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Stop worrying about it and do it. When you do it, do it well and enjoy it!!!
Make sure you sleep 8 hours per night. Do some high intensity exercise for between 30-60 mins everyday. Eat primarily to fuel your body with the nutrients it needs to function at it's best. If you do these three things you will ensure that you keep your sanity and maximize the results of your efforts.
Don't treat your schedule like a jail. Get a part time job if you need one. Find other people that are passionate about music and nurture those relationships. Playing with others should be a part of your practice schedule.
Throw out your TV, cancel Netflix, etc. That shit is just a big life leech that sucks your time away from you and you'll never get it back.
Make sure you sleep 8 hours per night. Do some high intensity exercise for between 30-60 mins everyday. Eat primarily to fuel your body with the nutrients it needs to function at it's best. If you do these three things you will ensure that you keep your sanity and maximize the results of your efforts.
Don't treat your schedule like a jail. Get a part time job if you need one. Find other people that are passionate about music and nurture those relationships. Playing with others should be a part of your practice schedule.
Throw out your TV, cancel Netflix, etc. That shit is just a big life leech that sucks your time away from you and you'll never get it back.
Yes, and yes. Look at both relationships.
The tonic chord is the home chord. All the other chords are heard in relation to the tonic. They are also heard in relation to each other.
But its a little more complex than that too - which chord fulfills that tonic function is determined by the relationships with the other chords. The chords D, G,and A could be played in ways that make any of those three chords sound like the tonic. This would then change the way all the chords sound against one another. You could play those chrods as a II V I in G, a I IV V in D or a I IV bVII in A. It all has to do with how you build and release tension. Repetition, strong beats and rhythmic phrasing, harmonic and melodic phrasing, the use of dissonance and consonance, are a some concepts that will help you to establish a sense of tension and resolution.
This makes it sound pretty complicated, but it's really a lot simpler once you understand a few basics around harmonic function. It's also somewhat instinctive. You've been listening to music for a long time and it's easy to doubt yourself when you start learning these concepts but you will hear the tension and the resolution.
Gaining a working understanding of harmonic function and voice leading will blow this stuff wide open for you.
The tonic chord is the home chord. All the other chords are heard in relation to the tonic. They are also heard in relation to each other.
But its a little more complex than that too - which chord fulfills that tonic function is determined by the relationships with the other chords. The chords D, G,and A could be played in ways that make any of those three chords sound like the tonic. This would then change the way all the chords sound against one another. You could play those chrods as a II V I in G, a I IV V in D or a I IV bVII in A. It all has to do with how you build and release tension. Repetition, strong beats and rhythmic phrasing, harmonic and melodic phrasing, the use of dissonance and consonance, are a some concepts that will help you to establish a sense of tension and resolution.
This makes it sound pretty complicated, but it's really a lot simpler once you understand a few basics around harmonic function. It's also somewhat instinctive. You've been listening to music for a long time and it's easy to doubt yourself when you start learning these concepts but you will hear the tension and the resolution.
Gaining a working understanding of harmonic function and voice leading will blow this stuff wide open for you.
^Yip.
I also can't see where this fragment occurs in the tab you linked.
Note that tuning of the six string bass is B E A D G C. Not EADGBE as you've indicated.
If the part you are talking about is the repeated riff at the beginning (around bar 3) then the notes are shown below. I haven't had much sleep so hopefully I've not made any mistakes:
GUITAR
E|--------------------------------|
B|--------------------------------|
G|F-------------F-----------------|
D|--D-D---C-D---------D-C-C-C#D---|
A|--------------------------------|
E|--------------------------------|
BASS
C|--------------------------------|
G|--------------------------------|
D|--------------------------------|
A|D-D-----D-D-----C-C#--D---C-D-C-|
E|------A-------A-----------------|
B|--------------------------------|
Is this the part you're referring to? Maybe look at those intervals between the Bass and Guitar parts again and consider MaggaraMarine's post (Dm)
I also can't see where this fragment occurs in the tab you linked.
Note that tuning of the six string bass is B E A D G C. Not EADGBE as you've indicated.
If the part you are talking about is the repeated riff at the beginning (around bar 3) then the notes are shown below. I haven't had much sleep so hopefully I've not made any mistakes:
GUITAR
E|--------------------------------|
B|--------------------------------|
G|F-------------F-----------------|
D|--D-D---C-D---------D-C-C-C#D---|
A|--------------------------------|
E|--------------------------------|
BASS
C|--------------------------------|
G|--------------------------------|
D|--------------------------------|
A|D-D-----D-D-----C-C#--D---C-D-C-|
E|------A-------A-----------------|
B|--------------------------------|
Is this the part you're referring to? Maybe look at those intervals between the Bass and Guitar parts again and consider MaggaraMarine's post (Dm)
Themselvs
I don't know the song, nor do I know the context within which these notes occur. I don't know what has come before or after and I don't know whether there are other instruments filling out the sound with chords etc. All of these things make a difference. With that disclaimer stated I will take a best guess approach at what could be happening based on the limited information provided.
The bass is showing me D and G. Best guess is that this is a G chord of some kind (which contains the notes G and D (first and fifth). The F in that situation would be a b7. This suggests it could be a G7 chord..
I don't know the song, nor do I know the context within which these notes occur. I don't know what has come before or after and I don't know whether there are other instruments filling out the sound with chords etc. All of these things make a difference. With that disclaimer stated I will take a best guess approach at what could be happening based on the limited information provided.
The bass is showing me D and G. Best guess is that this is a G chord of some kind (which contains the notes G and D (first and fifth). The F in that situation would be a b7. This suggests it could be a G7 chord..
