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Guitar chord forum - chordie → Posts by jerome.oneil
Radio is pretty much dead. Corporate consolidation killed it.
There are two stations that I can listen to.
KEXP in Seattle, and there is another independent station in Austin Texas that is phenomenal as well. Both stations still allow their DJs to write their own play lists, and they focus on local acts.
Ah yeah, the name.
We actually changed it about six months ago. One of the members didn't like it and we do that kind of thing by unanimous consent. I just forgot about the signature. 
And from the looks of it, the website is pretty borked, too.
That's my fault.
The band has a pretty heavy country influence, even when we're playing straight up punk. At some level, we've always got our boots on.
I've found that many Europeans from heavily Catholic countries (Ireland, Italy, etc...) struggle with understanding the plethora of religious options available in America. If you grew up in a world where there was the Catholic Church and "other", trying to understand the nuances between Methodists and Presbyterians would be rather confusing.
So we are taking this one into the studio this weekend, and decided it needed another verse. We wrote that up last night, and now I'm making use of Chordie's awesome chord pro engine to print out the updated song.
There are 5 scale patterns you should focus on that will take you anywhere on the neck you want to go.
C, A, G, E and D patterns. Learn how they interconnect, and you'll be moving all over in no time.
Yes, but not at the very start. When you first pick up a guitar (I'm not referring to classical training) you want to learn chords. (To accompany a song). It really doesn't matter how they relate to the scales initially. I said "if you are just starting out". The scales can come later.
I also said that the scales relate to melody while the chords relate to harmony. Clearly the two exist together.
There isn't much to disagree with really. If you want to learn the theory, you need to understand both. There are many guitarists (and other musicians) who have no idea how the theory (of harmony and melody) works. And don't need to. In my experience, most technical talk of scales and chords simply serves to confuse and discourage the beginner. And, after all, that is what this thread is about. A beginner who has been confused by premature and probably unnecessary talk of scales at this stage.
The very start is where you want to lay down the foundations. You should not be learning "just chords" to begin with. You should be learning chords and scales, and more importantly, why they are important. They aren't exclusive to one another, they are bound like fibers in a rope. There may be a few musicians that don't know theory, but the vast majority of the great ones, good ones, and better than me ones do understand it.
It's like trying to captain a ship without understanding navigation. Yes, if you keep going in one direction, you might get there, but there are easier ways to do it.
The OP is confused because no one has explained it to him, and people keep telling him he doesn't need to know it.
Scales are where it starts.
A power chord is conceived of and intended to be a triad with the "third" note omitted (thus it is neither major nor minor).
Precisely. That leaves you with an interval of a perfect 5th.
The tonality of triads is determined by the 3rd. If you omit that, you're left with two notes, i.e. an interval.
Having said all that, I don't really think it is necessary to worry too much about scales, certainly not if you are just starting out and learning chords.
I'm going to disagree with this quite strongly.
Chords are derived directly from scales. If you really want to learn chords beyond rote, you'll learn scales.
By just "learning chords" you are stuck with what you can memorize. If you understand how chords relate to scales, you can build a chord anywhere on the neck. Need a 7 chord down there around the 8th fret? With scales, you can figure that out.
Scales are the very foundation of music. It's critical to know them in order to really bloom.
Heh!
Well, I like to think we all educate each other, but I'm glad you've got an interest.
Welcome back!
If you look into 4 string, or D shaped barre chords, the B string is used as a perfect 5th interval.
Example; E chord XX2454
F chord XX3565
G chordXX5787
A chordXX7 9 10 9
etc.............
Those aren't power chords. That's just a closed D shape, giving you a proper major chord. A power chord is *just* the interval.
jerome.oneil wrote:A "Power chord" is really just an interval of a perfect 5th. You can take that shape anywhere down the neck, or across it to the B string, and you're playing a "power chord."
Uhm nope ...........
ummm... sortal
2 problems here.
