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Music Theory

Post by The Cracken on Fri Jan 04, 2013 9:55 am

About time we had a topic like this, given all the musicians on this forum. Razz

Discuss/ask questions about music theory here! EM, MANLY MAN OF MAN



Lately, I've been learning a lot about chord inversions and how chords work together. A move from the V chord to the I chord can be bridged by IV and V 1st inversion chords for a climbing bass line. For example...

In the key of B Major: The I chord is B, the IV is E, and the V is F#. The lowest note of F# is F#, of course. If you have a 1st inversion E chord, the lowest note is G#. The lowest note of a 1st inversion F# chord is A#.

V --> IVb Vb -- I
F# --> E(1st inv) F#(1st inv) -- B
The bass notes then do this: F# --> G#, A# -- B

Long-explanation, sorry, but yeah... It sounds noice. Razz

An example, also in the key of B, is in this song at 1:09.




As another point, notice the III chord in the chorus, which is major instead of minor. Sounds neat. Razz



Anywho, discuss whatever comes to mind. Razz

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Re: Music Theory

Post by Fire on Fri Jan 04, 2013 12:29 pm

SWEET!

I don't have a theory that comes to mind atm. Razz

But I can talk about 4-mallet stuff. Razz

The first, and usually first learned, is Burton grip-Named after Gary Burton. He was a British/German man if I remember right and widely know throughout the percussion world for his grip.

Burton grip is done as shown:LEFT HAND FIRST You take your first mallet and put it in between your 2nd and 3rd finger (Pointer and middle.) It should be straight. Your 4th and 5th fingers should curl and be on top of the mallet to hold it in place. 4th and 5th fingers can not be flat whatsoever. Your second mallet goes into the hole your 4th and 5th fingers make. Your 3d finger should be on that second mallet. Don't flatten that one either. Your mallets should be crossed. Now, your 1st and 2nd(thumb and pointer) Are in that space above where they cross. These are used to widen the space of the mallets or to decrease the space. This happens by having your 2nd finger mostly do the moving. Your thumb is to help move along. Your thumb should also always stay on the mallet(mallet 1.) To make a space wider, your pointer finger should move down on the mallet, the farther in you move your finger the wider the mallets go because your finger is pushing on the space where the mallets cross. Your thumb slides with the other mallet to keep it in place. To make it smaller, you do the opposite. Your pointer finger should slide up on the mallet giving less "tension" at the cross point. Your thumb slides in and your space is smaller. For the right you have the mallets cross in opposite directions. On left, your outside mallet crosses on top. For right the inside one crosses on top.

Now. Stevens grip, made by the man Leigh Howard Stevens, a Japanese man. While the last one is better for vibraphone, Stevens is better for marimba sense it allows you to create much bigger spaces. I'm better at Stevens, but this one can be very difficult for beginners.

Your first mallet should be placed in between your 3rd and 4th finger. Your 4th and 5th fingers should curl around and hold it. Your next mallet should have the tip go into the palm of your hand. From there it goes between your 1st and 2nd fingers. Your 2nd finger should curl a bit and the mallet needs to rest on the top knuckle of that finger. Your thumb goes on top of the mallet. Since I have really "mastered" this technique you could say…I don't really have to do this but beginners will. Your mallets are probably lopsided, one is lower then the other. This is because your hand is to straight. Your hand should be a bit tilted. As well, try tipping your wrist down just a bit. These will help.

When playing, your thumb is more important. It, and your pointer finger. One thing you need to remember when playing is this: Don't EVER slide your thumb off. Don't move it form the top even. The only time your thumb is allowed to slip off your mallet is when you do what's called "locking" and "unlocking" Sliding your thumb off is unlocking. This is so that you can reach big ranges. You should not have to unlock until you've reached an 8h(C to C). Or, like me, a 9th(C-D) on marimba. There's a lot more to it, but it's hard to explain via typing. Razz

Oh, and if you start to get blisters and the palm of your hand is hurting…You're doing it right! Razz but remember:
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Re: Music Theory

Post by Elliwhi on Fri Jan 04, 2013 1:26 pm

Argh, music theory and chord inversions Razz

My worst things Razz

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Re: Music Theory

Post by Fire on Mon Jan 07, 2013 7:20 pm

Since this is all about music, I though I'd post the circle of fifths. Razz




My drum teacher has this tattooed on his arm. Now that's dedication to music. Razz then again he has a ton of tattoos, all music related. Razz
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Re: Music Theory

Post by Fluffy on Mon Jan 07, 2013 7:56 pm

Haha, I just had a friend give me a good beginning music theory book this weekend. I was planning on spending like 20-30 minutes a day going through it.

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Re: Music Theory

Post by Doctor Who on Mon Jan 07, 2013 8:17 pm

I'm taking Theory II in college right now. Cool

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Re: Music Theory

Post by Fluffy on Mon Jan 07, 2013 8:19 pm

How's that class going? Also, just curious, but do you ever have papers to write for your class?

