Search options (Page 90 of 121)

My mom gave me mine.

Here's a bit of a tip.  Keep it in mind when you're writing songs.     

Every note in every one of those chords is found within the root scale.   So going back to our C major example, every note in chord D minor is found in the C major scale.  Same with E minor, F major, G major, etc...

You can play any of those chords and you'll at least be tonally correct.   There are some simple rules for chord resolution, too, that help you build chord progressions.

-I chord can change to any chord
-II chord can change to any chord except the I chord
-III chord can change to any chord except the I or the VII chords
-IV chord can change to any chord
-V chord can change to any chord except the II chord or the VII chord
-VI chord can change to any chord except the I or the VII chords
-VII chord can change to any chord except the II or IV

So that's a pretty simple framework for song writing.  There are much more complicated progressions that fall out of this but that's the start.

We always say that good artists know when to break the rules, but we rarely talk about what the rules are.  There they are.  Go learn 'em, so you can break 'em. 

The chords for any key can be derived as such.

Root - Major
II - Minor
III - Minor
IV - Major
V - Major
VI - Minor
VII - Minor b5

Every key works this way.  It's why it's a good idea to know your scales.

So C, for example

C
Dm
Em
F
G
Am
Bmb5

Every wood resonates differently.  It matters.

It isn't a differentiation of those that "have it" and those that don't.  It's a differentiation between those that know how to practice effectively, and those that don't.

There are truly gifted people out there.  But you don't have to be truly gifted to sit down and bang out three chord ditties to entertain yourself, your friends, and your family.  You don't have to be truly gifted to run major and minor pentatonic licks.  You have to be *disciplined* to play decently.  Not talented. 

Everyone can play.  Most people don't because they aren't willing to commit the time and energy it takes to get over that initial learning curve.  I would bet five dollars that the only practice your six year partner in your music class gets is at that class.

She grew up and became a massage therapist.

http://www.baacorsham.co.uk/cached/MarioraGoshen.htm

I have this album (yes, kids, it's a real record) sitting in my bin across the room from me right now.   Everything Crumb did was fantastic.

I'm with ya, babe.

Nice!

Our sound check song..

"Oh I love my microphone it pokes me in the face
If it hits me in the nose I know it's out of place.

Yes I love my microphone it knows just what to do
It picks up all the noise I make and sends it out to you.

My microphone smells funny, who sang into it last?
Smells like someone smoked a bowl in it....   wut?

Well, if you're happy, that's all that really matters, but I tend to agree with your friend.

You'll be a better player.  Knowing chords is one thing.  Knowing the entire fretboard lets you play those chords all over the neck, play scales, lead lines, riffs, and other runs, and basically opens up the instrument to you creatively.

One sharp is G major, or one if it's modes.  What you have below is D myxolidian mode, which is derived from G major.

D major has two sharps, F# and C#

Well, there actually is some question about that, particularly after Martin went production with their lines.

A quote from another board from a guy that has sold and played dang near every acoustic you could want, on this exact same topic.

"
... I managed a pretty big acoustic guitar shop in London for a few years. I used to wonder at these guys that would come in and refer to a Martin as a real acoustic. Now I had Larrivees, Gibsons, Lowdens a couple of Santa Cruz' guitars, a few more (it was a while back) and some guys would be blinkered about the tone of a good acoustic. In many ways we were spoilt working there as we could audition instruments on a minute to minute basis. It was good for ones' ear as you would really get to know the sound of the good stuff and very occasionally these would emerge amongst the mid price and budget instruments.

I used to get a fair bit of stick from Phil York who had the UK exclusive on Martin at the time. I found it hard to get behind any guitar that had an identity crisis and in those days a lot of the Martins were quite inconsistent. Take for example the J40M, I never had a pair that sounded even moderately alike. I realise that all guitars will fluctuate a little but the bandwidth that this happened in Martin instruments was quite broad.
"