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Yeah, I'd take them down. Pretty close to gore/shock, regardless of if they've been printed in a major publication or not, I would think.
True to both of the above--I was rushing into a midterm, so there's the typo and the omission of the D in the chord name.
Yeah, chord knowledge and theory are vital to bass as well. Without it, you won't have nearly as easy of a time as if you know what you were trying to outline.
All right, the new chord an A major. Haven't gotten to the other chords yet, sorry.
I'm in between midterms right now, so I'm distraught about my last one, and somewhat fearful of my next, but here's my go at it.

Part one is an Em, for sure.

The second chord, I don't know if there's a typo in there, but that is a seriously ****ed up chord. Assuming you're wanting to take that A in the bass as the root, you're looking at a root, P4, P5, m7, and a tritone. In essence, you've put the blues scale into chord format and took the m3 out.

For that one, you're looking at couple chords: B11#9 (no 5), D#maj7b9#5 (no third, so the maj refers to the 7th), and/or D#maj7b13b9b5 (also no third). I don't know what you're trying to imply there. Any of these will work, since there is an F# and a G in the next chord.

Thinking there's no typo after looking at chord three. This is basically, if you rearrange it into the same octave, a cluster chord. This isn't as out there as the last one, but there are more choices. You said in the first post you want this to be a D, and it can easily be a D11 (no 7 in there, though). I'll write all the possibilities out at another time, after I get the chords all put together and pick the best names for those voicings.
Yeah, fourths may not fit with your tune, though. Generally, yeah, harmony parts are the higher parts (except for Simon & Garfunkel, like "Sounds of Silence"), and it's fun to write them. There are obvious choices when look for harmonies, basically any metal band with two guitars
You could try fourths to be ambiguous--that's how church chants used to be. They'd start in unison until the top voice got a fourth above the tenor (bottom) voice, then they would move in parallel fourths until the second to last note and end in unison.
Quote by Sean0913
I agree that its D major, its a ii V I to start with.. The C is a bVII as well...not diatonic but definitely...D major.

Sean


The C could be a tritone sub for the iii chord, or act as a secondary dominant function if the progression was tweaked a bit.
Well don't think one is superior/inferior--they're both great instruments, and whichever one you feel inclined to pursue, I encourage you to go for it.
That's silly. I played guitar on my own for years, and I was adequate. Lessons WILL help you, that's for sure.

Don't think trombone is an "easy" instrument. It's a different sort, and what could be piss easy for me (I've taken a liking to that phrase from this thread) could be hell for you, but vice versa with another instrument.

Also, 99% of the time, you WILL NOT be playing drum set in a percussion section. Seriously. I would go so far as to say that's a dumb assumption, but you haven't played with large ensembles very often. The only thing you'll need as a percussionist at the beginner level is a practice pad, sticks, and a metronome. There is a lot more to percussion than that, though.
I really don't think you needed to ask that question. I would think it's fairly obvious
Was this ever part of the dilemma you were mentioning at the start of this thread? If that's the case, then yeah, go for it. Band will be easier for you to get into, they're typically a different level than orchestra (though that isn't the case all the time, of course). Trombone is the easiest instrument to relate to a guitar, because in a way the seven positions give an abstract view of a fretboard. Percussion would be good for you to get solid with rhythm.

These things will help a little with theory, but in my experience, band classes tend to focus less on theory--though that's just my own personal experience. I would love to have had more theory and whatnot, but that's really what you're after, by what you've been saying.
It's a great idea, but it's offset in that though people will quote from the quote button, it's just a formatting thing, and you can put whatever "source" for the quotation. The idea of a one-button search for that is interesting, but at that point, if you're that interested/concerned, you may as well search the quote tags specifically.
Quote by AlanHB
Of course it depends where the song resolves to, I'm probably being swayed by an original song I play with a band which has the exact same verse chords and is in E minor.


Yeah, it depends on what the final resolution in that progression is.
Quote by GimmeRock
well this is sort of but not necessarily irrelevant but i need to take some kind of instrutment. my brother and my cousins suggest i learn brass or woodwind instruments.besides with my messed up knowledge on guitar i don't know if it's a good idea to keep learning it--or trying to learn it . but originally i wanted to learn bass but i don't know what i'll need to know



Your logic is incomprehensible. Learning guitar or piano will give you better understanding of chords, if that's even what this thread is about anymore. Why? Because you can actually play chords on them. It's honestly not an issue of "I learned it wrong, I need to do something else." To be completely honest, that's frustrating to me to just read. Disinclination is the EXACT word to use in this situation. In case this hasn't been made abundantly clear, this section of the forum is dedicated to helping other gain an understanding of music--there are plenty of people willing to help you.

