Next Level Guitar® Modern & Classic Blues Rock Masters
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Chords and Scales 30/09/18 3:21 PM
Chords and Scales 30/09/18 3:21 PM Chords Charts written by Mal Webb 2014-18 http://malwebb.com Name Symbol Alt. Symbol (best first) Notes Note numbers Scales (in order of fit). C major (triad) C Cmaj, CM (not good) C E G 1 3 5 Ion, Mix, Lyd, MajPent, MajBlu, DoHar, HarmMaj, RagPD, DomPent C 6 C6 C E G A 1 3 5 6 Ion, MajPent, MajBlu, Lyd, Mix C major 7 C∆ Cmaj7, CM7 (not good) C E G B 1 3 5 7 Ion, Lyd, DoHar, RagPD, MajPent C major 9 C∆9 Cmaj9 C E G B D 1 3 5 7 9 Ion, Lyd, MajPent C 7 (or dominant 7th) C7 CM7 (not good) C E G Bb 1 3 5 b7 Mix, LyDom, PhrDom, DomPent, RagCha, ComDim, MajPent, MajBlu, Blues C 9 C9 C E G Bb D 1 3 5 b7 9 Mix, LyDom, RagCha, DomPent, MajPent, MajBlu, Blues C 7 sharp 9 C7#9 C7+9, C7alt. C E G Bb D# 1 3 5 b7 #9 ComDim, Blues C 7 flat 9 C7b9 C7alt. C E G Bb Db 1 3 5 b7 b9 ComDim, PhrDom C 7 flat 5 C7b5 C E Gb Bb 1 3 b5 b7 Whole, LyDom, SupLoc, Blues C 7 sharp 11 C7#11 Bb+/C C E G Bb D F# 1 3 5 b7 9 #11 LyDom C 13 C 13 C9 add 13 C E G Bb D A 1 3 5 b7 9 13 Mix, LyDom, DomPent, MajBlu, Blues C minor (triad) Cm C-, Cmin C Eb G 1 b3 5 Dor, Aeo, Phr, HarmMin, MelMin, DoHarMin, MinPent, Ukdom, Blues, Pelog C minor 7 Cm7 Cmin7, C-7 C Eb G Bb 1 b3 5 b7 Dor, Aeo, Phr, MinPent, UkDom, Blues C minor major 7 Cm∆ Cm maj7, C- maj7 C Eb G B 1 b3 5 7 HarmMin, MelMin, DoHarMin C minor 6 Cm6 C-6 C Eb G A 1 b3 5 6 Dor, MelMin C minor 9 Cm9 C-9 C Eb G Bb D 1 b3 5 b7 9 Dor, Aeo, MinPent C diminished (triad) Cº Cdim C Eb Gb 1 b3 b5 Loc, Dim, ComDim, SupLoc C diminished 7 Cº7 Cdim7 C Eb Gb A(Bbb) 1 b3 b5 6(bb7) Dim C half diminished Cø -
Year 9 Blues & Improvisation Duration 13-14 Weeks
Topic: Year 9 Blues & Improvisation Duration 13-14 Weeks Key vocabulary: Core knowledge questions Powerful knowledge crucial to commit to long term Links to previous and future topics memory 12-Bar Blues, Blues 45. What are the key features of blues music? • Learn about the history, origins and Links to chromatic Notes from year 8. Chord Sequence, 46. What are the main chords used in the 12-bar blues sequence? development of the Blues and its characteristic Links to Celtic Music from year 8 due to Improvisation 47. What other styles of music led to the development of blues 12-bar Blues structure exploring how a walking using improvisation. Links to form & Syncopation Blues music? bass line is developed from a chord structure from year 9 and Hooks & Riffs Scale Riffs 48. Can you explain the term improvisation and what does it mean progression. in year 9. Fills in blues music? • Explore the effect of adding a melodic Solos 49. Can you identify where the chords change in a 12-bar blues improvisation using the Blues scale and the Make links to music from other cultures Chords I, IV, V, sequence? effect which “swung”rhythms have as used in and traditions that use riff and ostinato- Blues Song Lyrics 50. Can you explain what is meant by ‘Singin the Blues’? jazz and blues music. based structures, such as African Blues Songs 51. Why did music play an important part in the lives of the African • Explore Ragtime Music as a type of jazz style spirituals and other styles of Jazz. -
Ghosts and Guitars on the 'Rain Plans'
Saturday, February 14, 2015 ENTERTAINMENT East Oregonian Page 3C FILM REVIEWS Q&A WITH J.D. KINDLE Ghosts and guitars on the ‘Rain Plans’ n his recordings, Israel a producer can be – a taskmaster, Nash produces a wall of somebody who’s really controlling. Oghostly, psychedelic country For me it was about making rock that is cut through by his sure the right people were there Universal Pictures high, sweet voice. The easiest having the right sonic vision and comparison to make would be sharing that vision. It’s about the Fifty shades of likening his music to early 1970s environment and the people and disappointing Neil Young — contemplative, the situation — artistic realm of twangy, and at times rocking, trusting. We don’t have any rules. Curious? The posters for but he’s