The C major scale is the notes C D E F G A B C. When you are using this scale musically you would arrange them in a way that makes C the tonal centre. The same seven notes can be played in a way that makes A the tonal centre. This is no longer C major but would become A natural minor. C major and A natural minor share the same notes but have distinctive sounds. One sounds minor and one sounds major. One is around the key centre of C and the other around A. Each note forms a different relationship with the root note.
Similarly the same seven notes can also be arranged musically to imply different hierarchies of relationships. If we used the notes in a way that made D the tonal centre then all the other notes would relate back to D. E would sound like a major second, F would sound like a minor third, G would sound like a perfect fourth, A would sound like a perfect fifth, B would sound like a major sixth, and C would sound like a minor seventh. This would be D Dorian.
If instead we used the same seven notes and made G sound like the tonal centre then we would have G Mixolydian.
These are the modes. The notes appear anywhere on the fretboard. It's how you phrase those notes and the musical context that will create a sense of which note is your home.
The notes of C major are all over the fretboard. In order to learn them many people break them down across the fretboard into smaller more manageable shapes. One method involves using seven distinct shapes each shape containing three notes per string and starting on a different note of the scale.
Because the lowest note of that position is not the root note then often they are called by a modal name. However, this is just a misleading convention. It doesn't really matter which note you start on, what matters is how you use the notes musically to create a tonal centre. That's what will determine the root note.
All the positions there are just the notes C D E F G A B C across the entire fretboard. When you're using any of those shapes over a droning C chord for example they are all C major.
If however you had a droning Dm chord and were improvising over it using any of those shapes then you would start to get a Dorian feel because the droning Dm is going to root you in D progression.
So those shapes are just a collection of notes across the fretboard. They aren't modes until you apply the right musical setting and create the right relationships.
The mode names there are just a misleading naming convention. The reason they use that naming convention is that each shape "starts" on a different note of the major scale as the lowest note in the pattern. They then name the pattern by the mode that uses that starting note as the root. -But as explained above playing the patterns like this is not setting the necessary musical context. All the shapes shown there could all be C major, they could all be D Dorian, they could all be G mixolydian, they could all be A Aeolian...etc etc etc
Similarly the same seven notes can also be arranged musically to imply different hierarchies of relationships. If we used the notes in a way that made D the tonal centre then all the other notes would relate back to D. E would sound like a major second, F would sound like a minor third, G would sound like a perfect fourth, A would sound like a perfect fifth, B would sound like a major sixth, and C would sound like a minor seventh. This would be D Dorian.
If instead we used the same seven notes and made G sound like the tonal centre then we would have G Mixolydian.
These are the modes. The notes appear anywhere on the fretboard. It's how you phrase those notes and the musical context that will create a sense of which note is your home.
The notes of C major are all over the fretboard. In order to learn them many people break them down across the fretboard into smaller more manageable shapes. One method involves using seven distinct shapes each shape containing three notes per string and starting on a different note of the scale.
Because the lowest note of that position is not the root note then often they are called by a modal name. However, this is just a misleading convention. It doesn't really matter which note you start on, what matters is how you use the notes musically to create a tonal centre. That's what will determine the root note.
All the positions there are just the notes C D E F G A B C across the entire fretboard. When you're using any of those shapes over a droning C chord for example they are all C major.
If however you had a droning Dm chord and were improvising over it using any of those shapes then you would start to get a Dorian feel because the droning Dm is going to root you in D progression.
So those shapes are just a collection of notes across the fretboard. They aren't modes until you apply the right musical setting and create the right relationships.
The mode names there are just a misleading naming convention. The reason they use that naming convention is that each shape "starts" on a different note of the major scale as the lowest note in the pattern. They then name the pattern by the mode that uses that starting note as the root. -But as explained above playing the patterns like this is not setting the necessary musical context. All the shapes shown there could all be C major, they could all be D Dorian, they could all be G mixolydian, they could all be A Aeolian...etc etc etc
jacobalden91 I would like to encourage you to explore more sounds, and grapple with some new musical ideas. ![]()
But yes it's perfectly okay to stick to familiar ground.
But yes it's perfectly okay to stick to familiar ground.
^What he said.
Context has a big effect. But yeah, what he said.
Context has a big effect. But yeah, what he said.
Even some very traditional songs do what you are suggesting. They start in a time signature and occasionally there is a single bar with a different meter. The only part I would questions- and a big disclaimer is that I haven't heard it -is the change in tempo. This is the thing most likely to throw listeners off. But it can work.
/great advice/
All good advice so far. Recording ideas is definitely worthwhile.
It can be good to explore structure and existing songs and break them down. I sometimes do this in logic. I load a song, set the timing to the beat then breakdown the song and use labels to mark out the sections (Intro,verse, prechorus, chorus, bridge, etc) usually with colour coding. Then I create another set of markers and break down each section into smaller parts riff A riff B etc. I'm always looking for relationships and connections.
Breaking a song right down to it's elements like this can help if you want to practice building a song up through elements. You just break it down to it's parts and then replace all the parts with your own parts. This helps if you have riffs and no overall structure.
This isn't meant to be a songwriting method, it's purely an exercise. But you never know what you might get out of it.
Cheers
Here's how I view them.
The key refers to a pitch or tonal centre around which the other notes relate. This is the key note.
The mode is the collection of notes and ways they are used to form the tonal quality of the piece of music. They are the notes that relate back to the key centre but it is more than just the collection of notes but also the way they are used. Modes often have some specific tensions or resolutions that are used to establish the specific modal character.
The scale is the step pattern that when applied to a given root note results in a specific set of notes ordered from lowest to highest or highest to lowest.
Often these three things are used interchangeably and the waters are muddied as a result.
Key often refers to key centre and mode. Major and minor tonalities are the modes that have dominated western music for the last few centuries. Other modes also exist in the western tradition. Note that C major and A natural minor use the same scale. Yet they are different modes. C major uses the B as a leading tone and G-C dominant tonic relationship as powerful ways of establishing the tonic. The collection of notes is the same as A natural minor but the use of the notes is different. In A natural minor we have a minor third. We also have two other scales used - harmonic minor and melodic minor. These are three scales but they are all used together with a specific set of conventions in a way that creates the tonal character we describe as "minor".
