Music Theory General

This is true, it's also why the west is currently committing suicide. Scholasticism and dialectical mind games do to the soul what circumcision does to the penis, it blinds people to the living world around them and traps them in a constructed mental cage separated from the whole. Music theory is a vain attempt to understand soul, but it limits potential based on bourgeois vain intellectual understandings by mere monkeys.

Radioactive bait

Hahaha I remember this and also have a screenshot on my laptop. Good times

Dude just start a soundcloud thread if you want to plug your stuff, starting a thread for music discussion and then plugging yourself in the OP is pretty shitty. Also against the rules

>I'd learn them in terms of their scale degrees, ie: dorian is a minor scale with a natural sixth, lydian a major scale with a sharp 4, etc.
This sounds like a pain in the ass; the modes are just the major scale starting on different notes for fucks sake.

t. never gonna make it

You're the one who isn't going to make it if you think over-complicating shit is worthwhile.
> lydian a major scale with a sharp 4
rather that Lydian is just a major scale starting on the 4th note.

Ok now real quick play an Eb Lydian scale. Much easier to think of Eb major with a sharp four rather than count backward from Eb 4 steps of a major scale

It terms of it being simpler or more complicated, that's your opinion because for me thinking of it as lydian makes it easier. If you just play an A major chord and loop it that's just three notes in the chord. All of those notes belong to each of the major modes. Playing A Ionian versus A Lydian versus A Mixolydian creates a different vibe over that chord. So yes, they're the same notes as some major scale but not the same mood when used in the context of their basic root note triad.

This

Thinking of the modes in reference to their Ionian is silly

sneed general

That's the way it works for me, whenever I related them to their ionian scale I just got confused. This way of thinking also helps when you get into more complex modes, lydian b9b13#9, symmetrical scales, etc.

Sorry, forgot the rules. If you want to report it go ahead, fucked up.

You have a major scale with this numbering:
1 2 3 4 5 6 7
If you play the scale starting on each of those notes all the way up an octave to the same note you started on, you will find a different mode of the scale.
1 - Ionian
2 - Dorian
3 - Phrygian
4 - Lydian
5 - Mixolydian
6 - Aeolian
7 - Locrian

There isn't any order you need to learn but maybe look up modal songs and find out what mode they're played in and if you like any then learn that mode.

user gimme your favorite theoretical song. Not necessarily the best tune but theoretically interesting. I’ll start with Giant Steps by Coltrane, a good bop for sure but it also revolutionized hyper-tonality in the 20th century

Attached: 67F243A6-EA5B-448A-B021-1611B524081F.jpg (640x646, 154K)

I wouldn't exactly know what you mean by theoretical song. Jazz didn't really revolutionize in terms of harmony, as classical/baroque/romantical had explored tons of possibilities within it.
A piece that I find extremely interesting from the theoretical perspective is Webern's Symphony Op.21

So is this shit improv lydian for the first part?
vocaroo.com/i/s1vB6jxHyrx7
...because in my mind, this is all just C major.

Drowning Witch by Frank Zappa.
Fuck your 9/4 meters Zappa.

Attached: 1553532008756.jpg (680x378, 18K)

That is c major

So what would F lydian sound like that is different than the first ~40 seconds?

It really doesn't help to think about it like that though
To recognize them by their sound you need to go by the sound of the key triads, it's much harder to hear that one note of the scale COULD be a tonic in another scale.
Anyone else think modes are really overrated lately? Jazz people in particular seem to give them way too much theoretical attention

transposition of the following scale up 5 fifths
>#A, B, #C, #D, E, #F, #G
is
>E, F, G, A, Bb, C, D
?
is this correct or I'm fucking it up?

how about the following down 1 whole step
>B, C, D, E, F, G, A
is
>A, Bb, C, D, Eb, F, G
?

studying music theory is like going super saiyan

The first one you've transposed by a diminished fifth. The second one is correct.

The pull towards c on that improv was very strong, it was clearly do, the tonic. You gotta make sure to hammer in the point that F is your tonic here.

humm, thanks.
What should be the result of A# 5 fifths up, if I'm not asking too much?

I meant only the first note, don't need to transpose the whole thing

You mean 5 fifths or a perfect fifth?
In the circle of fifths, going up 5 fifths from A#/Bb gives you A. If you just mean a perfect fifth then the answer is E#.

I must ask why 5 fifths up? Awfully impractical.

>You gotta make sure to hammer in the point that F is your tonic here.
I tried again with a different key and different mode. How did I do this time? (Is it clear what mode I'm going for?)
vocaroo.com/i/s1VzJwb3ciKo

exercise from a book, see below

>Extra credit: Transpose scales that appear in the bass clef down a whole
step and scales that appear in the treble clef up a fifth.
I fucked up by typing 5 fifths lmao, sorry. What does 'a fifth' mean, anyways? I thought it was 5 half steps, am I wrong?

You learn theory to write western art styled music, not for the fucking zoomer instrument that is the guitar

It's based on the major scale. It can be confusing.
A Bb B C Db D Eb E F Gb G Ab
Take the chromatic scale. If I count 5 notes from A, I get D which is a perfect fourth.
The perfect fifth away from A is E, so it's 7 notes away but in a major scale if you make A equal to 1 and follow the major scale step pattern of whole whole half whole whole whole half you get A B C# D E F# G# A or 1 2 3 4 5 6 7 1. The tonic of a basic major scale will always have it's perfect above. So just take whatever root you want, find it's major scale, and count 4 notes from the root to find it's perfect fifth.

thanks man

how do I into music theory?
books, videos, websites? anyone got a good specific resource? better a more practical or more theoretical approach?

I still don't believe in modes.
vocaroo.com/i/s0eQg13MZdqK
Fuck theory bruh, just use your ears.

Attached: they-dont-think-it-be-like-it-is-but-it-do.jpg (523x720, 198K)

Timing seems off but Its decent.

B phrygian? Much better because I can easily hear the flat 2, still tends towards other modes at times. It's ok, modes are not very strong by themselves.

>Modes are supposed to be learnt in order?
They are not. You can learn them any way you like.

And this is why you should actually learn modes. So you don't say dumb shit like this.

Fuck. You're right. I'll never get the hang of modes.
Totally (fucked timing); I had/have no idea what I'm doing. I'm classically trained and today was my foray into fucking with modes to try and understand them.
Looking back, I guess I would recommend reading some of Schoenberg's books on theory.

Look, every mode has notes that make them different from their major/min scale. You NEED those notes for the mode color. For lydian is the sharp 4, for phrygian is the flat 2, etc. Exploit those characteristics more than anything else

Intervals are names have two parts. The interval and quality. For example a perfect 5th's interval is a 5th a it's quality is perfect. You could have a diminished or augmented 5th which are also 5ths.

Now when figuring out the interval of two notes you always start with the actual note names themselves. The note names being A B C D E F or G. The interval between A and B is a 2nd A and C is a 3rd ect. It doesn't matter if for example you have Ab and B#.

Now if A and B are flat or sharp affects the interval quality. A to B is a major 2nd, A to B# would be an augmented 2nd. A to Bb would be a diminished 2nd, but both are types of 2nds.

So when thinking about intervals always look at the note names to find the interval then look at sharps/flats for the interval quality. Does this make sense?

>Exploit those characteristics more than anything else
Thank you.

Attached: 1541561752085.jpg (640x480, 25K)

yes, very much. Thanks a lot, really helped

michael hewitt's music theory for computer musicians

Music Matters is a pretty decent youtube channel on theory with a lovely old guy doing lectures