not a throwback artist. There’s not a lot of tension. It’s “Fifty Shades of Grey” coyly His band’s atmospheric sound about environment and people. ask. owes as much to sonically dense Whether or not you’re underground rock acts like Sonic “Rain Plans” was released in one of the 100 million who Youth as it does Laurel Canyon Europe nearly a year before it was bought, and presumably read, hippie rock. in the United States. Why? E L James’ kinky book, the I spoke with him on the phone We had a team in Europe buzz alone surrounding this from Dripping Springs, Texas, the that we didn’t have in states. It ³7ZLOLJKW´IDQ¿FWLRQWXUQHG “gateway to Texas hill country,” developed at a different speed in international phenomenon is where he now lives and self Europe. -
Minor Pentatonic & Blues- the Five Box Shapes
Minor Pentatonic & Blues- The Five Box Shapes Now we will add one note to the minor pentatonic scale and turn it into the six-note blues scale. Pentatonic & Blues scales are the most commonly used scales in most genres of music. We can add the flat 5, (b5), or blue note to the pentatonic scale, making it a six-note scale called the Blues Scale. That b5, or blue note, adds a lot of tension and color to the scale. These are “must-know” scales especially for blues and rock so be sure to memorize them and add them to your soloing repertoire. Most of the time when soloing with minor pentatonic scales you can also use the blues scale. To be safe, at first, use the blue note more in passing for color, don’t hang on it too long. Hanging on that flat five too long can sound a bit dissonant. It’s a great note though, so experiment with it and let your ear guide you. The five box shapes illustrated below cover the entire neck. These five positions are the architecture to build licks and runs as well as to connect into longer expanded scales. To work freely across the entire neck you will want to memorize all five positions as well as the two expanded scales illustrated on the next page. These scale shapes are moveable. The key is determined by the root notes illustrated in black. If you want to solo in G minor pentatonic play box #1 using your first finger starting at the 3rd fret on the low E-string and play the shape from there. -
Jazz Harmony Iii
MU 3323 JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will enable you to identify and construct chord scales. This subcourse will also enable you to apply chord scales that correspond to given chord symbols in harmonic progressions. Unless otherwise stated, the masculine gender of singular is used to refer to both men and women. Prerequisites for this course include: Chapter 2, TC 12-41, Basic Music (Fundamental Notation). A knowledge of key signatures. A knowledge of intervals. A knowledge of chord symbols. A knowledge of chord progressions. NOTE: You can take subcourses MU 1300, Scales and Key Signatures; MU 1305, Intervals and Triads; MU 3320, Jazz Harmony I (Chord Symbols/Extensions); and MU 3322, Jazz Harmony II (Chord Progression) to obtain the prerequisite knowledge to complete this subcourse. You can also read TC 12-42, Harmony to obtain knowledge about traditional chord progression. TERMINAL LEARNING OBJECTIVES MU 3323 1 ACTION: You will identify and write scales and modes, identify and write chord scales that correspond to given chord symbols in a harmonic progression, and identify and write chord scales that correspond to triads, extended chords and altered chords. CONDITION: Given the information in this subcourse, STANDARD: To demonstrate competency of this task, you must achieve a minimum of 70% on the subcourse examination. MU 3323 2 TABLE OF CONTENTS Section Subcourse Introduction Administrative Instructions Grading and Certification Instructions L esson 1: Sc ales and Modes P art A O verview P art B M ajor and Minor Scales P art C M odal Scales P art D O ther Scales Practical Exercise Answer Key and Feedback L esson 2: R elating Chord Scales to Basic Four Note Chords Practical Exercise Answer Key and Feedback L esson 3: R elating Chord Scales to Triads, Extended Chords, and Altered Chords Practical Exercise Answer Key and Feedback Examination MU 3323 3 ADMINISTRATIVE INSTRUCTIONS 1. -