A scale is often erroneously described as a mode and vice versa. However, a scale is an artificial construct, a step pattern that sets out a specific set of notes and intervals. The mode is the way you use them to create a key centre and tonal character.
Mostly though you will come across modes used either to describe a specific scale pattern on the fretboard (which is not a mode - a mode is how you use those notes to create the characteristic sound of a piece of music). These different scale patterns on the fretboard are not synonymous with a single scale or a single mode. The same shape can represent a number of different modes, or a number of different scales. The same scale can be played in numerous different positions with different shapes across the fretboard.
The shapes are one large scale shape that spans the entire fretboard across all six strings and across all frets. They are just broken down into smaller chunks for learning purposes. Unfortunately they are taught incorrectly which often leads to confusion.
There are those that do not like the term "mode" used to describe anything "tonal". By this they distinguish between the major and minor system as an all encompassing system that fits music into two "tonalities": major; or minor. For these people the term "mode" is reserved for a very specific set of scales known as the "church modes". These modes are "modes of the major scale". They use the same step pattern just starting with the root note on a different rung of the ladder.\
This is a perfectly legitimate view of modes. It doesn't fit within the description all modes. But as far as the church modes it does outline the scales of those modes, though it often falls short on how to use them. For this it requires a bit of trial and error and a good ear. Often the result is simply analysed as either in the major or minor tonality anyway.
Tonality it seems simply refers to the quality of containing a perfect fifth and either major third (for major tonality) or minor third (for minor tonality).
However the Mixolydian flavour is different to the major flavour. The major mode tends to use the leading tone and dominant-tonic relationship. the Mixolydian typically leans on the bVII chord instead.
Similarly the Aeolian mode tends to use the minor third, minor sixth and minor seventh as notes that contribute to the tonal character without much use of the melodic leading tone or harmonic major V chord. The minor mode however typically uses those conventions.
Anyway, I think I've done enough to have one or more people vehemently disagree with me but if you read between the lines here you'll see that there are some areas of music theory in which there is a definite correct answer, and there are others that exist in blurry grey areas that are clarified differently depending on who you talk to. It would seem to me that you have stumbled upon one of those.
However, just remember. It's about communicating ideas. The words are only as good as the effectiveness with which they convey an idea. That requires shared understanding so as long as you can clarify your thoughts, explain, and justify them and the words are mutually understood by the people you are communicating with then you're on the right track.
The key refers to a pitch or tonal centre around which the other notes relate. This is the key note.
The mode is the collection of notes and ways they are used to form the tonal quality of the piece of music. They are the notes that relate back to the key centre but it is more than just the collection of notes but also the way they are used. Modes often have some specific tensions or resolutions that are used to establish the specific modal character.
The scale is the step pattern that when applied to a given root note results in a specific set of notes ordered from lowest to highest or highest to lowest.
Often these three things are used interchangeably and the waters are muddied as a result.
Key often refers to key centre and mode. Major and minor tonalities are the modes that have dominated western music for the last few centuries. Other modes also exist in the western tradition. Note that C major and A natural minor use the same scale. Yet they are different modes. C major uses the B as a leading tone and G-C dominant tonic relationship as powerful ways of establishing the tonic. The collection of notes is the same as A natural minor but the use of the notes is different. In A natural minor we have a minor third. We also have two other scales used - harmonic minor and melodic minor. These are three scales but they are all used together with a specific set of conventions in a way that creates the tonal character we describe as "minor".
A scale is often erroneously described as a mode and vice versa. However, a scale is an artificial construct, a step pattern that sets out a specific set of notes and intervals. The mode is the way you use them to create a key centre and tonal character.
Mostly though you will come across modes used either to describe a specific scale pattern on the fretboard (which is not a mode - a mode is how you use those notes to create the characteristic sound of a piece of music). These different scale patterns on the fretboard are not synonymous with a single scale or a single mode. The same shape can represent a number of different modes, or a number of different scales. The same scale can be played in numerous different positions with different shapes across the fretboard.
The shapes are one large scale shape that spans the entire fretboard across all six strings and across all frets. They are just broken down into smaller chunks for learning purposes. Unfortunately they are taught incorrectly which often leads to confusion.
There are those that do not like the term "mode" used to describe anything "tonal". By this they distinguish between the major and minor system as an all encompassing system that fits music into two "tonalities": major; or minor. For these people the term "mode" is reserved for a very specific set of scales known as the "church modes". These modes are "modes of the major scale". They use the same step pattern just starting with the root note on a different rung of the ladder.\
This is a perfectly legitimate view of modes. It doesn't fit within the description all modes. But as far as the church modes it does outline the scales of those modes, though it often falls short on how to use them. For this it requires a bit of trial and error and a good ear. Often the result is simply analysed as either in the major or minor tonality anyway.
Tonality it seems simply refers to the quality of containing a perfect fifth and either major third (for major tonality) or minor third (for minor tonality).
However the Mixolydian flavour is different to the major flavour. The major mode tends to use the leading tone and dominant-tonic relationship. the Mixolydian typically leans on the bVII chord instead.
Similarly the Aeolian mode tends to use the minor third, minor sixth and minor seventh as notes that contribute to the tonal character without much use of the melodic leading tone or harmonic major V chord. The minor mode however typically uses those conventions.
Anyway, I think I've done enough to have one or more people vehemently disagree with me but if you read between the lines here you'll see that there are some areas of music theory in which there is a definite correct answer, and there are others that exist in blurry grey areas that are clarified differently depending on who you talk to. It would seem to me that you have stumbled upon one of those.
