Found 400 results
Found 400 results
I hear you, and absolutely agreeSean! What would be the top two things you'd rate as the bigget problems?
The visuals are the sound put through an oscilloscope. They relate visually
in this case it tells us how it sounds, i said that didn't I?
so like the low sounds bulge out and the clicky sounds make other patterns noisy and stuff. just on a simple level
So right now im studying how to build basic traids and chords and I understand how to turn the triad into minors, diminished, and augmentd. My problem I find is that on the sheet music im using to study has several of the minor triads without ant flats. For example, the aminor and dminor triads do not have a flatted 3rd. So am I missing something or are these the correct way to make these traids. If it is the correct way, how would you make a regular a and d triad then? Thanks!
Would you mind giving me a quick intro to what inversions of a chord are. And perhaps what they would be for, say, G major.
I compose professionally, and I can say, without a doubt, you need to be able to read music.
Yes, you can produce orchestral pieces in the same way a dubstep producer would make his music, and that will get you work when people want a piece of music on an mp3 file ready to go. However, barely any of the jobs I've had asked for that.
There have been many times where I've had to provide sheet music for a singer to hand to a pianist, or I've had to give sheet music to an orchestra using all three clefs while accommodating transposing instruments. With your lack of skill, you could not work with Classical musicians, and even Jazz musicians will be confused. Remember, composing is a hard business. If you can get results, but to get results you have to spend hours in a studio, spending your employer's money talking trained musicians through the music like they're five, then you're useless. I and many others can get the same, if not better results by sending over some PDF files via email to be put in front of musicians capable of reading it, so why employ someone who takes ten times longer to get it done?
As for bands, my band can still be incredibly tight after a month of no rehearsals because everything is notated and set in stone before we get together for a rehearsal. It really helps being able to communicate exactly what you want and is essential for someone wanting to be professional.
I've seen people talk about the MP3 being disabled or dismantled in UG. Is this true?
It still see MP3s on people profiles, can upload MP3s to my own profile, can create a new "band profile" and upload MP3s there too.
In the little grey box at the top right of the screen where your username and avatar is with the four white links - profile, ugplus, history, favourites - click profile then look at the same box in the top right. One of the links now says music. Click on it and you can upload music.
When you visit someone else's profile there is a tab called MP3s on their profile page that lets you listen to their MP3s
I know that it is more common to post on soundcloud and whatever, I'm just curios as to why everyone says that UG has abandoned MP3 hosting? Is there a memo somewhere that I'm not paying attention to??
That's why most musicians think guitarists are mouth breathing ret.ards
damnant quod non intelligunt
Duane, Jet ...
I suspect we're agreeing, but maybe learned differently? But I could well be wrong in terminology here, and happy to be corrected.
To me, the use of the word "key" means both a tonal centre and a scale choice (from my jazz background).
For sure, the progression is pushing towards the chord of Bb maj, but since there are some chords there that are not diatonic to the scale of Bb major, I'd thus not say this was in the key of Bb major. I would say it centred on the Bb tonality. I'd also say that Bb maj or mixolydian could be used over this.
For sure, the Dm7 and F7 backup the key of Bb major.
TS didnt ask any questions, so Im not sure what your talking about. No, literally, he didnt even mention the word guitar in his whole post
Okay, since you dont seem to understand why this music is modal, I will do you this favor one time. Go to the chant library, and pick your two favorite pieces. I will explain to you all the characteristics which make them unique from tonal music.
And no, its not about "Im so smart." Its about "these are the resources that led me to my conclusions. I encourage you to look over them and reach your own conclusions."
Nah, Im not going to. Just because your a lazy ass doesnt mean Im going to compress 1000 years of music into one OP. It would be a disservice to everyone on MT and the music. Instead, I will reference you to music and literature I found inspiring. If you get something out of the sources I share, great for you. If not, thats fine because it means theres one less person that can do what I do and Im fine with that.
