb Gb Bbb

C9sus4 = 1 4 5 b7 9 = C F G Bb D

Cmaj7#11 = 1 3 (5) 7 (9) #11 = C E (G) B (D) F#

C13 = 1 3 (5) b7 (9) (11) 13 = C E (G) Bb (D) (F) A

Cmaj13 = 1 3 (5) 7 (9) (11) 13 = C E (G) B (D) (F) A

C+7 = 1 3 #5 b7 = C E G# Bb

C7b9#5 = 1 3 #5 b7 b9 = C E G# Bb Db

What kind of triad provides the foundation for a maj9 chord?

Maj Triad

What kind of Triad provides the foundation for a m7b5 chord?

Diminished Triad

Is a G13 a major minor or dominant chord?

Dominant
#37
What are the notes in Bbmaj7?

Bb D (F) A

What chord does Bb/C suggest?

Bbmajadd9 (with C in the bass)

What is the parent scale of G Mixolydian?

C Major is the parent scale

What is the relative major of D Minor?

F Major

What is the relative Locrian mode of F Phrygian?

C Locrian

What is the modal note in C Lydian?

F#, the #11/#4

What is the modal note in C Dorian?

A, the nat 13/6th

True of False: Melodic Minor is like the Dorian mode but with a raised seventh degree?

True, but this is not the function

True or False: The Diminished Scale is a series of Whole-Tone intervals

False, this would reffer to the whole-tone scale, 1 2 3 #4 #5 b7

True or False: G7 contains the leading tone of C Major

True, the 3rd of G7 is the leading tone in C Major.

What is the difference between a functioning secondary dominant and a non-functioning secondary dominant?

Im not too sure on this one, but I would assume a functioning secondary dominant resolves down a fifth, thus fulfilling its function, which a non-functioning secondary dominant does not. i.e D7#11 - D-7

Is A7 a secondary Dominant in the key of C Major?

Yes, but unless it is followed by D-7 or D7 I would assume its just vi reharmonized as Dominant.

In a Major scale a ii chord is a diatonic substitution for what chord?

the ii chord in a Major scale is part of the Sub-Dominant family, so it could be seen as a diatonic substitution for the IV chord.

In a major scale viidim is a diatonic substitution for what chord?

The vii and V chords are part of the Dominant family, so the vii chord, could be seen as a rootless V chord, or a diatonic chord sub for V.

Which of the following is a direct substitution for a C Major Chord, D7, Gm, G7, G, G9, Em, Em6, Am, Am6, Am9, C11, Cadd9

In your definition, a direct substitution is a chord that retains the basic tonality of the original chord, so Cadd9 is a direct substitution for Cmaj.


Which of the following is a difrect substitution for an Am7 chord? D7, Gm, G7, G, G9, Em, Em6, Am, Am6, Am9, C11, Cadd9

Am9


Expres at least 3 different chords that are enharmonically to C#m7add#13/A

C#m7add#13/A has the notes

C# - E - G# B A## A

It could also be expressed as

Emaj6##11/A

(god, too technical?)

G#minb6add11add#9/A

Amaj9##8

Probably the most painfull part of the whole thing!
Last edited by Galvanise69 at Nov 2, 2008,
#38
When do you say that the rhythm is femenine and when it is masculine?

I dont know, could somone please explain?

Define syncopation and counter time and the difference between then


Syncopation is playing off the beat, but countertime, I dont know.. explanation again please.

What do you think are the most impotant aspects of melody?

Harmonic & Melodic context, the melodic movment of the voice and the harmony it creates with the chords. And obviously the phrasing

Name two different types of tunings and why they would be used

Standard tuning, no brainer

Drop D tuning, to be able to play powerchords on the open bottom three strings.

What kind of music do you like?

Fusion, Jazz, Avant-Garde, Progressive, and Metal.

Define Cadance and its types


A cadance is a chord progression, that makes a harmonic statement. As to wheather the music feels finished, or wants to continue.

Some basic cadances are

V - I: Perfect Cadance

IV - I: Plagal Cadance

Deceptive: A V chord resolving somplace other than down a fifth

Imperfect, Half, or Open: I - V

What is the difference between each other?

Lol wut?

What is the difference between a perfect cadance, and an imperfect one?

A perfect cadance is chords V - I, and siginifies the closure of a peice.

A imperfect cadance is chords I - V and is more like a pause, definatley going to continue.

Define Diatonic Functionallity and why it is important for tonal music

Could say some BS shit about this, but a proper explanation to myself is probably required.

State their fnctions and parralels


Sorry, explain again, I dont know.
#39
What is the difference between modal and tonal functionality? How are modes different from each other?

Modal functionality is derived from one of the modes of the Major, Melodic Minor Ascending Form, or Harmonic Minor scale, and it resolves to the Modes i/I chord in the end.

The modes differ completley from one another because they are generated by a completley different set of intervals, and function over different types of chords, and imply different feels/moods.

Define Triad and its types

A triad is a 3 note chord.

Common types are

Major (1 3 5) Minor (1 b3 5) Augmetned (1 3 #5) Diminished (1 b3 b5)

Do sus2 & sus4 chords could as triads too?

Say Which triads are formed from minor/major, or harmonic minor/melodic minor scales


All Major, Minor, and diminished triads can be derived from the Major/Minor scales.

Augmented Triads are exclusive to either Melodic Minor (Ascending Form) or Harmonic Minor Scales

e.g

Major Scale

Major Triad I
Minor Triad ii
Minor Triad iii
Major Triad IV
Major Triad V
Minor Triad vi
Diminished Triad vii

Harmonic Minor

Minor Triad i
Diminished Triad ii
Augmented Triad III
Minor Triad iv
Major Triad V
Major Triad VI
Diminished Triad vii

Melodic Minor Ascending Form

Minor Triad i
Minor Triad ii
Augmetned Triad III
Major Triad IV
Major Triad V
Diminished Triad vi
Diminished Triad vii

GOD!!!!

If ive missed any questions please let me know, also please, a comprehensive marking!



THAT TOOK SO ****ING LONG!
#40
For for the septuple post, this makes it octuple, just so damn afraid my web would freeze if I tried to cram it into less posts and I'd lose the whole thing, cause damn well bilieve it, it took forever to type up!

Would we be able to do one of these things on UG weekly?

Also, I edited two of those questions, the two about direct substitution from 20Tigers, after I saw MyungsMusicians corrections, never new about direct substitutions.

The rest of the answers were done without any assistance, as they all should have been.
Last edited by Galvanise69 at Nov 2, 2008,
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