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andyman wrote:If you guys can teach me to play Wipers and Hot Snakes riffs then I'm in!I can do some hot snakes if needed; if they're recording it's down the street and I can probably yell loud enough they'll hear me#thisissandiegonotLA

projectMalamute wrote:jbar wrote:Would anyone be interested in contributing theory or rhythm to the channel? I'd be in to sharing some theory knowledge for sure. Is there anything specific people want to know about?I can't speak for others, but if there is some issue of theory that relates to one of the demonstrated songs, then that would be cool to hear about. Crazy idea: I've always thought it would be cool to get a lesson on Richard Wright's organ solos from Piper at the Gates of Dawn but for guitar. I love his leads on songs like Matilda Mother. They sound like cool guitar leads. That's a very niche interest, but if it inspires, let it be. I have plenty of selfishly interesting ideas.

Part 2 of the Wipers song is up. Thanks everyone for being patient. We have 11 subscribers!https://youtu.be/GvBSjpIPDCAHey ProjectMalamute, your idea is really good. I have zero problem whatsoever handing anyone here the keys to the car. Just doing this channel is making me think about what exactly I do and don't know about music - I can't figure out what key a song is in most of the time, and even when I can, it's not easy to "drop in" and play, as it were. Not even in a "lead guitar" way, just in a regular "here's the progression" way. I will think about this.I will either do Monkey Trick or an Alice Cooper (band) song next. Any preferences?

One vote for Alice Cooper!

VaticanShotglass wrote:projectMalamute wrote:jbar wrote:Would anyone be interested in contributing theory or rhythm to the channel? I'd be in to sharing some theory knowledge for sure. Is there anything specific people want to know about?I can't speak for others, but if there is some issue of theory that relates to one of the demonstrated songs, then that would be cool to hear about. Like naming and describing how the chords in that Wipers tune relate to each other? Sure, I can do that.I don't know how enlightening it will be in many cases, unless we really want to go down the rabbit hole and get well beyond chords and scales and stuff as you would learn in an undergraduate music program.For example, if you were to take a Jesus Lizard tune and do an analysis of the harmonic movement you'd find there isn't much there. Not because the music isn't deep and refined and awesome, but because it isn't really about that. It's more about texture and rhythm and timbre and the particular manner in which those particular people play together.Spending a bunch of time with the discography of the Jesus Lizard and trying to get some insight in to how the internal logic of that band works is a worthy endeavor. To my mind that IS music theory. Studying music, of all kinds, and trying to wrap your head around how stuff WORKS. As opposed to just giving names to what stuff IS. Knowing how to spell a C7b9 chord or the lydian mode is just nomenclature. However, getting some nomenclature down might be a place to start, and maybe more what you had in mind. Having a working vocabulary of the names for regular-ass western chords and scales will allow you to describe 99% of the music people talk about on this board, at least to a first approximation.I'm out of town on a family vacation next week. I will give this some thought and try and come up with something to post that people will find helpful.

jbar wrote:I will either do Monkey Trick or an Alice Cooper (band) song next. Any preferences?Both ideas sound great. jbar, thanks for doing this. I've been having a lot of fun with the small start so far. I've been practicing some basic barre chord Breeders stuff in the mean time. ProjectMalamute, I'd say go with what lights your fire. What I was interested in upthread was really requesting to make the theory stuff more relatable. When I started learning guitar, I learned chords by picking songs I liked that had them and playing them over and over. I figure there has to be something to getting my feet wet in theory that appeals to that direct interest. I share these sentiments, ...what exactly I do and don't know about music - I can't figure out what key a song is in most of the time, and even when I can, it's not easy to drop in and play, as it were. Not even in a lead guitar way, just in a regular here's the progression way. I will think about this.