However, just remember. It's about communicating ideas. The words are only as good as the effectiveness with which they convey an idea. That requires shared understanding so as long as you can clarify your thoughts, explain, and justify them and the words are mutually understood by the people you are communicating with then you're on the right track.
What MaggaraMarine said.
It is a Major scale.
R=root note.
So if you want an A major scale then find an A on the E string. Then line up the diagram so that the R is where the A note is on that E string (fifth fret) and you have an A major scale.
It is a Major scale.
R=root note.
So if you want an A major scale then find an A on the E string. Then line up the diagram so that the R is where the A note is on that E string (fifth fret) and you have an A major scale.
You don't do it for the success or the fame but you do it for the fans? hmmm Maybe I'm misinterpreting that.
I have a question so i thought what better place to come ask.
When creating a 7th or 9th chord do you add the 7th or 9th makeing a 1-3-5-7 / 1-3-5-9, or do you remove the 3rd and add the 7th or 9th makeing a 1-3-7 / 1-3-9?
Thank you in advance for any help.
A seventh chord is a 1 3 5 7.
A ninth chord is an extended chord is a 1 3 5 7 9. Note that it includes the seventh.
The fifth is a stability/power note that supports the strength of the root note as opposed to providing any colour tones. We can therefore safely leave out that note and still retain the characteristic sound of the chord. i.e. 1 3 7 is an alternative voicing o the seventh chord and 1 3 7 9 is an alternative voicing for a ninth chord.
It's not unusual. It's fear. And it's something you overcome with attitude. When you're playing in front of other musicians (or whenever it is you feel you are usually off your game) stop and start again and this time around hit the strings a little harder and hold the notes a little longer. Your confidence will follow.
Sometimes it really does take a lot longer to warm up. The thing to remember though is that you do warm up. You might be in a place mentally where it takes a minute. Or you might be in a place where it takes 30 minutes before you are warmed up. Focus on the consistency - you eventually get warmed up. It's going to happen, sometimes it's just a little longer than others.
Sometimes it really does take a lot longer to warm up. The thing to remember though is that you do warm up. You might be in a place mentally where it takes a minute. Or you might be in a place where it takes 30 minutes before you are warmed up. Focus on the consistency - you eventually get warmed up. It's going to happen, sometimes it's just a little longer than others.
MaggaraMarine is perfectly correct when he says that intervals are not scale degrees. But they are related. In the following explanation I do say that "there are no minor intervals in a major scale". Technically this is wrong because between the notes of the scale we can find a lot of minor intervals. Conceptually intervals are building blocks that make up scales. However, most people are introduced to the major scale first. The major scale provides many naming conventions so it's typically a good place to start.
Here's a previous post that explains intervals and their naming conventions. https://www.ultimate-guitar.com/forum/redirect/post?p=33155181
Here's a previous post that explains intervals and their naming conventions. https://www.ultimate-guitar.com/forum/redirect/post?p=33155181
Nautaflcl
There are two approaches to modulation.
Direct modulation and Pivot chord modulation.
Direct modulation is an abrupt change straight into the new key. .
Pivot chord modulations use chords that are common to both keys as a way of moving from one key to another.
Using a V7 - I is a powerful way to establish the new tonic. It doesn't have to happen at the point of transition but might come at the end of a phrase in the new key.
Typicaly a modulation will happen when movnig from one sectin of a song to another. The most common section for modulatin is going into the bridge. However, between other sections is also common and even sometimes within a section of a song.
If you can get your hands on a book called The Songwriting Secrets of the Beatles by Dominic Pedlar and read chapter 10 'middle eights and mega modulations' It provides numerous examples of modulations and explains how they work. I can't recommend this book highly enough!!! (It's basically a book on music theory common in rock and pop music using the Beatles material as examples.)
There are two approaches to modulation.
Direct modulation and Pivot chord modulation.
Direct modulation is an abrupt change straight into the new key. .
Pivot chord modulations use chords that are common to both keys as a way of moving from one key to another.
Using a V7 - I is a powerful way to establish the new tonic. It doesn't have to happen at the point of transition but might come at the end of a phrase in the new key.
Typicaly a modulation will happen when movnig from one sectin of a song to another. The most common section for modulatin is going into the bridge. However, between other sections is also common and even sometimes within a section of a song.
If you can get your hands on a book called The Songwriting Secrets of the Beatles by Dominic Pedlar and read chapter 10 'middle eights and mega modulations' It provides numerous examples of modulations and explains how they work. I can't recommend this book highly enough!!! (It's basically a book on music theory common in rock and pop music using the Beatles material as examples.)
donender Yes. Working backwards makes sense.
Get your perfect fifths memorized!!! Then you just go up one from there. Knowing your I IV V in ANY key is going to unlock that for you so fast. And it's not hard to learn those. If you know your perfect fifths. But even if you don't know your perfect fifths yet it's pretty easy because so many songs use I IV V that you will see the patterns very quickly.
Do you notice that C F G are often found together? (I IV V)
Have you noticed that G C D often are found together (I VI V)
Memorize your perfec fifths (up and down) from any note!
Get your perfect fifths memorized!!! Then you just go up one from there. Knowing your I IV V in ANY key is going to unlock that for you so fast. And it's not hard to learn those. If you know your perfect fifths. But even if you don't know your perfect fifths yet it's pretty easy because so many songs use I IV V that you will see the patterns very quickly.
Do you notice that C F G are often found together? (I IV V)
Have you noticed that G C D often are found together (I VI V)
Memorize your perfec fifths (up and down) from any note!
CAGED is a way of breaking down the major scale across the entire fretboard. It is not just about triad. That is just one step. The idea is that you learn the root notes across the fretboard. Then you learn a major chord built off the root in five different places across the fretboard. You then add two more notes to that chord to get the Pentatonic linked to each major chord shape and finally the full diatonic major scale linked to each chord shape across the entire fretboard.