Scale Theory -Blues Scale
Scale Theory -Blues Scale Remember we derived the C scale using 221-2221 for the number of half steps? C Db D Eb E F G Ab A Bb B C C 2 D 2 E 1 F2 G 2 A 2 B 1 C - C major scale is C D E F G A B C The major pentatonic (5 tone) scale is CDEGA or the 1, 2, 3, 5 and 6 of the scale The minor pentatonic (5 tone) scale is CEbFGBb or the 1, b3, 4, 5 and b7 The blues scale can be found like that too -adds a b5 to the minor pentatonic scale We could also use a formula: 3 2 1 1 3 2 (steps) - Let's start with the key of C First, write all possible notes C Db D Eb E F Gb G Ab A Bb B C use the formula: C 3 Eb 2 F 1 Gb 1 G 3 Bb 2 C Position in major scale: 1 b3 4 b5 5 b7 1 Therefore, the C blues scale is C Eb F Gb G Bb C *This method will work for the blues scale in any key - try it for the A Blues scale Find the A blues scale: write all possible notes A A# B C C# D D# E F F# G G#A use the formula for the blues scale 321-132 A 3 C 2 D1D#1E 3 G 2 A Position in major scale: 1 b3 4 b5 5 b7 1 Therefore, the A major scale is A C D D# E G A You can play the blues scale in a linear fashion, up the neck – note that the notes are shown by the fret marker dots, with only the b5 added at the 6th fret. -
Lyn Hejinian “The Inanimate Are Rocks, Desks, Bubble,” 50 from My Life 51 from Writing Is an Aid to Memory 54 the Green 57 “The Erosion of Rocks Blooms
in the american tree Silliman in the american tree Second Edition, with a new Afterword by Ron Silliman The “Language Poets” have extended the Pound-Williams (or perhaps the Pound-Williams- in the americanlanguage tree realism poetry Zukofsky-Stein) tradition in American writing into new and unexpected territories. In the process, these poets have established themselves as the most rigorous and the most radically experi- mental avant-garde on the current literary scene. This anthology offers the most substantial col- lection of work by the Language Poets now available, along with 130 pages of theoretic statements by poets included in the anthology. As such, In the American Tree does for a new generation of American poets what Don Allen’s The New American Poetry did for an earlier generation. The poets represented include Robert Grenier, Barrett Watten, Lyn Hejinian, Bob Perelman, Michael Palmer, Michael Davidson, Clark Coolidge, Charles Bernstein, Hannah Weiner, Bruce Andrews, Susan Howe, Fanny Howe, Bernadette Mayer, Ray DiPalma, and many others. “For millennia, poets have had to make their own way and the world that goes with it. The genius of these various writers and the consummate clartiy with which they are presented here make very clear again that not only is this the road now crucial for all poetry, it’s literally where we are going.” –Robert Creeley “This historic anthology brings into long-needed focus the only serious and concerted movement in American literature of the past two decades. It will be indispensible to anyone with interest in writ- ing’s present and hope for writing’s future.” –Peter Schjeldahl “Provocative in its critique and antidote, this collection invites the curious writer/reader to question all assumptions regarding generally agreed upon values of poetic language practices. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Musical Modes, Their Associated Chords and Their Musicality 3