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Re: Music Theory

Post by The Cracken on Mon Jan 07, 2013 9:10 pm

@ Fire: It's the Circle of Fourths if you read it counter-clockwise.




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Re: Music Theory

Post by Elliwhi on Mon Feb 25, 2013 2:37 pm

Circle of Fourths? How? Suspect

Anyway, my grade 5 ABRSM exam for theory is tomorrow afraid I should get somewhere 80-90 out of 100, which is a merit (80), distinction (90) and I need to get somewhere between that or higher Very Happy

As most of my practice papers have been merits recently (and 1 distinction Very Happy) I should be in safe 80s area Cool

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Re: Music Theory

Post by Doctor Who on Tue Feb 26, 2013 11:58 am

@Fluffy: No, you don't write papers in Theory at all. Cool

It's called the "circle of fourths," because you can find the flats that way. F-Bb-Eb-Ab-Db-Gb, etc. It's because 4th's and 5th's invert to each other.

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Re: Music Theory

Post by Elliwhi on Tue Feb 26, 2013 3:01 pm

Holly - You mean essays? No way Razz It's way more fun that boring old essays Cool

Supersonic: Still have no idea what you mean Razz

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Re: Music Theory

Post by TheRunedEXP on Sun Mar 17, 2013 1:07 am

Me = Noob who doesn't go in depth Sad
So
Mind = Blown
DX
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Re: Music Theory

Post by Doctor Who on Sun Mar 17, 2013 8:06 pm

@Elliwhi: If you play middle C on the piano, and then play the F above it, you've gone up a fourth. Keep going up a fourth repeatedly from there (5 half-steps), and that's the "circle of fourths."

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Re: Music Theory

Post by RandomEncounter on Mon Mar 18, 2013 9:17 am

Wow... I thought I was pretty decent at theory after a year of jazz theory...

I was wrong.
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Re: Music Theory

Post by The Cracken on Mon Mar 18, 2013 10:04 am

Bah, you probably know more than you think you do. Razz Circle of Fifths/Fourths is just a basic reference material. Razz

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Re: Music Theory

Post by Elliwhi on Fri Mar 29, 2013 5:57 am

Tak - Ahhhh righty Razz

For those of you who are interested of taking music theory exams, have a look at ABRSM. They're pretty popular in the UK and you can take exams anywhere in the world. Smile Also good for instrument players. You can take exams in your chosen instrument. Wink
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Re: Music Theory

Post by The Cracken on Wed Aug 21, 2013 5:53 pm

Figured I'd post this here. Razz http://en.wikipedia.org/wiki/Suspended_chord#Jazz_sus_chord

The jazz sus chord is basically a 9sus4... In the key of C, a G9sus4 would be G-C-D-F-A. I often see it without the fifth (G-C-F-A), effectively making it an Fadd9/G. It's one of my favorite chords. :3 They work well in a IV-V-I, like F/G, G7, C.

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Re: Music Theory

Post by Doctor Who on Thu Aug 22, 2013 1:24 pm

Ooh. That's fun. Cool

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Re: Music Theory

Post by The Cracken on Fri Sep 06, 2013 1:31 am

So, I was just going over a chord progression in a song... It's in the key of D, and goes Dmaj7, D#dim7, Em7, G/A. I was curious how that all worked so I decided to figure it out.


I've come to the conclusion that it's a variation on the I-vi-ii-V progression, which is VERY popular in jazz. Normally, this would be Dmaj7, Bm7, Em7, A7. Here, the vi and V are altered...



The V is easily explained. G/A is A, G, B, D; if you added an E and rearranged the notes it would be A9sus4, the "jazz sus chord". G/A functions as the V chord here.



The D#dim7 takes some more explanation. This is my theory: Let's start with a normal vi chord: Bm7. Let's make it major, 'cause that's always fun. B7, right? It's now the V/ii by the way, since it leads into Em7.



Anyway, B7 has the notes B, D#, F#, A. Add on a flat 9th (C) to make B7b9. D#dim7 can be thought of as a rootless B7b9 chord!



Problem solved. EM, MANLY MAN OF MAN



...this is seriously JUST like doing proofs in Geometry. xD

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Re: Music Theory

Post by Doctor Who on Fri Sep 06, 2013 2:38 pm

I just can't seem to escape theory today. Razz

That was a great post though, and I think I agree with your analysis of it. Wakeup

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Re: Music Theory

Post by AgentSam on Tue Mar 10, 2015 4:18 pm

So much theory.
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Re: Music Theory

Post by RandomEncounter on Tue Mar 10, 2015 4:39 pm

AAUUUGH IT'S A TOPIC REVIVAL! CALL THE LEAN POCKETS!
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Re: Music Theory

Post by Dalu on Tue Mar 10, 2015 7:47 pm

*ignores this topic, because it just reminds me that I've slacked off terribly from study music theory since starting school up again*
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