It's useful.
Also those people that create some kind of dichotemy "this way is better than that way" are pretty silly. Both have advantages. Learn both. Use them for what they are...learning tools. What you really want to practice though is applying musical ideas in your practice of the scales. Those should be your own musical ideas as well as learning other songs. The more songs you learn that move all over the fretboard will free you up more and more across the fretboard.
good luck!!
It's useful.
Also those people that create some kind of dichotemy "this way is better than that way" are pretty silly. Both have advantages. Learn both. Use them for what they are...learning tools. What you really want to practice though is applying musical ideas in your practice of the scales. Those should be your own musical ideas as well as learning other songs. The more songs you learn that move all over the fretboard will free you up more and more across the fretboard.
good luck!!
tomas.skl That's cool that your wife understands the importance of music. Make it a family afffair. Play with her and your kid. Do it daily throughout your kids life and they will pick it up simply through exposure. If it's possible make it part of your child's education/play time.
tomas.skl Welcome to family hood.
It is very difficult to find time. It really is a matter of priority and in my opinion you should not give up the things you are passinate about when you have kids. It is easy to do with life admin and having another life dependent on you. With that in mind you should consider what it is you want to teach your kids by example.
What is important in your life? Are you watching tv - do you need to? Can you play with your kids? Does your wife or partner understand the importance of music in your life? Did she get together with you when you were playing daily? If you talk to her about how important it is to you she might help you find an hour a day to practice.
It's all well and good raising a child but they should not overtake the important things in your life. What are you teaching the if you do that? You need to make them understand that it is up to each of us as individuals to identify the priorities in our lives, to have discipline and structure that allows you to do pursue those passinos.
It's pretty hard. I've been playing less lately for similar reasons but I have two kids (20 and 18 - but the 18 year old has a rare conditin and is fully dependent). I'm a solo parent and it's hard. I work a lot and it is very hard to find time for the guitar lately. It has not always been that way. There was a time when the kids were younger when I was playing daily for at least an hour a day. It's about being disciplined and making it a priority. I am glad you posted though as it is inspiring me to refocus and ensure I continue.
TV can chew up a lot of time. The average American spends about five hours watching TV per day. Yes, per day!! Imagine if that time were spent developing skills, learning a language, or studying. Even if you're averaging an hour a day then that's an hour you could spend playing. Of course this isn't a criticism of how people choose to spend their time. Everyone is free and I am no one's judge!!
It is very difficult to find time. It really is a matter of priority and in my opinion you should not give up the things you are passinate about when you have kids. It is easy to do with life admin and having another life dependent on you. With that in mind you should consider what it is you want to teach your kids by example.
What is important in your life? Are you watching tv - do you need to? Can you play with your kids? Does your wife or partner understand the importance of music in your life? Did she get together with you when you were playing daily? If you talk to her about how important it is to you she might help you find an hour a day to practice.
It's all well and good raising a child but they should not overtake the important things in your life. What are you teaching the if you do that? You need to make them understand that it is up to each of us as individuals to identify the priorities in our lives, to have discipline and structure that allows you to do pursue those passinos.
It's pretty hard. I've been playing less lately for similar reasons but I have two kids (20 and 18 - but the 18 year old has a rare conditin and is fully dependent). I'm a solo parent and it's hard. I work a lot and it is very hard to find time for the guitar lately. It has not always been that way. There was a time when the kids were younger when I was playing daily for at least an hour a day. It's about being disciplined and making it a priority. I am glad you posted though as it is inspiring me to refocus and ensure I continue.
TV can chew up a lot of time. The average American spends about five hours watching TV per day. Yes, per day!! Imagine if that time were spent developing skills, learning a language, or studying. Even if you're averaging an hour a day then that's an hour you could spend playing. Of course this isn't a criticism of how people choose to spend their time. Everyone is free and I am no one's judge!!
I don't think the internet does anything it's a tool that people can use to access information. Access to information doesn't create bad players. Not knowing how to self study, lack of discipline, not knowing how to research and cross reference properly are all thing that lead to poor players. Lazy people make lazy players.
Dm pentatonic would be the most obvious choice. But sure, C major pentatonic would work too - they are actually just one note different. C major pentatonic has an E, D minor pentatonic has an F. But I think this is what 20T was talking about: Lydian: major pentatonic + #4 and maj7 Major: major pentatonic + 4 and maj7 Mixolydian: major pentatonic + 4 and b7 Dorian: minor pentatonic + 2 and 6 Minor: minor pentatonic + 2 and b6 Phrygian: minor pentatonic + b2 and b6 Yip exactly how I visualize modes.
@Tony Done
The relative major or minor pentatonic will not necessarily work as well as the parallel major or minor pentatonic.
What I mean by this is that the relative major or minor is the major or minor scale that uses the same notes. So the relative major scale to D Dorian is C major scale. The relative minor scale is Am.
The parallel major/minor is the scale that uses the same root note. The parallel major scale to D Dorian is D major. The parallel minor scale to D Dorian is D minor.
So that's just a little explanation of terminology. Relative = same notes different root. Parallel = different notes same root.
Anyway, in the Dorian mode the Dorian flavour is achieved by the collection of notes and the relationship between them. Specifically that distinctive Dorian flavour is achieved by the major sixth in the otherwise minor setting. So using the D Pentatonic is safe in that the notes are not going to cause any big clashes. D F G A C D. There is no major sixth to provide the Dorian flavour but it is safe.
If instead we used the shape of the C major pentatonic then we end up using C D E G A C. D would still sound like the tonic so we would actually have D E G A C D. There is not only no minor sixth in this scale but there is also no third. Both of these are quite important notes in the Dorian mode so although you wouldn't be using notes out of key you would be missing important character notes that you would want to bring out.
