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jimmy_kwtx
Registered User
Joined: 05/15/06
Posts: 394
jimmy_kwtx
Registered User
Joined: 05/15/06
Posts: 394
08/29/2006 2:22 pm
This is why I hate discussing theory.

Theoretically -- You can make a minor/major pentatonic out of any of the modes. If you start in the right place and take out the correct notes.

Or Theoretically -- you can make any scale a pentatonic scale by taking out the correct notes.

See I use Theoretically twice.

Standard Blues Pents have the 2nd and 6th note removed and are based on the relative minor of the major key. This is why I use the Aeolian mode (to help keep it simple I teach Rock and Blues mostly).

Now if you were to go and take the scale patterns of each mode and take out the 2nd and 6th of each scale and play it over a standard 12 bar blues it would not sound all that great.

Theoretically it works or could work. But sound wise it just doesn't. (IMHO).

In Music Theory (all theories for that matter) you can "explain" everything and anything. But there is a difference between a book answer and "real world" answer.

This is where I tend to get my headaches when it comes to music theory.

Don't get me wrong. I feel that understanding of music theory is very important and should be explored by all musicians regardless of the instrument you play.

I just feel that sometimes you can over "theorize" something to a point where people tend to get glassy eyed and just eventually look at you and say-- "Dude, just play something over this chord progression I don't give a rat turd what scale and why you are playing it. Just make it sound good."

I try to teach my students enough Theory so if they are in any type of band setting (jamming with buddies, Church Band [diatonic chord harmony helps in transpositions], auditioning) they can quickly figure something to play at the moment. For more complex scales or pre-arranged solos -- that is what practice/rehearsal if for and that is where theory (in a more complex way) can be applied.

Theory can be a way of helping you to find that chord you are looking when writing a song. Or that feel of a solo. It is a road map of where you want your journey to begin and end.

Has any one head of the "Dodecaphonic" method of writing a song?

It is this crazy grid system that, when complete you have all of these random notes in a certain order (sharps and flats also ) -- not in any specific key and no chords to help you with the melody, and you are to then write a song using the notes in the order that they happen to fall on the grid. What notations you give them is entirely up to you. And the chords, if you so desire to usethem have to be figured out AFTER you have written the melody. And the chords are some reaffly "f"ed up ones.

Weird crap, and "theoretically should not work", and here is the connundrum -- they actually have a theory behind how the grid system works so you can fill out the grid.

Wow-- Long ... sorry. And went of topic.

Now I know some will not agree with me. Some will probrably think I am teaching my students wrong. Maybe maybe not. This is the reason I only go so far in showing them the basics and let them take up more advanced theory with somone else if they are interested enough.

Now Trinivalts. This may have caused more confusion than help. I apologize if this is the case. I use visuals (scale patterns -- "dots in boxes" -- when discussing theory). I think there was a person that posts ocasionally (especially in the this section) that has a web site that may explain it way better than I can.

Good Luck
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