I really don't know what your problem is. I have already said many times that all your theory is correct and invited you to learn more and understand other ways of looking at things (you asked, remember?). All you've been doing is posing as an elitist prick where eveything that deviates from what you already know is just.. wrong.

Not even once did you try to understand a thing, your only concern was to prepare objections towards anything that isn't in your book.

I think that any well educated boy would appreciate the opportunity to expand their views and learn what other people do instead of acting like an old conservative fart who thinks he knows it all.

 

Honestly, I don't even have too look very far to give examples of people who think in this intervalic/formulaic way... any improviser does it.

I don't remember any improviser who claims to think "enharmonically correct", not one. It's all intervals and degrees, note names are just for tonics.

 

This thread could be about absolutely anything, hence my analogy. I hear no musical examples. Ha, why not. I don't ever remember thinking to myself, "Wow, that word sounded just like a minor 3rd!". Theory shmeory, no ticky no laundry. Play it or get off the pot. That will be the thing that cleaves unto resolution of a different note. I'm gonna go outside and smoke a bowl, and when I get back want to see everybody jacked into their guitars and ready to play what's on their minds. Ready.....break.

 

If anyone likes this approach but prefers to see things as "half step, step", this next chart has that covered with generic "C as root" examples:

 

Actually I understood everything, the only problòem with what u wrote is that it applies only in the realm of theory, with no link to practical use.
Using numbers to learn itervals can work as a general abstract concpt, but in the end u have to use names for notes,that u like it or not.
I m sorry but your method only works with frettted instruments,because u have frets that work like clutches,theoretically according to your reasoning u don e even have to know the notes on your guitar fretboard, nor u need to because u don t care and visually u got all u need to have mastered intervals.U mastered how they work, this doesn t mean it gave u the mental elasticity to name what interval two notes make,if u did, it s not thanks to your method
A singer with your method wouldn t go anywhere

 

because u improvise,and there are rules anyway,obviously when u improvise u dont think about the names of the notes u are playing, ur supposed to think about phrasing

 

Again, note names are just constructions to aid representation. You don't need note names to have theory, just as much as you don't need to know a town's name to be there.. you are there and that's it. You might call it "Paris", someone might call it "home", notes are just names and can be represented in many ways, even as MIDI data. They represent frequencies, that's all.

I gave you the example of improvisers in general, not guitar players... and know, I am not just a guitar player and I don't play only fretted instruments. Fretless basses, piano roll, keys, staff, etc.. anything goes as long as it produces pitches. Again, theory is not music, it only serves a purpose towards music.

It's totally the opposite, really. You have much more mental elasticity to acknowledge intervals and practice ear training if you have the ability to work with intervals by their distances alone without all the enharmonic bullshit, that again, works very well within the context where it is needed, nothing more than that.

It's the same thing regardless of instrument. You can read notes from staff, piano roll, numbers, guitar tab, ancient scrolls, doesn't matter as long as you know hot to interpret them. The only thing that is common to all is what they depict in the end result... which is intervals between pitches.

There's a common misconception that reading sheet music is ESSENTIAL to learn theory, just as if the staff was itself the theory. Well, it isn't. It's just a representation of pitches.

 

If you think of improvising as composing on the spot, there's absolutely no reason for you to need a different method when composing.

If you want to "hit the major 3rd of the V chord", you do it wether you're improvising or composing. It's not enharmonics or staffs that are going to change the exact interval that you've chosen.

 

Do you have to think of note names when you're writing on a staff? If you think of it, you can pretty much write most of what you have to write just by degrees and adding accidentals to those degrees without even thinking of the note names. You don't really need note names, that's pure convention to make everyone have the same reference for pitch.

If people said "this piece is in the key of the major second line" or something like that, we would all know it's G major. Pure convention.

 

Let's take a break for a few minutes and watch this video:
http://www.bestgore.com/police-brut...nt-illegal-enter-property-assault-young-girl/
Do you think these guys know the meaning of the music theory? She's a girl but her balls are bigger than mine.

 

Last edited by a moderator: Oct 21, 2015

I am not clicking that video, looks very fishy..

 

foster911,

I've told you to check out chord construction, here's the basics for your present workflow in a diatonic major scale (to keep it simple):

Major Scale - R234567

Basic triads that derive from that scale: Major, Minor, Diminished:

Major - R 3 5
Minor - R b3 5
Dim - R b3 b5

Now you substitute each R for the degree of the scale where you want to build the chord. Upper case (III) means that it's a major chord, lower case (iii) means it's minor.

The chords for each degree of the Major Scale go as follows: I ii ii IV V vi vii(dim)

Applying the chord formulas you get (in A for example):

I - A C# E
ii - B D F#
iii - C# E G#
IV - D F# A


Got it? Study this and forget about the random chord choices you've been doing. In no time you'll begin to understand and feel how the appropriate chords support the melody of the key you chose.

edit:

Here's with flats, just like you love it lol

I - A Db E
ii - B D Gb
iii - Db E Ab
IV - D Gb A

 

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Last edited by a moderator: May 29, 2018

...but you keep mistaking information for knowledge. You can fill your hard drive with instructional crap, it won't mean shit regarding your evolution as a musician.

And no, what he does isn't the result of the process you're thinking of, not even close.

Familiarize yourself with the basics and build upon that, forget all your attempts at stupid shortcuts that don't really exist.

 

Study what I just wrote on that last post and relate everything to a moveable C to avoid all the unecessary enharmonic crap and your hunger for flats.

When you move on to natural minor keys, relate everything to a moveable A.


Before your confusion spreads across enharmonics...

1 - As you've been shown, intervals per se don't include enharmonic drama. The piano roll that you use is chromatic, not diatonic.

2 - When you do ear training exercises, you want to be able to recognize distances (intervals) and that's all. Just make sure that you're linking the sound to the correct interval. Doesn't matter if you call it #5 or b6.

3 - If you move on to staff representation, you'll have to learn about enharmonicity, cycle of fifths, key signatures and all that. At this point you'll be following a convention, which means that you'll have to set aside your preference for "all flats". The good news is that you don't need staff to learn theory. The bad news is that you won't be able to study a lot of material where the analysis and examples are all in staff notation.

I hope this sheds some light into your overwhelmed brain.

 

Last edited: Oct 21, 2015

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Last edited by a moderator: May 29, 2018

Your understanding of all this is all based on DAW piano rolls, and that's not the only thing existing in this world. For woodwind and brass instruments, different accidentals will result in different pitch, simply because how the instrument is built. Also, if you are a vocalist and may need to sing a bit more sophisticated music than diatonic tunes, you will be glad to have proper knowledge on interval and modulations.

Those concerns may not exist if you only work with simple non-modulating pieces when working with DAW, but you need to realize there are many many music genres, some you may have no professional experiences with, that requires very precise marking of these little details.

 

The idea is that any D (Dbb, D#) going up to any E(Eb..Ex) is a second, where as any C going up to any E is a third.

 

I gave up explaining this to them, good luck

 

It makes absolutely no difference. You can have the proper knowledge about intervals and modulations without even looking at a staff, I don't know why this is so hard to understand.

It's exactly the same thing for simple or complicated music. I've already explained all this, I think that at this point even someone who knows nothing about music will understand the difference by reading my posts.

Incredible, you still don't get it and still think that I know nothing about this. lol

Go practice your interval ear training with the "correct" enharmonics, that's how staff snobs should do.