I am am expert in the key of C, but I usually compose in other keys (see above post.)

 

Please take no offense...

Just STFU and play some damn music already!!!

No offense...but you don't need any theory to tell you what sounds good (ever). So many of the true "greats" knew zero theory, nuff said.

I studied music theory back in the late 60's and early 70's...

...then I threw it all away and just played music...after awhile you just know what to play, where to play it and when not to play...

...theory is great to know, helpful too, as reference only, but that's where it ends and then your instincts need to take over the fretboard or the keys (or whatever instrument).

Do you need theory to create music? No and don't ever let anyone tell you that you do.

Just go with the KISS Theory (for those who don't know that really difficult theory - Keep It Simple Stupid). Most of the popular songs in history are very much in tune with the KISS Theory.

Just play what you feel and you'll see you won't need theory.

Ok, back to NFL football...

 

When I transpose to C = Tonic, I do not care about the note names

 

yes u do, unless u wan t o run to someone who knows theory to arrange your music,or unless u think that playing those three things over and over will fool your listeners.
expeciall now, more than ever, when most simple stuff has been explored and abused it takes some boost,otherwise all u r left with is hip hop and shit made pressing a button on a synth.
Oh and, all the great u talk about with no music knowledge woulld be begging in a corner of a street if some producer/arranger/hired musician handn t fixed their ideas turning them into something that the audience could appreciate.U don t go anywhere with only a bag of good intentions

 

Last edited: Oct 18, 2015

Yes. It was my first thought but it needs to memorize two numbers. First degrees that most chords are expressed with that then corresponding sizes. But by assigning sizes to fingers, we're getting rid of sizes that just slows our calculation. Second a preliminary guy like me needs to visualize the e.g. piano notes in her or his head then count regarding notes places but in my method you need to memorize just 7 note without accidentals.

 

in fact your method is wrong, besides with a keyboard it s even easier because u can visually see the notes,so u don t need fingers to count

 

You're right. Mine does not need to sit next to any instrument or any staff notation. It only needs your fingers and just the first row of the interval chart.

 

Last edited by a moderator: Oct 19, 2015

once u know the octave is divided in 12 semitones u can practice it even in your bed before the bedtime wank,no need to have any instrument with u

 

Thanks so much!
In fact with instrument beside me, I do exactly what you said but I just tried to suggest a better way maybe uncommon but worked for me. For example dealing with 4 or 5 notes chords. I compared the two ways with each other and because I use fingers most of the times for calculations I wanted to relate them together for lowering the mistakes and speeding up the calculations.

Thanks again my bro!

 

how can it work if u don t use sharps?

 

I just use flats instead of sharps. Like Gb for F#. All I do is just for simplification. I mean all of the sharps are replaced with their equivalent flats.

Of course you can use sharps but it would need other chart with different assignments to fingers.

 

Music has no fingers or keys. If you know how to count to 7 and start relating what you hear to the appropriate numbers (with the appropriate accidentals), that's all you need.

 

And BTW, no one who actually learns how to analyze and understand music will ever say "I learnt all that but then I decided I didn't need it".

Just.. no one.

 

it s useless that i go on if u don t understand that a Gflat and an F shrp are harmonically different,go on with simplicity and good luck

 

The main problem with note naming isn't really about notes sounding different since we are all using the 12TET system to divide the octave.

F# and Gb are the same note but if you're writing a scale you don't want to unecessarily repeat note names, that would lead to confusion (F - Gb - G# - Bb - B#..)

If you only think of intervals (1 to 7 with # and b's), you'll never run into that problem.

 

that s why i specified "harmonically" different,then if he want s to tell me that C and G flat is not a dimished fifth but an augmented fourth,that another story

 

I don't understand how does that relate to harmony and how it would be different.

Don't you mean "enharmonic equivalent"?

 

no, i said harmonically different because although they are enharmonic equivalent ,their use is harmonically different,since an augmented fourth has a raised fourth degrree and a diminished fifth has a lowered fifth degree,they sound the same but they r used in a different context.I blame myself for having used a tritone as an example

 

Last edited: Oct 19, 2015

Yes but that is the problem of "confusion", nothing more than that. The sound, harmonically or melodically, will be exactly the same.

In other temperaments besides 12TET (the one we've been using since a few centuries ago), they are actually different notes, which means they will sound different... and that would be a real (audible) problem.

 

He didn't forget it? He refers to the minor 2nd but didn't label his 2nd a major 2nd thus showing he forgot that as well as the aug 4th you correctly spotted. More importantly, to say that adding an octave doesn't change the quality of an interval means exactly what? Please explain. Are you talking about the sound or texture of the interval? Even an octave played in unison will sound different to any one of those notes played alone. Saying "why do u extend it beyond the octave?" is a bit silly. On one hand you are dismissive of the necessity for him to go beyond the octave and then on the other you ask him why he didn't include the 10th and 13th intervals. I don't think he arbitrarily omitted anything. I simply think he has made some minor (sorry for the pun) mistakes. We are all human after all.
I am aware of the 9th being a second transposed up an octave or to be more precise it is an octave plus 2 semitones (if transposed within an octave it can become a minor 7th also) and because of this it is completely different in tonality and far less dissonant than the a 2nd interval and thus adding to the pallet of chord colours a composer will have at their disposal. Choice is always a good thing. This bolsters my statement that intervals above the octave are important and needed in the composition of chords, chord progressions and melody.
However me and thee flexing our interval knowledge muscles at each other is digressing from his initial post. The chart he is trying to memorize may be confusing to us, it is however something he is trying to attain for himself. My initial response was to bring it back to basics by way of the staff/stave so he could get a better understanding of intervals. That way he could see and even count the semitones between intervals in a much more convenient way. By doing so; he would obtain a more concrete grasp of it all and continue with his chart with a better understanding.
Memorizing anything with respect to music theory is vital for the purposes of composition and improvising. Imagine if Joe Pass didn't memorize and develop his theoretical knowledge? Or, imagine we all didn't bother to memorize words and the basics of structuring a sentence.
This world would have become a very quiet place indeed.

I play guitar also