With that said the safest pentatonic is the parallel pentatonic. It's a skeleton that provides the stable structure upon which the colour notes of the mode hang. Which is why I visualize them the way I do. So Dm pentatonic would be the way to go as opposed to C major pent or Am Pent.
Hope that make sense. Cheers.
Tony Done I tend to visualize them as a pentatonic major or minor scale with different places for the semitones. Not sure if that makes sense but closer to the D major with a flat 7 kind of view.
jongtr He's a very talented guy with a good understanding of music theory and a really good ear. I'm not gong to argue the point one way or another I don't necessarily agree with what everyone says, but it's a shame he's not here to defend his position on those points.
A user by the name of xxdarrenxx wrote a good article on modes, chord progressions that bring out the characteristic of a mode, and provided some examples.
I think you might find it useful. Here is a link: **The Modes** Summary & Examples
I think you might find it useful. Here is a link: **The Modes** Summary & Examples
Random3Yes, you have set criteria (adults/minors or age in relation to sport) by which you are discriminating between eligible patrons. Discrimination can have a dual meaning. If we mean simply to differentiate then it is not in and of itself a bad thing. I happen to think that in that case discrimination is a beneficial thing to our society such as the examples you gave, but that's not what this thread is about. This thread is about women only sessions in pools and gyms.
The default start point should be equal access to public services and to custom businesses that are offer services to thepublic. Any claim for discrimination should only be allowed if it is clearly for the social good. Discrimination by businesses or public services should not be allowed simply because one group within the society demands or wants it.
jakesmellspooAs uncomfortable as it may be for you there are parallels in the logical reasoning between those reasons and the reasons or racial segregation. It's just that in the case of the latter it makes the conclusion much less palatable.
If a woman feels more comfortable without men around and that is a legitimate reason for segregation then why is that different to a similar reasoning for racial segregation? If whites felt more comfortable going to restaurants that were "whites only" the same logic applies. I can't see how you can logically defend one while refuting the other.
If you can show a clear difference between the two examples other than one being about gender and one about race then please do because logically the arguments are identical. I can see a difference only in quantity but as a thought experiment we can imagine a situation where the quantities are equal and see if it changes anything. If there were a whites only pool session once a week and a white only gym would it be acceptable on the grounds that the white people that attended that pool session or gym felt more comfortable as a result of the segregation? I don't think this is enough to justify it and can't see how the two are not logically identical. I'm not saying race issues and gender issues are the same. I'm saying that the logical argument that applies to one is the same as that which applies to the other and they are both wrong.
Feeling uncomfortable doesn't justify discrimination.
I understand that a woman might feel uncomfortable or unsafe. I also fully agree that she should not have to feel unsafe or uncomfortable.
But are those feelings the result of a male presence or are they the result of something else that is broken in our society? Should we be digging deeper to find out what underpins those feelings. Is it a result of a society that portrays men as perverts and sexual predators and women as sexual objects?
Should we legitimize those messages by saying YES women need to be kept safe from men by keeping men out of pools and gyms when women want to swim or work out? Or should we be addressing the fucked up gender messages and role modelling perpetuated within our society? that leads to an obsession with body image and defaulting to the position that men are perverts. These messages are creating a warped and harmful view of the opposite gender for men and women.
->in all honesty idgaf, people can do what they want...I'm just exploring ideas through argument and debate wherever that may go
The default start point should be equal access to public services and to custom businesses that are offer services to thepublic. Any claim for discrimination should only be allowed if it is clearly for the social good. Discrimination by businesses or public services should not be allowed simply because one group within the society demands or wants it.
jakesmellspooAs uncomfortable as it may be for you there are parallels in the logical reasoning between those reasons and the reasons or racial segregation. It's just that in the case of the latter it makes the conclusion much less palatable.
If a woman feels more comfortable without men around and that is a legitimate reason for segregation then why is that different to a similar reasoning for racial segregation? If whites felt more comfortable going to restaurants that were "whites only" the same logic applies. I can't see how you can logically defend one while refuting the other.
If you can show a clear difference between the two examples other than one being about gender and one about race then please do because logically the arguments are identical. I can see a difference only in quantity but as a thought experiment we can imagine a situation where the quantities are equal and see if it changes anything. If there were a whites only pool session once a week and a white only gym would it be acceptable on the grounds that the white people that attended that pool session or gym felt more comfortable as a result of the segregation? I don't think this is enough to justify it and can't see how the two are not logically identical. I'm not saying race issues and gender issues are the same. I'm saying that the logical argument that applies to one is the same as that which applies to the other and they are both wrong.
Feeling uncomfortable doesn't justify discrimination.
I understand that a woman might feel uncomfortable or unsafe. I also fully agree that she should not have to feel unsafe or uncomfortable.
But are those feelings the result of a male presence or are they the result of something else that is broken in our society? Should we be digging deeper to find out what underpins those feelings. Is it a result of a society that portrays men as perverts and sexual predators and women as sexual objects?
Should we legitimize those messages by saying YES women need to be kept safe from men by keeping men out of pools and gyms when women want to swim or work out? Or should we be addressing the fucked up gender messages and role modelling perpetuated within our society? that leads to an obsession with body image and defaulting to the position that men are perverts. These messages are creating a warped and harmful view of the opposite gender for men and women.
->in all honesty idgaf, people can do what they want...I'm just exploring ideas through argument and debate wherever that may go
jakesmellspooPlease explain the need for women only sessions at a pool or gym. What are those specific circumstances? We can't explore whether or not they're harmful without clearly identifying and understanding them.
jakesmellspooBy having a women only session they are determining who can (and more importantly who can not) use the pool based on gender. It is by definition discrimination.