What do you mean you have to take up another instrument?
Violin and guitar are radically different. At the moment, it would be a better idea to stay with guitar--at least until you have a basic understanding of theory--before you get to instruments that play very differently.
I think the reason is that there are more possible conversation topics than those. No one is claiming more importance of this topic than any of the above, but there's also threads on this forum dedicated to those topics.
Those are just silly statements. Pop music has followed trends. To be semantic about it, it's stayed the same, if anything. The face has changed, but at its core it is still a genre that appeals to the majority of listeners in their intended demographics. It's what people want. That's why all you hear at clubs are the same songs, and why the term "Top 40" exists in the first place.
The Em over a riff, as you so confusingly and convoluted-ly put it, implies the general tonality of that measure. That is, the notes being played fit within the sounds made by an Em chord.

Honestly, these sorts of things are concepts you should consider getting straight and having a vocabulary for.
Quote by merriman44
Ya know, it wouldn't be that bad, though the singer has some issues with straining on the youtube videos.

Word of advice, and before you tell me to take a chill pill, don't insult those that you ask opinions from. It's unprofessional and in this industry everything is based off of perception. They're our many bands that could/would have made it had they not been pretentious arses when they were nothing.

To be honest I like this type of music but your actions have left a bad taste in my mouth.


+2.

~~
Quote by 1500 meanstreak
Well, I didn't insult anyone who simply gave an opinion on the music!


Quote by 1500 meanstreak
lol sorry, just going for teh lulz! I guess I should have titled it "The sweat off our balls is better than any band wyldething will ever play in" or something like that. Nice Martha Stewart avatar by the way!


~~

Also, one word of advice as far as the forum goes, watch for double/triple posting. Clogs the forum with unnecessary bumps, and unless policy changed since I last frequented the boards, it's warnable.
Quote by Acϵ♠

