can you recommend some music theory, most stuff i've tried reading or watching i fall a sleep

 

I learned a lot with the experimentation on this channel.

 

this dude got some great videos . i put that one specifically cause i used to work as a rep for an audiofool company. aka audioquest . lol. money was good but it dont feel right when u work for bullshit companies. watch that video.

 

johndoehizzle not really music theory lol but this dude is cool



Herr Tony

thx...seems just rick beato channel has all we need i guess
...very effective teacher , he and his flipchart.....

 

YouTube Dr b music theory videos free

 

Here type of shortcut in sense to get you started.
The diminished 7th chord is where all other chords come from. It is symmetrical which means it's notes are equally spaced there is one note eachside .
Here is b dim7 needed inside chromatic scale

A#bcc#dd#eff#gg#aa#bcc#

See how the notes are equally spaced?
And that you have one note on each side note being used.
This means you can slide a note up or down to transform the diminished 7 chord into another chord.
So b dim7
Bdfg#
What if we slide thelast note up 1 semitone?
Bdfa now we have a b min7flat5 ( or d minor6)
What if we slide last note down?
Bdfg now we have G dominant 7 chord gbdf
What I'd we slide first note and last note up by one?
Bdfg# becomes cdfa now we have dminor7 dfac
What if we slide to consec notes down?
Bdfg# becomes bdeg now we have eminor7 egbf

There are only 3 dim7 chords all together
Bdfg#
Cd#f#a
C#ega#
3 times 4 notes in a dime equals 12 notes.

 

So symmetrical structures are where everything else comes from .
12 notes in chromatic scale
6 tritones
4 augmented chords
3 diminished 7 chords
2 whole tone scales

Let's now look at the augmented chord
C augmented c e g#
An augmented chord contains the root notes of 3 major keys which are family .
C major e major g#major
C#major fmajor amajor
Dmajor f#major a#major
D#major gmajor bmajor

Let's look at a tritone
A tritone is a flat5th away from root note
So G dominant 7 is notes gbdf
A tritone away is c#7 c#fg#b
Look at what they share in common
The b and f notes in these chords they are the 3rd and 7th , which is the most important notes this means and dominant chord can be replaced by it's tritone dominant as a substitution or trplacement an alternate flavor do to speak .
How do we find all 12 dominant chords and their tritones?

The diminished 7th chord
Bdfg#
We slide one note down and add that new note to the others
G#bdf becomes gbdf g7
Bdfg# becomes a#dfg# a#7
Dfg#b becomes c#fg#b c#7
Fg#bd becomes e7 eg#bf

So these particular dominant 7ths are from c major and it's relative a minor and the tritones
C major has g7 gbdf it's tritone is c#7 c#fg#b
A minor has e7 eg#bd it's tritone a#7 a#dfg#

We have now seen that you take any major key root build a diminished 7th chord a half-step below that major key root and you get the 4 dominant chords which belong to that major key relative minor key and the tritone substitutions which go with their dominant chords.

 

So what is easiest way to actually use this stuff?
Let's go back to bdim7 bdfg# it played just as it is can resolve to many chords
Play bdfg# 4 counts then play cegb 4 counts
Play bdfg# 4 counts then play aceg 4 counts
Play bdfg# 4 counts then play d# g a# d 4 counts
Play bdfg# 4 counts then play f#a#c#f 4 counts
Play bdfg# 4 counts then play ac#eg# 4 counts
Play bdfg# 4 counts then play cd#ga# 4 counts
Play bdfg# 4 counts then play d#f#a#c# 4 counts

 

For all the chords in our 12 notes we have 3 functions
These 3 movements work in a certain order
Subdominant(tense), dominant (far away), tonic(home)
In key of cmajor
Dfac ii, face iv are subdominant (small away)
Gbdf V ,bdfa vii% are dominant ( farthest away)
Cegb I , egbdiii, aceg vi, are tonic ( relaxed or home)

So how it works is in c major the tonic is relaxed or at home we put a tense or dominant chord before it so when we land on home there is satisfaction .
This is called V to I ( even though the other chords listed can swap out )
For example it could also be vii% to iii
Or it could be V to vi
Next we can put a subdominant before the dominant so that our movement is slightly tense, very tense then relaxed at end

 

https://www.edmprod.com/?s=The+Theory+&+Arrangement

first one is at bottom of the first page + https://www.edmprod.com/music-production-resources/

 

Let's now put this into use but in a very simple way .
In c major we have ii dfac, v gbdf, I cega

The first note of a chord is root
The next note of chord is 3rd
The next note of chord is 5th
The next note if chord is 7th
So in the chord c major 7
Cegb

C is root
E is 3rd
G is 5th
B is 7th

The 3rd and 7th are most important

So if we want to play a stripped down c major

We take the 3rd or E note
This is step 1 we pick our tonic landing note E
Step2 we want to put dominant before our tonic

So gbdf v chord
G is root
B is 3rd
D is 5th
F is 7th
The 3rd and 7th is most important
Remember we selected E before so this time let's pick F because they right next to each other .
Now we have F sliding down to E represents our V dominant moving to rest I tonic F to E
Now. Step 3 we won't to put our subdominant before the V to I
Ii d f a c

D is root
F is 3rd
A is 5th
C is 7th

This time we actually going to use our root d this is because we selected F To E before so this will give us little bit more motion
So all together in final step we play
D up to F slide down to E let e ring out a while.

 

Notice with our little line D up to F down to E
This type of motion of starting then going up high and then landing down but higher than you started
This movement is built right into the language of music it gives the lines a travelling expressive feeling .
What we going to do now is take our foundation again in key of C major just like before and same thing
Ii dfac, v gbdf, I cegb

Our first simple line was dfe
Now I'm going to show you others which work also
F up to a down to g
B down to g# up to a
C down to a up to b
D down to b up to c
E down to c# up to d
G down to c up to d
B down to f down to E
All these represent our initial framework of
Ii dfac, v gbdf, I cegb

They are different flavors of simple 3 note melodies which outline our changes

 

Now that we have explored 3 note melodies which outline our ii v I in c major
Let's expand the melody such that 2 notes for each chord
Our same movement c major key
Ii dfac v gbdf I cegb

D down to a ( dfac)
Down to g up to d ( gbdf)
Down to c up to e (cegb,)

So whole Melody is
D down to A down to G up to D down to C up to E

 

Next we can grow to playing all the notes in the chord after another there is a pattern 9f forward then backward then forward here how that works
So c major key
Ii dfac v gbdf I cegb

Forward d to f to a to c
Backward b to g to f to d
Forward c to e to g to b

Here whole thing
D to F to A to C to B to G to F to D to C to E to G to B
(Now start over again )

 

In this topic, MMJ's girlfriend says hai:



(sry MMJ, ya knows I <3 ya rly! =)

 

Next we can do pattern backward forward backward so c major key
Ii dfac v gbdf I cegb

C to a to f to d(dfac)
To f to g to b to d ( gbdf)
To c to b to g to e (cegb)
Whole thing
C to a to f to d to F to g to b to d to c to b to g to e

 

Yes I am a jazz slut to the core (shrugs) lol

 

Sorry, I musta nodded off............again.

 

Let's now look at a Melody more spaced out
C major key
Ii dfac v gbdf I cegb

C to a to f (dfac)
B to f to g ( gbdf)
E to a to c (cegb)