Ricardo -> RE: Looking for good book on music theorie (Sep. 9 2020 5:19:11)
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Ok man, I am totally cool with whatever scale patterns a student knows and uses. Everything helps and no matter what we learn or what level, we all fall back on the personally comfortable situations on the fingerboard....especially those of us that want to improvise and compose stuff. I don’t only play 3 note per string patterns in a physical sense. And I also accept that learning 7 different patterns seems daunting when another teacher offers up the attractive situation of 3 patterns only might achieve the same thing. So what I get out of the 3 nps scales is this...it’s not like an option or a tool that one can use or not based on taste. It’s basically the math of the fingerboard...how it is geometrically laid out. In the same way you realize the circle of 5ths is more than a memorization tool, but rather, a picture of the entire scope of any and all music (harmonically and melodically speaking), allowed by equal temperament. That’s what the 3 note patterns are, the maximum number of notes you can visualize in a “position” on the fingerboard. Anytime you add a 4th note or play only 2 on a string, you are cheating yourself out of seeing an inherent logic of the layout and scope of the available key in the locality, and are in actuality “shifting” to an adjacent position of the key. And in almost all cases of doing that, it’s because it is more “comfortable” on the left hand. In a sense a cheat for technical reasons that robs your minds eye of the complete picture. The equivalent cheat on the circle of 5ths is enharmonic misspellings for whatever reason...defeating the logic of the thing. And this logic is of the same type of minor importance in practice. So it’s about how complete of a picture about music do you really want to have. “I call it A#, you can call it Bb if you want, it’s all the same.” No it’s not the same, there is a reason behind it in context, abstract or not it’s a real thing. So when you play F# aeolian there and only play E and F# on the D string and reach back for G#...to me I “see” it as you shifting back rather than completing the scale which would be the G# on the 6th fret...and in doing so, robbed yourself of the available C# on the 3rd string relative to the F# you started with. And in the identical postion you claim it as A major starting from pinky. But they are the exact same pattern and postion. You only robbed yourself of the F# and G# below by skipping them and calling the pinky the starting place. And sure enough (sorry to pick on you but you filmed it), at one point there (and I know you were multitasking) you felt momentarily confused about the D note (you hit D# ooops)...and it was not surprising cuz in my mind it was normal to have that ambiguity because it’s the exact spot where you are shifting around and missing the picture. The D is open in that new position, but you finally found it by reverting back to the D with pinky on 5th string. Trust me, I’ve been through all this argument before, and it’s hanging EVERYBODY up. Next you asked about modal modulation...and you specifically ask I think, about going from A Ionian to A aeolian to A phrygian. Well if you go back, I recommend to start with C and use the circle of 5ths. That IS modal modulation...but not the 3 “key basis” modes....the actual LIGHT TO DARK modes or vice versa...the way actual music lays out anyway. Lets take the ONE 3 note pattern you clearly know well...Ionian. You demoed it in A major, so start there. Use the circle of 5th and head in some direction. To the the right (3#->4#) is going to A lydian. All you have to do is change your D note to D#. Don’t shift or change anything you did with Ionian, only move your D notes up a fret. 5-6 on A string, 7-8 on G, and 10-11 on E. Done. And you are already now DONE going that direction around the wheel because after lydian you would have to alter your starting note and change the Name of A to A# and bust the wheel logic. So go backwards. A Ionian becomes A mixolydian. Change your G# to G nat. 6-5 on D, 9-8 on B. Done. Next A dorian. Change your C# to C from what you just played. Next A aeolian, F# to F. A phrygian B to Bb. A loc your E to Eb. And you are done and you’ve learned all 7 in one position. Now to do the thing you asked Ionian->Aeolian->phrygian specifically requires multiple note changes, not just one. But you a can see how it’s all available, comfortable or not, in one position. But if you did the exercise I laid out, it’s not just one note change each time you add or subtract an accidental, but specifically the awkward tritone between strings sliding chromatically (up for sharps, down for flats). (Edit: actually it’s a big skip from Ionian to aeolian, but aeolian to phrygian is part of exercise above, only one note changes). The tritone is important because its the thing YOU and everybody keeps avoiding on adjacent strings (remember I said play G# on D string, but then your D note on 5th fret feels weird, so you’ve moved G# back to 3rd string). That is the other beautiful advantage of visualizing the 3 nps patterns...you can see where that necessary pesky tritone is and adjust it when it’s time to modulate. Last issue was the “not a great sub” but YOU like it. Ok, I am glad you like it and use it. What I mean is it is a weak sub for a strong cadence. The F# instead of E is simply outlining the upper structure of E9 in your example, the missing E just makes the thing weak. Perhaps it’s exotic and that weaker sound is what you are after, cool. I am just pointing out there is a better option. Namely the fully diminished7. That thing with the F nat pulling, is both easier to do physically do to the symmetry, and stronger as a cadence. Bach and friends proved that already, it’s not much to argue about. But in terms of taste, if you like it, that’s totally cool. Some folks love the minor V to i resolution, anything can be cool if you know what you are doing for sure. Peace brother.
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