1) it's up the neck, not down the neck ( going from fret 3 to fret 9 is an upward ascent, going from fret 9 to fret 3 is a descent)
Right. I'll get that right some day.
2) playing the b string on an A shaped barre chord will work sometimes but not if a minor chord is involved in the progression. Now maybe you're confusing the A shaped barre chord progression with the suspended second position, (ie X02200, x13311,X24422, etc..). In this example (using the sus2nd's the b string theory will work, but only with this ,( granted no minor chords are in the progression)................
If you're playing the b string, it's no longer an interval of a perfect 5th. "Power chords" aren't chords at all. They're just intervals, so *any* shape that provides that interval will work for you.
Actually that does, I never thought of it that way but your right. Unfortunately I normally do just the opposite of what you told me to. when i play 6/8, I change it to 3/4 so i can think about it easier.
I like to go the other way because you tend to play at a slower tempo in 6/8, so it's a little easier to count stuff out.
Whatever works for ya!
A "Power chord" is really just an interval of a perfect 5th. You can take that shape anywhere down the neck, or across it to the B string, and you're playing a "power chord."
jerome.oneil wrote:Think of it in terms of playing it in 6/8, rather than 3/4. Write it out that way and it might clear up your confusion.
The triplets are played in one beat. If you're used to the "One and two and..." counting for eighths, and "one eh and ah" for sixteenths, try "one lol ly" for your triplets.
Mm. Not so sure that will help. It's true that 6/8 has 6 quarternotes per measure (same as 3/4) but 6/8 has two beats to a measure - two groups of three - whereas 3/4 has 3 beats to a measure - three groups of two.
What he's asking is "How do you play triplets in a time signature of 4. In 3/4, those triplets have the same rhythmic feel, measure for measure, as eighth notes in 6/8. You can write straight eighth notes in a 6/8 time as tripplets in 3/4. That helps a lot in understanding what is happening rhythmically.
Think of it in terms of playing it in 6/8, rather than 3/4. Write it out that way and it might clear up your confusion.
The triplets are played in one beat. If you're used to the "One and two and..." counting for eighths, and "one eh and ah" for sixteenths, try "one lol ly" for your triplets.
I like blood pudding. Sweet tea is an abomination no matter where you drink it.
Stuck in the middle is the first song I ever learned. It's a great one.
was it written by By Wilbur M. Savidge, Randy L. Vradenburg?
That's the one. Between it, and a very few key lessons from people, it's how I learned to play the guitar.
Looks like i will give it a shot I just wonder if you decided later that you dont like it can it be reversed or are you stuck with it
It's a google product, and those guys do everything right. It will uninstall just as easily as it installed.
Jerome,
Loved the explanation, loved the diagrams and loved the simplicity of it all. Well done, that man !
Now, why weren't you around in Belfast in the sixties when music lessons consisted of tapping your fingers together and going ta teh, ta teh ta. We would all have ended up as Gary Moore!
I'm in Dublin semi-frequently. I've got it on my list of stuff to do to get to Belfast, so me, you and Gary are even closer than you think!
I've been using it for a couple of days, and thoroughly love it. It's still a beta, but I like it better than FireFox and IE.
Not being able to hear yourself is pretty common. Get a small PA system, run your mics through it, and then set up one or two amps as monitors. That is, face them towards you, not the crowd, so you can hear yourself.
I grab it by the neck molest the frets and shove it in the corner and it always comes back for more
This is also my methodology.
I keep my guitars out on stands, and people come over and go "Gosh!" I encourage people to play them (as that's what they're for) and sometimes I find that after certain people play them, the strings get severely corroded. Must be something in their sweat.
So beyond cleaning them well when I change strings, and an occasional wipe down with a soft cloth, they get manhandled regularly. I think they prefer that.
I've tried the sound hole covers on the a Tak we have laying around, too, and it worked fine. Once the EQ was set (and I positioned my body between the guitar and the amp) she sounded great.
Guitar chord forum - chordie → Posts by jerome.oneil