projectMalamute wrote:I don't know how enlightening it will be in many cases, unless we really want to go down the rabbit hole and get well beyond chords and scales and stuff as you would learn in an undergraduate music program.For example, if you were to take a Jesus Lizard tune and do an analysis of the harmonic movement you'd find there isn't much there. Not because the music isn't deep and refined and awesome, but because it isn't really about that. It's more about texture and rhythm and timbre and the particular manner in which those particular people play together.Spending a bunch of time with the discography of the Jesus Lizard and trying to get some insight in to how the internal logic of that band works is a worthy endeavor. To my mind that IS music theory. Studying music, of all kinds, and trying to wrap your head around how stuff WORKS. As opposed to just giving names to what stuff IS. Knowing how to spell a C7b9 chord or the lydian mode is just nomenclature. However, getting some nomenclature down might be a place to start, and maybe more what you had in mind. Having a working vocabulary of the names for regular-ass western chords and scales will allow you to describe 99% of the music people talk about on this board, at least to a first approximation.This is an enlightening post.Like you said, scales, modes, basic chords are nomenclature, and I also think they can be studied easily from pretty much anywhere - books, the internet, a friend. Don't spend your time on that.I think it would be useful to learn what are some musician's/bands schticks. I always hear signature moves but I don't know how to actually realize what they are. This is a good example of a video that demonstrates that. It's a bit of a clickbait-y title, and the guy is kind of annoying, but he has some good insight:Circle of fifths - I understand what it is. Scales that are a fifth apart, so it's easy to travel between them. I was never able to utilize it in music, and every time I read or watch something about the circle of fifths, they just talk about what it is. I'd love to see how it's used.

eliya wrote:Circle of fifths - I understand what it is. Scales that are a fifth apart, so it's easy to travel between them. I was never able to utilize it in music, and every time I read or watch something about the circle of fifths, they just talk about what it is. I'd love to see how it's used.Let's start with what it is:Start with a major scale: do-re-mi-fa-sol-la-ti. In guitar terms start on an arbitrary note, that's the root or 'do'.Go up two frets, that's 're'.Go up another two frets, that's 'mi'.Go up one fret, that's 'fa'.Go up two frets, 'sol'.Go up two frets, 'la'.Go up two frets, 'ti'.Go up one more fret and you are back to 'do', one octave higher.brief aside: If you have any interest in learning this stuff for real, sing along. You want to internalize the sound of these concepts. If you can't sing it you aren't hearing it in your inner ear and you are just sticking your fingers in places that are supposed to be 'correct'. People skipping the ear part and learning (or rather failing to learn) music theory in this manner are what give the whole thing a bad rap.anyway:If you take that pattern of notes and start on a C you get the C major scale. That's all white notes on a piano, no sharps or flats. C D E F G A B CNow let's go down a perfect fifth and play the same pattern starting on F. You will find that to stay in the same pattern you need a Bb rather than a B. F G A Bb C D E FGo down another perfect fifth, now starting on Bb. You will find that to maintain the same pattern you need an Eb rather than an E. Bb C D Eb F G A Bb.Let's go the other way, moving up a fifth from C to G. Play the same pattern and you will find you need an F# rather than an F. G A B C D E F# GGo another fifth in this direction from G up to D, you will find that you need an C# instead of a C. D E F# G A B C# D.So the first thing you are getting with the circle of 5ths is all of the different keys, laid out in order such that two adjacent keys have only one note different. Keys farther apart around the circle are more remote in the sense that they have fewer notes in common. going around the circle:Key of C, no sharps or flats.Key of G, one sharpKey of D, two sharpsKey of A, three sharpsKey of E, four sharpsKey of B, five sharps('same as' key of Cb, which is seven flats)Key of F#, six sharps ('same as' key of Gb, which is six flats)Key of C#, seven sharps ('same as' key of Db, which is five flats)Key of Ab, four flatsKey of Eb, three flatsKey of Bb, two flatsKey of F, one flatand then you are all the way around and back to C.The circle of fifths also gives you the order in which you add these sharps or flats, they fall in to the same pattern.flats go B E A D G C F, ie the key of F has one flat, and it's a Bb. The key of Bb has two flats and they are a Bb and an Eb. etc.The order sharps get added is the same thing in reverse: F C G D A E B. The key of G has one sharp, and it's an F#. The key of D has two sharps and they are an F# and a C#. As you move around the circle of fifths for each key add another sharp, in that order.'How it's used' is a tougher question. I'm not really sure it makes sense without some context.

bishopdante wrote:How to use the cIrcle of fifths? The music theory term to google is Cadence.That's a thing, yes. There are other things.That one is not an especially relevant or important thing in lots of kinds of music-making.

I have the two Lloyd Alch. guitarist pdfs, which go into a lot of this. I'll sendspace them when I get home if people want?