rdaltry wrote:
two-part guitar with fills, "comping" etc (see for an example)
I second that!
I hope they do use song already up as target song.Would make some great collaborations.I hope its not all theory,buy some stuff a guy like me(who don't want a lot of theory learning,but would love to learn all the pieces to a lot of song up right now)Got to be away to help us all???Matt can work it out,hes always got spare time :laugh: :laugh:
Kevin
>> So if we created a new theory course...
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Wow, this is getting to be a hot topic. Right now, I am focused on borrowed chords. However, in my search for answers, other things keep popping up. For example, as I was watching a video of a keyboardist explaining where he may use borrowed chords, he made the comment that he was using the basic structure of the borrowed chord to keep the demonstration simple, however, he might invert the chord to get a better voicing if he was going to use it in a composition. He didn’t elaborate on what inverting a chord meant.
So, in addition to all suggestions so far, you could add chord inversions for different voicings to the list. I thought this might be appropriate since it was another step that a person may consider after selecting an alternate chord.
Another subject may be to elaborate on the circle of fifths if it hasn't already been mentioned.
Some other thoughts. Not knowing much about theory, I'm not sure what subjects and questions are relevant. I feel that a person could spend an immense amount of time studying theory and still not understand it all. Learning about one subject will probably lead a person to a number of other subjects that are somehow related. When I first started learning about theory, it seemed like there were a lot of important fragments that I needed to better understand in order to see how, where, and why they all tied together. It’s making a bit of sense, but I can see that there is a long way to go, and the journey may never end. But that is quite exciting . . . . always new discoveries!
Hydroman52
So, in addition to all suggestions so far, you could add chord inversions for different voicings to the list. I thought this might be appropriate since it was another step that a person may consider after selecting an alternate chord.
Another subject may be to elaborate on the circle of fifths if it hasn't already been mentioned.
Some other thoughts. Not knowing much about theory, I'm not sure what subjects and questions are relevant. I feel that a person could spend an immense amount of time studying theory and still not understand it all. Learning about one subject will probably lead a person to a number of other subjects that are somehow related. When I first started learning about theory, it seemed like there were a lot of important fragments that I needed to better understand in order to see how, where, and why they all tied together. It’s making a bit of sense, but I can see that there is a long way to go, and the journey may never end. But that is quite exciting . . . . always new discoveries!
Hydroman52
I would like to have complete lesson on how to read rhythm from standard notation, with exercises, the tabs are there for the notes but the rhythm is from the standard notation. would be great to be able to decipher it easily and apply it
Marc
Marc
i like what kevin (dakotaj) said - enhance existing songs to encourage/facilitate more collaborations!
take some existing target lessons - add some 2nd parts - using capo, chord inversions, triads, double stops, lead fills, harmonics, and probably other stuff i don't even know about!
take some existing target lessons - add some 2nd parts - using capo, chord inversions, triads, double stops, lead fills, harmonics, and probably other stuff i don't even know about!
Matt- I forgot one. How about the theory and application behind alternate tunings. On TG we use Drop D, Double Drop D, Slack key (tara patch), Palmer modal tuning (EEEEBE) and the always popular DADGAD and many others. Why do these tunings work? How can a guitarist use them and write songs in them?
I think a lot of people are interested in alternate tunings but few of us know where they came from and how to use them. :cheer:
I think a lot of people are interested in alternate tunings but few of us know where they came from and how to use them. :cheer:
BigBear wrote:
Another outstanding question, Rick. At a songwriting seminar last summer, Don Ross (who rarely uses standard tuning) emphasized that a writer should exhaust all theory and creativity before resorting to alternative tunings. When asked why, he limited his reply to "trust me". Will Ackerman is another artist who rarely uses standard tuning, and he rarely re-uses a tuning. I read somewhere that he has written songs in over 2,000 different tunings. He keeps a very large collection of guitars, and an even larger collection string sets assembled for alternate tunings. While inventory expense deters me from the Ackerman way and while I trust Don Ross, alternate tunings really do pique my interest. Perhaps range is a factor in limiting the use of alternate tunings. I attended a blues competition last week, and one player played an entire 25 minute set in the same alternate tuning. The contestant played well, but I and several local musicians felt the entire set sounded like the same song.Matt- I forgot one. How about the theory and application behind alternate tunings. On TG we use Drop D, Double Drop D, Slack key (tara patch), Palmer modal tuning (EEEEBE) and the always popular DADGAD and many others. Why do these tunings work? How can a guitarist use them and write songs in them?
I think a lot of people are interested in alternate tunings but few of us know where they came from and how to use them. :cheer:
I non members may contribute, may I suggest under the “THEORY” section. Lessons that would include chord formulas. For example knowing that 1,3 and 5 make up a major chord, if you add the flattened 7th to the mix you have a Dominant seventh chord. If you add a the seventh tone of a scale to the 1,3, 5 you have a MAJOR 7. Continuing on what is the formula for a diminished, augmented, sustained, a 9th, 11th, 13th, etc. Further information could be included as to what role each tone plays in the chord and why it is possible in some cased to leave out a tone even though it may be part of the formula.
Then as part of the theory perhaps inversions and voicing’s could be explained and how and when they can be used and substituted for other chords.
Just my thoughts.
Kind regards to all.
Then as part of the theory perhaps inversions and voicing’s could be explained and how and when they can be used and substituted for other chords.
Just my thoughts.
Kind regards to all.
I get excited when the topic of songwriting comes up!!
I would love, love, love it if Neil could give us some insight into his songwriting process.
I would be eternally grateful for any information I could get on the subject.
I'm interested in learning enough rules that I'll eventually be able to break the rules and get away with it. I'm interested in things like:
1.) Building and knowing when to build rhythmic intensity tastefully.
2.) Learning how to effectively use phrasing & phrasing displacement.
3.) How to develop a theme...or possibly even how to weave multiple themes together in a composition.
4.) How to use expressive, bending, slides, vibrato, & harmonics...with purpose.
5.)How & when to utilize "Question & Answer" phrasing
6.) How to zero in on the guide tones when composing/improvising
7.) How to float around the chord tones
8.) Be able to utilize modes in songwriting
9.) How to achieve compositional/improvisational balance in songwriting.
10.) Understanding how to harness the interplay between words/melody & harmony/accompaniment more effectively
11.) How to effectively use compositional devices like voice leading
I would love, love, love it if Neil could give us some insight into his songwriting process.
I would be eternally grateful for any information I could get on the subject.
I'm interested in learning enough rules that I'll eventually be able to break the rules and get away with it. I'm interested in things like:
1.) Building and knowing when to build rhythmic intensity tastefully.
2.) Learning how to effectively use phrasing & phrasing displacement.
3.) How to develop a theme...or possibly even how to weave multiple themes together in a composition.
4.) How to use expressive, bending, slides, vibrato, & harmonics...with purpose.
5.)How & when to utilize "Question & Answer" phrasing
6.) How to zero in on the guide tones when composing/improvising
7.) How to float around the chord tones
8.) Be able to utilize modes in songwriting
9.) How to achieve compositional/improvisational balance in songwriting.
10.) Understanding how to harness the interplay between words/melody & harmony/accompaniment more effectively
11.) How to effectively use compositional devices like voice leading