Next we have enclosures aka changing tones aka embellishments

So to make easy just take ii dfac portion next just the root note d
So all we doing is a d note
This is our landing note or highlight
Step 1 note before
C# to d ( landing note)
Step 2 note above
D# to d
Step 3 combine
C# to d# to d
Step 4
D# to c to c# to d
This step 4 is 4 note enclosure this is what we going to use now

First play it
D# to c to c# to d
Now once we hit our landing note play f to a to c

Whole thing
D# to c to c# to d to F to a to c

 

Next with embellishments aka enclousures
We are going to add to what we already covered previously

Let's take ii dfac
4 note enclosure around 3rd

F#d#eF
D#f#eF
Ef#d#F

Now after each one of those add a to c to d to F

 

Yes music theory hiring like learning a new spoken language but once you know it do well that it just likes in your subconscious you'll be fluent like a spoken language and you music ability will do rocket beyond what you can even imagine right now you will have ability to be fluent in realtime convert feelings and ideas into music on the fly, so use that to push through boredom a ND initial fustrations if you plan on making music into the future it's the type of investment money cannot buy, you will never have writer's block again

 

Ok but if you already tried and you were bored/tired by it, then maybe the problem is not what to watch, but who is watching. If there's no interest then even the best clear explanation would be useless

 

http://www.looknohands.com/chordhouse/piano/
Play scales and explore

 

damn mmj3000....thx a lot for that huge input...

 

Wasgedn thank you friend , I just want to help you shine .

 

So for every major key you have a relative minor key that is family .
For instance we talked about the C major KEY
Cdefgabc
It's main chords iidfac vgbdf icegb
The relative minor is A minor
Abcdefga
It's ii v I is
Ii bdfa v eg#bd and I aceg

Notice the g# making the V chord dominant
This is so that you have the same tension release as major

There are a couple variants of minor though
A natural minor abcdefg
A harmonic minor abcdefg# (all about chords)
A melodic minor abcdef#g# ( all about lines )
We seen already why the g# gets added to harmonic minor to get our V chord ef#bd
The reason melodic minor setup with raised 6th and 7th is so you get melodies strong like major
If we compare A melodic minor to A major look the difference
A major ABC#DEF#G#
A melodic minor ABCDEF#G#
It's the 3rd which decided whether a chord is major or minor
This why we have 3 main types of minor .
You are borrowing more and more notes from the major scale .
A harmonic minor just borrows the g# from A major key
A melodic minor borrows the f# and G# from A major

 

Let's now look at the chords in A harmonic minor
Abcdefg#a
1aceg# (A minor major)
2bdfa ( b min7flat5)
3ceg#b (cmaj7#5)
4dfac (dmin7)
5eg#bd(E7 dominant)
6face(fmaj7)
7g#bdf (g# diminished 7)

Let's look at the chords in A melodic minor
Abcdef#g#
1.aceg# (a minor major)
2.bdf#a ( b min7
3.ceg#b ( cmaj7#5
4.df#ac ( d7 dominant
5eg#bd ( e7 dominant
6f#ace ( f# min7 flat5
7g#bdf# ( g#min7 flat5

This is valuable because many times the C major key borrows chords from these relative minors
Also .

 

you will help a lot of ppl with this , mmj
me included

 

and of course this coming from a jazz head.....

 

Try something funny like "Like my music teacher told me" - Gerald Eskelin. http://www.stage3music.com/consult/bio.html See his bio. You will find that much of MMJ's content is "another lie".

https://archive.org/details/formsofmusic000129mbp/page/n5 - This one is just one of the greatest book you may find, it's very readable

More serious books - https://www.amazon.com/Applying-Kar...549188437&sr=1-1&keywords=karnatic+rhythmical - the best book on rhythm you will find (it was on the sister site at some point, I think)

https://archive.org/details/cu31924022305357/page/n4 - This is a great classic (the guy invented "functional" theory), but maybe you may find it boring.
The Study of Harmony: An Historical Perspective - Diether de la motte (it's out of print, but can be found online); I have heard that the author has another great book on counterpoint, but it was not translated in English

Jeppesen has 2 books at archive org on counterpoint, they are very good.

Straus - Introduction to post-tonal theory ( skip the sections on 12tone music, the rest of the content is more practical)

https://archive.org/details/harmonicmaterial00hans

A geometry of music - D. Tymoczko (see his site for more advanced papers; the book is more like pop music theory)


https://www.slideshare.net/CRRochaGuitar/orchestration-the-principles-of-orchestration-jon-bang - this thesis on orchestration

 

thx 23random

 

Here we will take an advanced concept B ut see how to use it simple way easily

First step 1 eminor triad
EGB

Step2 we play through its inversions forward
EGB .GBE .BEG
Step3 we play through its 8nversiobs backward
GEB .EBG. BGE
Step4 we play through towards then backwards
EGB. GBE BEG GEB EBG BGE


Step 5
we make chromatic enclosure around first portion of the inversion
FD#EGB G#F#GBE CA#BEG
Step 6
We make chromatic enclosure around first portion going backwards
G#F#GEB FD#EBG CA#BGE

Step 7 we make chromatic enclosure around first portion and last portion going forward
FD#EGCA#B G#F#GBFD#E ,...........
Step 8 see if you can finish going forward ...

 

you have high hopes in me ...

 

dr b is huge....i will begin with him and beato....and then i come back here...
awesome input here..ppl leaving but good threads its raining here..

 

http://www.piano-keyboard-guide.com/piano-notes-chart.html
finally i kno what c# is..its c sharp or d flat....
when i use c d bass-stab i gone use a or b as kick...is that right ?
or use ears like in past heh heh

 

It's not so much music theory. More philosophy. But if you're learning an instrument all of Hal Galpers vids on youtube are mega interesting.

 

thx mate..

 

MMJ2017
i saved both pages in html for offline use...