Why should a time limit make a difference? Discrimination for an hour a week is still discrimination. If a public library, (or a privately owned restaurant) specified the time between 12 and 1pm on a Friday to be for "whites only" is it not discrimination? If it is time based then what is the proportion of time at which it crosses the line to discrimination?
Why should a time limit make a difference? Discrimination for an hour a week is still discrimination. If a public library, (or a privately owned restaurant) specified the time between 12 and 1pm on a Friday to be for "whites only" is it not discrimination? If it is time based then what is the proportion of time at which it crosses the line to discrimination?
which part are you referring to? please elaboratenot really tho
ouch, wow you really got me there. You're so witty and clever. I'm clearly out of my league trying to match intellect with you, so I think I'll just not.do you need a hand getting the stick out of your arse mate?
Nope, it's kind of silly to be honest. If I want to do business (whether it be at the swimming pool, a local gym, or whatever) I shouldn't be denied on account of my religion, race, gender, or disability.I signed up for a women only gym because going into a weights room with men around is really intimidating and the weights are more likely to be available to use.
If having a women only session once a week is going to encourage more women to attend, then I don't think it's really a problem. It's not like men will suffer because they can't go at that one time in the week. Should there be men only sessions? Sure, if the gender imbalance goes the other way like running men only pole fitness or ballet classes.
Closing a swimming pool's women only session because only Muslim women were using it doesn't sound quite. Sounds like misinformation. If they closed it because it wasn't well attended then that's fair enough, but if they closed it because the majority were Muslim, then that's religious discrimination, not sexism.
No, women shouldn't have their own session at the swimming pool. There shouldn't be parent and child only times either. There shouldn't be women only gyms. There shouldn't be men only clubs.
The underlying psychology behind that kind of discrimination is harmful to society.
Women are not sexual objects. Men are not sexual predators.
With the right socialisation between and amongst the genders from an early age this shouldn't be an issue for anyone. Not even toilet facilities should be gender segregated - but that's a long way off so lets start where we can.
Any business open to the public should not be allowed to discriminate based on gender. Discrimination for an hour a week is still discrimination.
^I think you could add Chet Atkins to that list.
Slow it down to a speed well within a range you can count the rhythm and play it comfortably. This might be less than half speed. Practice counting and playing the rhythm there.
Practice until you are playing the rhythm perfectly and have the correct picking motion. Then push the speed up incrementally a few bpms at a time. Spend at least a few minutes at each bpm and ensure you are playing fluently and without mistakes. Keep pushing the bpms up slowly until you are making mistakes. Then bring the speed down a little and practice there for a bit then start to push the speed up a bit more slowly.
It might take a week or two but you'll get there. It might take you less time that. Once you do get to 140bpm keep going and pushing yourself so that you can play the rhythm at 144, 148 or even higher if possible. Pushing yourself past that 140bpm mark will give you a bit of headroom so that you can play it more comfortably at 140.
Practice until you are playing the rhythm perfectly and have the correct picking motion. Then push the speed up incrementally a few bpms at a time. Spend at least a few minutes at each bpm and ensure you are playing fluently and without mistakes. Keep pushing the bpms up slowly until you are making mistakes. Then bring the speed down a little and practice there for a bit then start to push the speed up a bit more slowly.
It might take a week or two but you'll get there. It might take you less time that. Once you do get to 140bpm keep going and pushing yourself so that you can play the rhythm at 144, 148 or even higher if possible. Pushing yourself past that 140bpm mark will give you a bit of headroom so that you can play it more comfortably at 140.
Kaseke
Nope. That's just your ego fucking with you.
She didn't come to this conclusion without some serious thinking probably over a long period of time.
She is unlikely to think that so try to let go of that kind of thinking. I'm pretty sure it's a normal stage of grief (bargaining or denial or something idk) but recognize those thoughts for what they are then if you can let them go.
It's tough now, but you will get through. From a guy who has been though some shit my best advice is simply eat right and exercise daily. If you can will yourself to follow through on these habits you it will provide a lot of benefit for your body and for dealing with emotional stress.
If you genuinely do this already then that's great. The next step is to gain new life experiences as much as possible. This doesn't mean fuck lots of birds. It means go out and try new things. Rock climbing, kayaking, never been to the opera? give it a go, do some volunteer work, travel (even if it's just a weekend in a nearby town you've never been to before). Find some new hobbies, cooking, pottery, karate, dancing, painting, writing, theatre, woodwork, get an old motorbike and fix it up. It could be as simple as spending half an hour on keeping your home in order.
Writing songs and focusing on your art is good![]()
Set clear goals, stay disciplined, and follow through.
It sounds like you'll be alright but reach out to family and friends if you ever feel like talking to someone or feel yourself getting in a bad place. Spending the time to build solid relationships with people that care about you unconditionally is a worthy pursuit.
But if you just take one thing away from this post I hope it would be eat right and 40+ minutes of intense exercise daily.
I'm still somehow thinking in my head "maybe someday we'll realize it's a mistake".
Nope. That's just your ego fucking with you.
She didn't come to this conclusion without some serious thinking probably over a long period of time.
She is unlikely to think that so try to let go of that kind of thinking. I'm pretty sure it's a normal stage of grief (bargaining or denial or something idk) but recognize those thoughts for what they are then if you can let them go.
It's tough now, but you will get through. From a guy who has been though some shit my best advice is simply eat right and exercise daily. If you can will yourself to follow through on these habits you it will provide a lot of benefit for your body and for dealing with emotional stress.
If you genuinely do this already then that's great. The next step is to gain new life experiences as much as possible. This doesn't mean fuck lots of birds. It means go out and try new things. Rock climbing, kayaking, never been to the opera? give it a go, do some volunteer work, travel (even if it's just a weekend in a nearby town you've never been to before). Find some new hobbies, cooking, pottery, karate, dancing, painting, writing, theatre, woodwork, get an old motorbike and fix it up. It could be as simple as spending half an hour on keeping your home in order.
