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Forums : Off-topic Discussion : Music Theory- The basics updated V7

Introduction Hello there, you may have seen me around The Escapist and most know me as The Rockerfly, I am a musician. I have been playing music for about 10 years and have been writing for 3 years. I have an A level in music, grade 7 guitar, grade 5 in tuba, play the drums part time and sing for a group as well. Now to write music it is useful to have theory however it is NOT essential to writing music however it is useful if you to progress and write things out of your comfort zoneI know it is hard to know where to start with the theory and I find writing this article very difficult so please excuse me if you feel that I have not written it to your standards, every musician has been taught differently so their theory will be different Now introductions are over here are the basics of writing the harmony of a music piece and how to write the lyrics Reading Sheet Music I believe I may have missed out some content. An example of these diatonic notes is the C note. Intervals 1. Basics Cadences

Circle of fifths Circle of fifths showing major and minor keys Nikolay Diletsky's circle of fifths in Idea grammatiki musikiyskoy (Moscow, 1679) In music theory, the circle of fifths (or circle of fourths) is a visual representation of the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. Definition[edit] Structure and use[edit] Pitches within the chromatic scale are related not only by the number of semitones between them within the chromatic scale, but also related harmonically within the circle of fifths. Octaves (7 × 1200 = 8400) versus fifths (12 × 700 = 8400), depicted as with Cuisenaire rods (red (2) is used for 1200, black (7) is used for 700). Diatonic key signatures[edit] The circle is commonly used to represent the relationship between diatonic scales. Play . History[edit] .

Scales and emotions See also a post about making chords from scales. So maybe you want to write a song or an instrumental in a particular mood or style, and you’re feeling overwhelmed by all the scales. Here’s a handy guide to the commonly used scales in Western pop, rock, jazz, blues and so on. Click each image to play the scale right in your browser with the aQWERTYon. These scales have a major third (E in the key of C), which makes them feel happy or bright. Major scale Happy; can be majestic or sentimental when slow. Mixolydian mode Bluesy, rock; can also be exotic/modal. Lydian mode Ethereal, dreamy, futuristic. Lydian dominant mode Also known as the overtone scale or acoustic scale, because it is close to the first seven pitches in the natural overtone series. Phrygian dominant mode Exotic, Middle Eastern, Jewish. Harmonic major scale Majestic, mysterious. These scales have a flat third (E-flat in the key of C), which gives them a darker and more tragic feel. Natural minor scale (Aeolian mode) Dorian mode

The Chord Guide: Pt I – Chord Progressions Chord progressions are the canvas on which musicians paint their masterpieces, and it’s a canvas which is a piece of art in itself. A chord progression can be subtle and in the background or it can be blatant and up front; it can be simple and catchy, or it can be technical and complex, it can stay in one key or it can change like the seasons. In any of these cases a chord progression is what drives the song as it literally shapes the music that accompanies it. Chord progressions are like a cozy home where melody and rhythm can kick their feet up. All the songwriting giants, like John Lennon, Paul McCartney, George Harrison, and Bob Dylan, to name a few, have/had a tremendous knowledge of the art of the chord progression. I’m not going to promise you tremendous knowledge, but I will offer you a good head start in the way of making your own music – in an easily digestible chunk to boot. Chord Progression Guide Major Chord Chart Above is a chord chart for the 7 most used keys. Chord Theory

Music Theory For Songwriters The 9 Most Underrated Funny Songs (According to Weird Al) Weird Al Yankovic has been parodying pop music since back in the days when people still paid for it. When we found out he was willing to do something for in line with his recently released double album, we asked him if he might want to write something about underrated funny songs or even better tell us the stories behind songs he wanted to parody, but couldn't. To our surprise, he did both. BARNES AND BARNES - Boogie Woogie Amputee "Oh Suzie baby if you please Let me give your stump a squeeze." Yes, Barnes and Barnes are the geniuses behind the immortal "Fish Heads," but a lot of their other work is woefully unsung. THE TUBES - I Was A Punk Before You Were A Punk "We were a joke at our own record label They told us, "Make a record, if you're able." The Tubes had some early semi-novelty minor hits with "White Punks On Dope" and "What Do You Want From Life," but I'm partial to this track from their hard-to-find live album. TONIO K - Funky Western Civilization

How Music REALLY Works!, 2nd Edition, world's most useful book on music and lyrics. Most musicians play by ear. Suppose you play by ear. What use would you have for a book on musical technique full of examples in the form of music notation? Doesn’t make sense. Other ways of explaining music work just as effectively. Or even better. Fluency in music, like fluency in language, does not require the ability to read or write. FIGURE 1 How Music REALLY Works! In case somebody has ever advised you that learning how to read and write music notation will make you a better songwriter or performer, here are just a few of the many songwriters who did alright without notation skills: And some non-songwriters ... performers who managed to play and sing their way to glory without knowing how to read or write music: Musical skill is normal in the human species. Same with songwriting. But hardly anybody has one vital skill required to create brilliant, classic songs. Technology will not save you. First, you need to learn the technical elements covered in this book. In short, not much.

Harmonic Functions - Augmented Sixths We will start by transforming the iv degree chord of the A minor key into an augmented sixth chord. Below is the i - iv - V - i progression in A minor: now, we set the iv degree chord in first inversion: by raising the root of the iv degree chord a half-step (D# in this case) we get an augmented sixth chord: The chord receives the name of Augmented Sixth chord because of the augmented sixth interval between the bass and the chromatically raised note. By raising this note we increase the harmonic tension. Very often the Augmented Sixth chord is followed by the tonic chord in 2nd inversion before resolving to the dominant chord: 5 People Who Failed Their Way to Fame And Fortune Florence Foster Jenkins Florence Foster Jenkins was a very bad opera singer. Seriously, you guys. So bad. How Bad Was She? If you didn't watch the video, just imagine Ashlee Simpson jumping rope while singing opera through some sort of reverse auto-tune device that makes things even more out of tune than they already are. Or you could listen to the sound of this puppy as you kick it repeatedly. As a youth in the late 19th century, Jenkins endured countless words of discouragement from anyone unlucky enough to hear her sing, including her father. A regrettable decision for several reasons. People Actually Paid For This Crap? Despite her ineptitude-riddled pipes, Jenkins's performances were always enjoyable, just not in the way she hoped. Over time, people turned out in droves to catch a glimpse of Jenkins's special brand of awful. The highlight of her career was her first and only performance at Carnegie Hall in 1944. How Bad Was He? It will make you want to go out and create something.

Creative Chord Progressions Most of your chord progressions will start on and resolve to a stable, consonant major or minor chord. And in most cases they should. The problem is that the first harmonic idea your listeners hear is plain vanilla. How does that prepare them for the awesomeness that is to follow? The same goes for the ending. Fortunately, there's a way to fix this dilemma without mucking up a solid chord progression. For example, you can open with a suspended chord - before launching into the progression - to set a desolate mood, or a major seventh chord for a dreamy feel. The six-nine chord makes a beautiful fade out.