MUSICAL MODES, THEIR ASSOCIATED CHORDS AND THEIR MUSICALITY MIHAIL COCOS & KENT KIDMAN Abstract. In this paper we present a mathematical way of defining musical modes and we define the musicality of a mode as a product of three differ- ent factors. We conclude by classifying the modes which are most musical according to our definition. 1. Musical scales and modes First we must define some concepts. In traditional western style of music there are 12 different notes in an octave. Two notes represent the same tone if they are at a distance of 12n semitones (a multiple of octaves apart). The 13th note restarts the cycle and it is the same tone as our first note (simply an octave higher). Loosely speaking a scale is simply an ordered sequence of different tones within the same octave. For instance CDEFGAB is the well known C major scale, ABCDEFG is the A minor scale, and EGAA#BD is the hexatonic blues scale in the key of E. The first note of the scale is said to be the key of the scale. Definition 1.1. For further considerations about scales we will associate every tone with a numerical value, namely its position in the chromatic A scale AA#BCC#CDD#EF F #GG# The lexicographic order of tones will be defined as the order induced by their nu- merical values defined as above. The precise mathematical definition of a scale is: arXiv:1201.2654v1 [math.CO] 12 Jan 2012 Definition 1.2. A k scale is a circular permutation of k different tones in lexico- graphic order. -
Mustang Daily, September 28, 1979
LIBRARY ARCHIVES . CALIFORNIA FOLY TECHNiC STA Mustang Daily UNIVERSITY LIBRARY September 28,1979 California Polytechnic State University, San Luis Obispo VoL 44, No. 3 Students WOWed in first week BY CATHY SPEARNAK Dally Editorial Aaatatant “1 don’t like the fact that we have to buy our own When David Copley came to Cal Poly two weeks ago, he sweatshirts. Also, I lost my meal ticket and had to pay $2 didn’t know what it meant to be a “ WOWie.” to get a new one,” said the counselor. But after experiencing the school’s orientation Holmgren isn’t the only counselor who lost money program—Week of Welcome—the 18-year-old animal during WOW. One counselor wh'o asked her name not be science major said he is proud to have survived “WOW used because she didn’t want to be a “ spoil sport” said she week ’79.” lost over $60 entertaining her WOWies. 1 This year Cal Poly’s WOW program introduced over “Their meal ticket doesn't provide all their meals, and 2,500 new students—often called WOWies—to the when we had a few dinners over at my house 1 was em University. This is about 200 more than last year. barrassed to ask for donations,” she said. “At first I was scared and I wanted to go home. After WOW I liked Cal Poly and I’m glad I’m in it. I’m trying to Writing exam figure out how I can stay here six years,” said the en thusiastic freshman. Copley said the orientation not only helped him get Test is required through first-week rough spots such as registration and departmental advising, but helped him adjust to school BY JOE STEIN socially. -
Felix Issue 1103, 1998
sv ELECTION INTERVIEWS ELECTRIC CAFE THIS TUESDAY Your Last Election Special Chance to Edition Decide IC Shall Go to the Ball MARK BAKER meeting of the Union Finance The sponsorship money has Council was called and the organis- been pledged by the firm EDS and Thanks to the work of four students, ers announced that they had was obtained via the 1C Alumni Imperial College will stage its first secured £15,000 corporate spon- Relations Office, the Managing ever summer ball this year. The sorship. UFC then voted unani- Director of EDS being an IC gradu- event, to be held in Alexandra mously to underwrite the event. A ate. "EDS came to college wanting Palace, is open to all stu- to sponsor something", revealed dents, graduates and staff of Ling Li, one of the four initiators, IC and is set to rival the well- iB "eight proposals were given to known Oxbridge May balls. HHSHHI them, including minibus sponsor- Included in the evening's ™ ship, but EDS themselves chose entertainment will be a string the summer ball". They hope to quartet reception, a three- raise at least another £5,000 course meal, drinks, a head- towards fixed costs and ents. line band and other entertain- At least 500 people are need- ments such a casino and pos- ed to fill the enormous West Hall sibly a bouncy castle. at Alexandra Palace (pictured), Transport to and from ICU but the organisers hope to see will also be included in the |||§ many more. Tickets will be on ticket price. sale as soon as next week from The project is the brain- the Union Office priced at £45 child of four 1SE students for students.