cbreen's Theory/Lessons Thread

Discussion in 'Music Theory, Lessons & Techniques' started by cbreen10101, Mar 27, 2013.

  1. cbreen10101

    cbreen10101 The Breen Machine

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    mod edit: Let's keep your stuff here instead of starting a new thread every time you post something

    Hey everyone,

    Check out my video on merging the Pentatonic & Blues Scale into 3-note per string patterns. I also show the patterns in a Drop tuning scenario and how you can utilize 4 note per string legato runs as well. You can download the scale diagrams for free at my website (|) and let me know what you think. :shred:

     
  2. cbreen10101

    cbreen10101 The Breen Machine

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    Hey everyone,

    I wrote up an introduction to music theory on my site in hopes that it can help some people with the basic concepts. It doesn't cover everything (I leave out circle of 5ths and modes) but I plan on writing future posts to add to the topic. Let me know if anyone has benefited from checking it out! :hbang:

    An Introduction to Music Theory
     
    cwhitey2 likes this.
  3. meambobbo

    meambobbo SS.org Regular

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    So I read through, and I like it. It's well-written and easy to understand. As a suggestion to make it more gripping, I would supplement with audio clips.

    My only criticism would be to work the word "diatonic" in there somewhere, as well as explain how the frequencies of the fifth and octave compare to the root to understand their harmonic value. Also, the 7th power chord in the major scale (2nd in minor) can be played as a perfect fifth instead of a tritone interval with the same "stability" to the sound as any other perfect fifth, IMO. Technically using only diatonic intervals, you'd use the tritone, but I find most rock riffs substitute a pefect fifth. Look at pretty much ANY Metallica song in E minor. The F# power chord is always a perfect fifth, not a tritone.

    Compositionally, power chords often aren't used compositionally the same way triads are. Triads tend to fit into harmonic progressions, whereas power chords can work either as progressions or simple embellishments of the root note in melodic playing.

    Also, when you explain the chord scale, it may help to pick a specific scale and give the note names, so that you can see the 2nd chord's root is the 2nd note of the scale. I appreciate the approach to keep things abstract and focus on the relationships between notes rather than notes themselves, but sometimes this can be a difficult concept to grasp without seeing it in the context of a specific key.
     
  4. cbreen10101

    cbreen10101 The Breen Machine

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    I definitely understand where you're coming from with the audio clip suggestion...I'll try to work that into my future posts. I'm aware that you can substitute a regular power chord in the 7th chord of major progression and 2nd chord of a minor progression, but (to my ears) the diminished power chord definitely fits better. I guess that part of it is up for opinion. I appreciate you reading it and giving the constructive advice :metal:
     
  5. wespaul

    wespaul Octaves of Manhattan

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    Great writeup. My only critique would be to write out examples on actual staff, and, if you want to, get into the basics of that, too (what's staff, bar line, stems, beams, etc). It'll be helpful in the long run when you start talking about enharmonics, and when to actually use a Cb instead of a B, etc.
     
  6. cwhitey2

    cwhitey2 BlackendCrust Metalâ„¢

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    Oh my gerd....i think im starting to understand theory!

    I have been playing for about 8 years now and dont know shit about theory, but this makes it too easy :lol:

    Thank you very much!
     
  7. cbreen10101

    cbreen10101 The Breen Machine

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    Yea good point...I might get into that when I start talking about the circle of 5ths in my next post.

    CWhitey2, I'm glad it helped you out!
     
  8. Poho

    Poho SS.org Regular

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    Effective. I may refer students to this to save myself some time ;)
     
  9. cbreen10101

    cbreen10101 The Breen Machine

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    Hope it helps them out!
     
  10. cbreen10101

    cbreen10101 The Breen Machine

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    Hey Everyone,

    I wrote a blog exploring how music theory might be best applied in songwriting and refining your initial ideas. I thought it'd be a cool topic to discuss and am curious to see if people agree or disagree and hear everyone's perspective.

    How to use music theory in your songwriting

    Let me know! :hbang:
     
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  11. Tyler

    Tyler SS.org Regular

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    Great read! Thanks for making this
     
  12. Konfyouzd

    Konfyouzd has left the building Contributor

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    I usually use music theory for... "That riff is sweet... Now what the hell is the harmony to that?"

    :lol:
     
  13. guitarguyMT

    guitarguyMT Well-Known Member

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    Seems legit. I've shared similar thoughts about theory, just never broken down with such a structured format. Haha. I'm a bit of a stubborn ass when it comes to theory though and do believe that without a basic understanding of at least how theory applies to your instrument, at even a fundamental level, it's stifling your ability to grow as a musician and perform to a full potential. So yeah, it may not be the most important thing, but IMHO it's still vital to at least try and grasp. Not arguing with anything you said, just forcing my two cents in the thread as well :)
     
  14. cbreen10101

    cbreen10101 The Breen Machine

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    Yea I agree, that's how I use it, in that '2nd phase' of the process when you're trying to build an entire song around the initial idea.
     
  15. Konfyouzd

    Konfyouzd has left the building Contributor

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    Yup yup... Then I start worrying about what works rhythmically... Where there's the potential for dissonance... Whether or not I want that and how I can use it within what I feel is still tasteful... Blah blah.

    I think some folks let music theory write their songs and they come out sounding like harmonized scaled practice.
     
  16. Fantomas

    Fantomas blah

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    Good read.
    I tend to think in terms as "which feeling/mood do I want to go with?" and find a scale that matches that and then build a riff/progression on that, or most of the time: rework an existing riff to work with that scale. Also use it to figure out leads and such but not much more, sadly enough.

    When I was still studying music full time I could get lost in substitutions and drive myself crazy.
    Since I quit that and got a real job it get's harder and harder to bring myself to apply/think about that stuff consistently and not take the easy way out. The knowledge is still there but I need to think know, thinking is hard :)
     
  17. cbreen10101

    cbreen10101 The Breen Machine

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    I hear ya, I think it's definitely a tricky balancing act. But it can be beneficial to utilize theory if you're stuck at a creative "fork in the road".
     
  18. Konfyouzd

    Konfyouzd has left the building Contributor

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    Absolutely.
     
  19. Solodini

    Solodini MORE RESTS!

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    Nicely put. Some nice, unpretentious views there, which I basically agree with. I feel theory is very much the structures of language with ties to an equivalent of public speaking. When you learn how to build sentences you're not usually taught about how volume of what you say or spaces between phrases helps to separate things but, wonderfully, you are in music.
     
  20. cbreen10101

    cbreen10101 The Breen Machine

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    Thanks, I appreciate that. Yea I definitely agree that theory is comparable to language. It helps musicians communicate with one another, and also helps teachers establish a consistent vocabulary with their students.
     

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