No man it's not that. It's not being ass hurt or jealous or anything stupid like that. As a musician, and im sure 99.9% (the .1 being you) of the gentlemanly folks on this fine website will agree, this "music" is purely offensive. No joke, watching this i can't even laugh because it's just such a stupid concept. The whole thing. The song, the lyrics, the shitty acting, everything about this garbage is just such bullshit. It's an insult to legitimate music because it's just so utterly fabricated and shallow.
~~~~
Precisely, and art typically requires a degree of creativity and originality, something that this song and video make a total mockery of it. It's impossible to take seriously. There is nothing artful about this. Nothing.


Quote by Kensai
Also the target demographic is 8-13 year-old girls, geniuses. Don't know if you listen to this kind of music regularly or not but the lyrics and song structure aren't meant to be deep.



I don't know if you've ever taken a statistics course, but you clearly misread the sample data provided by the pool of responses here. I'm not going to bother arguing statistics, because what you're trying to say is that there is a definitive level of "goodness" based on taste without taking into account that taste is an entirely subjective concept.

It's bubblegum pop, something that has existed for half a century. It appeals to a different demographic, which is exactly what Kensai pointed out. In the 60's, you had people listening to The Beatles. There were aficionados, I'm sure, that saw the group as inartistic as some see pop today, being nowhere near the level of a piece by Wagner, or even more contemporary composers at the time. Of course, this is not to say Black will be that influential (though The Beatles got by singing the pop of the time, initially, once they were signed).

It appeals to an entirely different sensibility. It's apples and oranges. You can't compare Dvorak and Nirvana. You can't hold the Wiggles to the same standard as Dream Theater. It's just a silly notion, and to say that you dislike it is entirely your call, and should be respected. To say that it's offensive, though, makes you lean closer to the Tipper Gore end of the spectrum, saying that these things are bad and insulting, therefore they shouldn't exist.

That last reference is a bit of a stretch, I'll be the first to admit, but I'm trying to wrap it up so I can make a run to the express bus now
It's because of the intervals between the first and fifth degrees.

B to F# has the same amount of half steps in that interval as A to E, and all the others. Since you can't have a sharp in the key of C major, and the fifth has to be an F note, it would be an F natural. A perfect interval lowered one half step becomes a diminished interval (just like it would become augmented if raised the same amount).

Major and minor refer to the interval between the root and third degree (in terms of a chord), and the fifth is implied to be perfect because there is nothing saying otherwise, so there is no reason to say Cmaj5, or something like that--in this case.

Does that help, or should I go into more detail? (I'm about to head out for a family member's birthday, so it'll be a bit)
This whole thing is to taste. There are ridiculous guitar solos played by folks who sit down in multiple genres.

Where's that .gif of the guitarist doing a somersault onstage while playing?
Because it's technique-related.
I should probably clarify, I'm not making a masculinity question, strike that completely. I meant getting asked about the nails or a compulsion to explain after and handshake and they give you a look because they have no idea about it
Quote by Zaphod_Beeblebr
Nah, fine if you want


No he hasn't and it's that attitude that gives people the wrong idea about modes.

You may arrive at a mode that way but that isn't how they're used in the real world of music, that kind of attitude leads to people playing over an A minor progression, switching to the 7th fret and thinking they're playing in B Locrian when they're still actually in A minor.

As I said, TS should forget modes for now because until you understand conventional tonal harmony and application they just complicate the issue.


Definitely agreed (To the beginning and end statements). That example is definitely the wrong way about it, but I didn't say the guy had it nailed. He's beginning an understanding that needs to be clearly refined.
Quote by CoreysMonster
psst.. nobody tell this guy that autotune is used on nearly every single professional production in nearly every single style of music >_>

But as for your first post, negative and positive comments are to be expected, of course, but the thing with the internet is that people always start spewing shit that they would never say in real life, like telling people to go cut themselves or whatever. Everyone's a tough guy on the internet, but to degrees that just boggle my mind when it comes to teenagers on the internet for some reason. It's not just a matter of negative or positive responses, it's being told to kill yourself by hundreds of people just because a little video you just made for fun has gone viral.




To the last part, there are definitely people like this that actually say that kind of thing aloud, and it just boggles the fuckin' mind, man.
Totally, I'm a good half a foot or so shorter, but long nails don't transcend masculinity to some folks, I guess. I've been using 600 just because it's what's in the garage, and I'm out of the higher grit.
^The Berklee Press Modern Method books are good, I've used those.
It's generally a classical thing to file the nails on your picking hand (I use rough sandpaper to shape, then 600 grit for godlike smoothness), but I've found that it helps loads with fingerpicking in any style.

I myself am a jazz major, but I play a bunch of rockabilly, and I love the snap I can get out of the strings. Anybody else use this for their nails?

If so, how often do you have to explain to employers, colleagues, friends, etc. why you have "chick nails?"
Quote by Junior#1
Slow down the song and work on it a a more manageable tempo, gradually working on getting it faster and cleaner. As your fingers get used to the movements they have to make, it will seem easier to play it at a faster tempo.


+1, muscle memory is a great tool. It can cause trouble sometimes, but being able to play it slow and building up is a great practice technique.
I actually had never heard of it before this semester, but a buddy of mine is taking a beginning jazz class at a local community college, and there's a Real Easy Book, where it sort of breaks the songs down for you. Every professor I have tells everyone that the only way to practice sightreading is to do it every day. The general consensus is that you take a few minutes to a half hour just sitting down and reading through a tune, one whichever instrument. Play through it once, then never look at it again (for a while, anyway). Rhythm is the most important element of sightreading, as jazz professors will tell you, but notes are also important. Make sure you play it at a steady tempo, and you go with the tempo. A metronome would help with that, better yet a backing track (and this isn't just for jazz, it's for anything). To add to that further, if you mess up, keep going with the song, don't start over.

I'm sure there are books on just sightreading, it's a huge topic
Quote by OceansBetweenUs
so you play standing with your guitar at neck height?


Plenty of people choose to wear it above the belt (although that high is pretty ridiculous )
It's likely just personal preference, unless there's pain of some sort involved.
Quote by Most_Triumphant
Go try out violin books or something in the clef you want that works pretty well.


YESYESYESYESYES



Go out and read music for other treble clef instruments (be wary of transposed music, though, like trumpet and the like)
Quote by Zaphod_Beeblebr


Also: don't use the term modes. Since you've used it with regards to the pentatonic scale I can only assume you're using it in entirely the wrong way so forget all about modes for now.


There are technically modes on any scale, albeit they can kind of be synthetic. A pentatonic scale can be anything with five notes, to split hairs. If he's using the term mode to imply starting and ending an A major pentatonic scale on something other than an A (say a B), then he's got the right idea.

To the TS:

Expand your scalar vocabulary. You can play pentatonics over blues progressions, but that's far from the only scale. You can go through different mixolydians, blues, and tons of other scales. It's a bit harder to explain without getting into theory, though.
Quote by Aindreas


And your opinion of being a musician is wrong.


Incredibly inane statement, opinions are never fact and are obviously variable and subjective.


On topic, though, I get your dilemma. There are simple beginner books at local music shops that will teach you to associate notes with locations on the fingerboard, etc.

One thing, though, is that the trouble with reading music on guitar is that, unlike piano, there are multiple ways to play a given pitch, so intuition comes into play there.

One thing that helps with sight reading is a jazz fakebook called The Real Book (6th Edition) . There are multiple volumes if you feel up to it. It's loaded with tunes that range from incredibly simple to "fuck the guy who wrote this," and it can also help with improvisation.

In general, though, it'd be good to get more lessons in theory. Alfred's Essentials of Music Theory is a super good resource to help with identifying inversions, and is a great start. There's an answer key you can get for cheap later, too, if you can't get anyone to correct it for you.

That's a good start, but is there something more specific you're looking for?
Well, what I said is general classical theory, which can be applied to whichever style in some degree.

Quote by Alex Vik
I love how if something big happens online everyone assumes it's 4chan. This was made viral by Tosh, not 4chan.


It's probably there by now, though.
Dude, yes.



Also, don't be taking my name, sir