Writing songs and focusing on your art is good
Set clear goals, stay disciplined, and follow through. It sounds like you'll be alright but reach out to family and friends if you ever feel like talking to someone or feel yourself getting in a bad place. Spending the time to build solid relationships with people that care about you unconditionally is a worthy pursuit.
But if you just take one thing away from this post I hope it would be eat right and 40+ minutes of intense exercise daily.
It is hard to intuitively grasp the math behind this. If I remember high school math correctly it's (length of progression) to the power of (amount of available chords). So if only the chords C, D and G existed you could create 4^3 = 64 different 4 bar progressions - if you only change chord once per bar.
With 8 bars, you're already at 512 different progressions.
And with 8 bars and 7 chords (all the "in key chords" or whatever you call them, but not counting the different inversions and colours) we're at a whopping 2'097 152 different progressions.
I don't think it's 4^3. That would be 4x4x4=64.
Yet think about the first bar. How many possibilities do you have? C G or D right? That's 3. For each of those options you have three options in the second bar...3x3. Over four bars that would be 3^4 or 81.
I'm not sure all of those would necessarily be different progressions though.
As to the original question. Can someone say "I found a new progression" and be telling the truth? Yes. New doesn't necessarily mean new to all of human history. It could simply mean (and usually does mean) new to them.
It's not that relevant anyway. It's how the progression is used. The same stories are told over and over again. The art in is making them sound fresh and new. Use the existing frameworks to express a genuine and sincere point of view and you might have something.
Bouncy NuggetI believe the secret to compelling art of any form is good use of contrast. Unfortunately the ways in which you could explore the use of contrast could fill a library. However, paying attention to how you use contrast can add depth and make your music more compelling.
I read your question out loud to my daughter. She said that you don't have anything to say. Maybe she's right. Maybe you just don't yet know what it is you want to say as an artist.
I read your question out loud to my daughter. She said that you don't have anything to say. Maybe she's right. Maybe you just don't yet know what it is you want to say as an artist.
This is a troll/spam thread. Please don't post opinion threads to provoke reactions.
closed
closed
strings, picks, a slide, a harmonica, a large cotton cloth, tuner, lighter, capo, condoms, sometimes some chord charts or sheet music, 9v battery, guitar lead
Yes, imitation is one of the best ways to learnShould I complete my songs even if they are blatant ripoffs?
MM, 20Tigers ... well thought out responses. Thought you were studying musid, not maths!
It's all patterns bro
Did that. It's not a second. 71bpm.Well, it's not completely arbitrary - put a finger to your neck artery. ;-)
(I assume the 60 seconds and 60 minutes came from the base they worked with. And well, 60 hour cycles don't make sense to work with so they decided the day was 24h.)
Even if they used a heart beat to determine the length of a second, which is quite likely, it's still a completely arbitrary span of time from the point of view of a sound wave which is unrelated to the human pulse (and to geometry in the way described in this video).
Also, the sum of the interior angles of a circle is infinity, or ERROR.
Argument for infinity:
Sum of interior angles of a polygon
-> (n-2)*180 where n= number of sides
-> the area of a polygon that has sides of equal length gets closer to the area of a circle the more sides it has
-> You can always add more sides to the polygon and it still won't quite be a circle but it will keep getting closer and closer
-> for our purposes then we could view the circle as an equilateral polygon with an infinite number of sides
-> (infinity-2)*180 = infinity
Of course the circle isn't actually a polygon because it doesn't have sides. Therefore the 'n' in the equation doesn't exist.
-> (n-2)*180 = n does not exist. It's not 0, it simply doesn't apply. It's nonsense. The result is a logical Error.
And to say that 432 is in the same "numerical neighbourhood" as 180 270 360 and 540?? WTF does that even mean? The same numerical neighbourhood!! Hahaha.
For people looking for a secret mathematical key to the universe they don't know much about mathematics haha!!!
However, there are arguments for the primacy of 432Hz tuning that don't rely on the significance of the number 432. Videos of vibration patterns comparing 432 and 440 that purport to show that the patterns created by 432 as opposed to 440 are clearer and more symmetrical. And then there are arguments that claim some kind of relationship to the frequency of brain waves, or the frequency of the earth's magnetic field or some other nonsense. In such instances though it's comparing frequency with frequency so at least the arbitrary length of the second is irrelevant since they both use the same arbitrary unit of measurement so they are actually comparable.
Argument for infinity:
Sum of interior angles of a polygon
-> (n-2)*180 where n= number of sides
-> the area of a polygon that has sides of equal length gets closer to the area of a circle the more sides it has
-> You can always add more sides to the polygon and it still won't quite be a circle but it will keep getting closer and closer
-> for our purposes then we could view the circle as an equilateral polygon with an infinite number of sides
-> (infinity-2)*180 = infinity
Of course the circle isn't actually a polygon because it doesn't have sides. Therefore the 'n' in the equation doesn't exist.
-> (n-2)*180 = n does not exist. It's not 0, it simply doesn't apply. It's nonsense. The result is a logical Error.
And to say that 432 is in the same "numerical neighbourhood" as 180 270 360 and 540?? WTF does that even mean? The same numerical neighbourhood!! Hahaha.
For people looking for a secret mathematical key to the universe they don't know much about mathematics haha!!!
However, there are arguments for the primacy of 432Hz tuning that don't rely on the significance of the number 432. Videos of vibration patterns comparing 432 and 440 that purport to show that the patterns created by 432 as opposed to 440 are clearer and more symmetrical. And then there are arguments that claim some kind of relationship to the frequency of brain waves, or the frequency of the earth's magnetic field or some other nonsense. In such instances though it's comparing frequency with frequency so at least the arbitrary length of the second is irrelevant since they both use the same arbitrary unit of measurement so they are actually comparable.
