General Music Chat

Is that the best you got? I can stand here all day taking insults from some one like like you. In the end you only look silly. Have a nice day buddy.

Is that the best you got? I can stand here all day taking insults from some one like like you. In the end you only look silly. Have a nice day buddy.

let's see...i look "silly".

and you, you look like an embittered and unfulfilled loser whose only sense of self worth comes from high fiving yourself every time you engage someone in an argument who ends up mopping the floor w your dumbass.

yeah...i think i'll go with "silly".

don't hurt yourself patting yourself on the back loser.

See there you go again. Name calling, Is that the best you got?
Come on dude, Show us your masterful wit!!!!! Or should I say whip.

wow, just watched that pathetic vid of you playing glenda...yep. i'm gonna go easier on your no talent ass from now on my brutha!

Oh man you are really hurting my feelings.

I guess I have to just concede you are such a great and worthy man.

I would never have the courage to point out another mans weakness.

Thank you for going out to show my flaws. You are a great man.

Is that the best you got? I can stand here all day taking insults from some one like like you. In the end you only look silly. Have a nice day buddy.

See what I mean. You and JCP are definitely CHICKENSHOOTS.

Now where the hell is dane and vinny.

I want to let them have the same opportunity to prove what good, kind hearted people they are.

You guys are too funny.

Josh

A very useful and cheap tool is called the "chord wheel." i got it from Amazon for 15.00. Well worth it.

It has the circle of fifths but you can turn the thing to get the notes and thereby the chords for any key. (as well as 'associated' chords that will work in the key)

take the stuff planetguy said then realize that 1,2,3 etc each have a chord value as well.
thus:
1 = maj
2= min
3= min
4 = maj
5 = maj
6 = min (think relative minor to the key)
7 = dim

So you can play a simple scale as notes or chords. It opens up a lot of territory and you have some fun ahead of you.

Referering back to his stuff will also give you an insight to a very important concept called 'intervals.'

Talbot

Planetguy

The way you showed to build the appropriate chords to match trhe scale was interesting. As I showed Josh, I get the relationships but hadn't really considered how the chords were built.

Next we tie in modes - one for each of the notes in the diatonic scale. I get it somewhat - but not so much the why. I'd be interested to see your take on that.

Talbot

Arpeggio - playing the notes of a chord (triad) separately, instead of together.


As there is a sonic flavor for each interval based on distance from the root note, so it is with modes being a distinct sonic flavor based on the Key of the music.

Planetguy

The way you showed to build the appropriate chords to match trhe scale was interesting. As I showed Josh, I get the relationships but hadn't really considered how the chords were built.

Next we tie in modes - one for each of the notes in the diatonic scale. I get it somewhat - but not so much the why. I'd be interested to see your take on that.

Talbot

hey mike.

sounds like you already have the modes/arps already wired. is there a specific point or area you wanted me to pontificate upon? (and most likely murk up beyond all comprehension)

i didn't want to make too big of a deal of it to josh because he's diving into deeper waters.....but that whole apreggio thing (the way you can build a chord/arp from each scale degree is also modes.

as to the "why" of it....i see it as just geometry, math, and physics. if you stick within the confines of a given key's scale ... that produces certain intervals. and those intervals then dictate what the different modes are and how they sound.

so, when you start building up chords/arps from each scale degree of a scale....the geometry of the scale yields the "quality" (maj, mi, 1/2 dim) of the subsequent chords.....and gives us the different modes.

one minor quible w the way you laid out the chord chart above....the chord/arp/mode built off the 7th degree of a major scale (F# in our G Maj ex.) is in fact a half diminished chord.

a fully diminished F# chord would read F# A C Eb.....and the Eb is out of bounds for our key of "G"

half dim would be F# A C E ...sitting right within the architecture of our G maj key.

Oh man you are really hurting my feelings.

I guess I have to just concede you are such a great and worthy man.

your apology, concession, and acknowledge of my greatness and worthiness duly noted. better late than never i 'spose.

I would never have the courage to point out another mans weakness.

Thank you for going out to show my flaws. You are a great man.

hah...the bully picks on the wrong kid and gets his lip bloodied and starts whining about it! why doncha go run to your mommy.

here's a tip for you dim....if you don't want your flaws thrown in your face (and you don't want any more bloody lips) then stop looking for fights and put the childish trolling aside.

i know you're a little slow on the uptake so let me spell it out for you again....put the BS aside and i will as well. or continue the BS if ya need the rush. i'll be right here either way.

To grossly simplify...
First mode is the base of western music. The major scale.
All other modes are harmonizations of the first mode, just as all intervals are harmonizations of a root note.

Feel free to correct that if someone has a different take.

To grossly simplify...
First mode is the base of western music. The major scale.

All other modes are harmonizations of the first mode, just as all intervals are harmonizations of a root note.

Feel free to correct that if someone has a different take.

don't mean to split hairs and prolly this is just semantics but i'm not sure i'd agree that "...all intervals are harmonizations of a root note."

this goes back to a mostly civilized discussion from a cpl of week's back where we got into the definition of "root".

my take on it is that "root" refers to the root note of any chord in a progression.

i.e. a II V I in the key of G Maj would be Am7 D7 G. and each chord has it's own "root". A for the Am...D for the D7...and G for G chord. as i see it every chord has a 'root' just as every chord has a third, a fifth, a....

others opined that "root" merely refers to the key that a song resides in.

still others will define root as the thing that anchors plants and trees.


anyway, back to your statement "all intervals are harmonizations of a root note."

if you're in the key of G and speaking of a G Maj scale...(as i see it) there's only one "root" for that scale...G. so if you you play the interval of G to B you are correct in that you are playing an interval off the root. G to F# is another interval off of the "root".

but in that same G Maj scale if you play the interval B and D ...."B" does not become the "root". it's merely a note you're harmonizing.

as i said, semantics are at play here....and whatever works and floats anyone boat is fine by me. it's all in the end results anyway.

yuummmmm music thread.. yummmmmmm lol

Let's try to simplify the arpeggio thing a bit.

GTzip already tried, and not bad but I think I might be able to do some good too.

As stated, I think it was Zip, and arpeggio is the notes of a chord considered separately.

Take a simple chord. C for instance. C, E, G. ( 1, 3 and 5 if you get into the Nashville Numbering system, which is very common. I've sat in with guys who could lead me through a song with it.) That system can also be used for the chords in a song. In A, A is one, D is 4, E is 5. Same for any key, the root is 1. Same with an arpeggio. In this case, we're in C so C is 1.

Play each note separately, then back...C..E..G..E..C or by the numbers, 1..3..5..3..1

That's a simple arpeggio. Add more notes, it's still an arpeggio, but a more complicated one.