Also, the texts I post are going to be more in depth and informative than I could ever be
I think you are afraid of looking at them, because god forbid, MT actually figure out what modes are and then we cant have these wonderful circle jerk discussions anymore
Not. My. Problem. Its a thread about modes, not guitar.
Maybe instead of being a debbie downer, you would just check out some of the stuff I posted, and then I would get to the modal music with the lutes in it.
Also...sorry, Im just having a really hard time understanding why this is difficult to apply to guitar. I mean, piano plays chords. Guitars play chords. Hell, in jazz music, half the time you give the piano player and the guitarist the same part. Whats going on here shawn? No, but serious, how does it not apply to guitar?
^Sorry alan, I feel like my presence combined with shawn has ruined this thread. In all honestly, I was just trying to show people some music which is without a doubt modal, so that we could at least avoid the question of whether or not the material in question is modal.
Seems like since crazyshawn cant dispute the tonal characteristics of the music I posted, they are attacking the way I submitted it to the forum
When playing in a certain key, do all the notes in a chord need to be part of the scale being used? I mean, if I'm playing C Minor, would I always play F Major chord and not minor because the major third - A is part of the scale and the minor third isn't?
Or how about you read all those treatises, books, doctoral theses, and scores I posted 2 months ago when we went over this once already. Thats where I learned from, so if you have an issue, you can take it up with the author
Heres how to read it, since you probably cant
When your done, you can give me a blow job for using google for you. And then we will move onto the Renaissance.
Taking bets on whether shawn will learn something, or come back with another "witty" response
Well, I know for a fact I know more than you at least. If theres one thing the Catholic church teaches you, its how to sing modal music
So you can leave the thread any time now
Thanks for your outstanding contribution
Can anyone explain why shawn hasnt been banned for advertising and off topic shit posting?
I'm currently learning about pentatonic scales. I don't always have time to practice since school has me
so busy,but I'm still practicing as much as I can. I read around the forum,and there's a lot of helpful advice,but it stil doesn't answer my questions.
1)How the heck do you make up a solo?
2)I have a book that taught me the forms of all 5 scales. There are practice songs,but it says "solo using the A minor pentatonic scale" and the say I should play A7 and E7....how in the world do I play a chord over the pentatonic scale then?
3) Why do I need to learn pentatonic scales?
Thanks in advance
I probably have more personal experience with modes across different tuning systems and notation styles and more genres than anyone on MT
A concrete suggestion would be appreciated. Anyone?
Don't you know it's illegal to SAY triads in Jazz?
This might be the worst case of the pot calling the kettle black I have seen in my life.
Well even when comping a single chord, you want to play a melodic line. Strumming the same Cmaj7 voicing is a pretty boring melody. E E E E E E E E E E E
Sometimes I ditch the chords for a bar or two and play counter-melodies and do a little duet with the soloist.
And yes, I've gotten more than a fair share of dirty looks from sax players.
I know Sean, I'm too nice to you guys.
I stuck it in the Q&A post.
Lady Bird is a great tune to work on. You get great practice on a backdoor dominants, turnarounds AND you go through 3 keys all while avoiding a blindingly fast tempo.
If you want to crank up the speed, there's a Miles tune called Half Nelson that is the same changes at 2x the speed.
ive posted a few times in MT now and got great responses, i feel like im finally getting somewhere after hitting a brick wall learning guitar,
long story short my technical ability is very good but theory wise i am lackkiiinnngggg.
ive decided to hit a middle ground of keeping guitar fun and developing some theoretical skills. that is to learn guitar parts to a collection of music i like, analyse the construction and the chord/scale names/types, and learn all of it where it can be helped by ear.
ive seen countless questions posed to the old wizards of rock (clapton, page, beck, may) etc and they all seem to state they learnt by listening records on vinyl.
surely with the myriad of techniques and feel those guys display learning the "old fashioned" way as oppose to the good ol internet is one of the greatest ways to improve youre guitar playing and knowledge.
can anyone vouch for this and advise anything further that may help? ive just nailed the solo from sick again by ear and its such a good feeling!