Music Theory Calisthenics Ep – 09 – Open Study Session / Q&A – Live Music Lesson

Let us drill some music theory for guitar! Today we will drill interval shapes!

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Write up:

good morning everybody good morning today I would like to do kind of a live Q&A if you’ve got some questions just toss them down to me in the chat below usually above my head I have a piece of music if we don’t have any specific questions in the group then I’m gonna do an analysis of Francisco tarrega study and si got my electric guitar today I left the classical at the office because sometimes when I get out of the office late I just don’t want to carry a thousand things back and forth from my car so there’s that so we’ll be using the electric guitar today and I will be taking questions also asking you what do you want to drill I’m thinking about a format for these morning lessons so that I can be a little more I guess what’s the word I’m looking for a little more predictable welcome Tom welcome Tom how you doing today today I’m taking questions or if there are no pressing questions we’ll drill intervals chords whatever you guys want to do or I’m going to do a musical analysis of the piece on the screen which is a it’s a nice piece by Francisco tarrega I might put up a full lesson video on it shortly I’ll have time to start doing the classical guitar lesson videos again once I once I finish all the recordings from my book which should be tomorrow so simile real quick drummer in the park asked I was right I was playing a piece that has this word simile so if I hadn’t seen my mouse is going around that word simile means to mean it means similar so here we have the right hand picking pattern P pattern P I M am i a right there am I so P I am am I am I am I and it says simile that means to use that picking pattern throughout the piece until otherwise notated so similarly well you know you can use simile for fingerings for dynamics for all kinds of things that just means play similarly in G is here as well in G today I’m doing questions if anybody has an e and if there are no pressing questions I’m going to go ahead do a musical analysis of Francisco tarrega x’ study and see which is a really nice piece and it would be a bad idea for us to do this at some point soon anyhow this study is a great one to it to do an analysis of because one it’s in C major which is the key that were we’ve been working in lately and I like I like the idea of getting to know a key first however this one also borrows from other keys so we’re going to it we can talk about something some really interesting stuff so I don’t see any questions down there aside from drummer in the park so let’s just let’s just go ahead and go through this piece and do a little bit of a musical analysis I have my electric guitar negate it today guys because I left the classical at the office I got out a little bit later and sometimes Colorado it’s very cold at night and I don’t want to put my really nice classical guitar in a cold car so all right so Francisco tarrega study at C major I’m going to go ahead and ask the audience if you guys can guess what the first chord is what is its Roman numeral yeah it’s just a few moments and the the best way to do this is to first get an inventory of the notes right so the notes that we have we have c e g c and e so those are all iterations of c e or G so this gives us our 1 chord the 1 chord and if you play it you see we have the basic C shape now this being my lecture guitar it’s gonna not gonna sound as clear as my class but we have the C shape here right and if you look we get mama so we had open e then a high G on there in open e so that’s really our melody here so the the point of this this etude is actually to teach you how to make a melody sing out over over a chords and accompaniment and that’s going to be somewhat difficult to do on this electric guitar because the amplifier compresses the sound of it but right so there’s our first measure that is the 1 quart everybody’s got it very good very good next measure you’ll see is it is exactly the same so we get that first measure twice right and if we keep moving we’re gonna run into this beautiful little measure here so anybody have a guess as to what court this is what court do we have here not quite in G not quite so something about this court heads up one of the notes that you see on the screen does not belong to the court now there’s a good reason for it and I’m going to explain that to you in a moment but we are actually dealing with a g7 here and here this is why you can tell it’s the g7 so first off we’ve got a Jeep in the room right and we have a G and of me he’s actually leaving the D completely out of this court so it’s not very rare and guitar music to leave out v you know this is not the piano some voicings like we’ve talked about in the past would require you know a pinkie that is just extremely long to get the exact voice than you want so he’s leaving the DL and even on piano so it’s not super rare to leave the v out and he has an a up here this is what’s called a non chord tone okay sorry I there say there’s a delay there I I think I have my settings on in G says she was in the first measure so you were correct in the first measure by the way my settings say that there should be no delay but I’ll wait a little bit longer for the the chats to come in before I call out anyone’s answers I’m still getting used to live strain to myself so my bad in G alright so we have third fret and this any of the here’s what’s called a accented non chord tone so you you have this on one of the stronger beats and it does not belong to the core but what happens is when you have this note that doesn’t belong to the court and actually wants to pull you to a note that does belong in the court and preferably one that’s closed so here we go yes drummer park these are all triplets so it goes back and this g7 chord begin this F makes it the g7 so g7 is G B D F so oh okay and yet until they I understand what you’re saying now you’re at the beginning of the video so these are all triplets right and we get this F that gives us G B D F that makes it the g7 now if you guys have seen my my music theory video the our long one we have a tritone here in this chord can anybody tell me where the tritone is the tritone is between B and F right there you know and it’s a pretty pretty crass kind of sound the F wants to move down to an E and the B wants to move up to an e so a tritone just like so right so when we’re playing through this chord it also we have attention here it resolves nice nice resolution and then we have attention here and then the next measure is going to have a C major chord right here same as the first measure so one thing you guys see tabs down here I don’t generally like to use tabs on a channel but the the publisher that we put in this out for me requires tabs so I didn’t make a copy with tab so we have right and that’s that’s our that’s our our resolution there so we get overall one chord five seven all right let’s move on to the next measure all right can anybody take a wild guess as to what chord we have here on the screen give you guys a moment this is e 7 and where is this coming from we have a G sharp this isn’t in key this is where he starts tomorrow so what we get next is and this g sharp sow tacky and what it does is it wants to move up to the a right so Todd says the tritone was was between the D and the F your clothes it’s between the B and the F the be in the F so the 7 and the 4 so the the the rest above that above the base note there that tells you how long until the other voices come in so here’s one of the things about guitar music that a classically trained musician will understand differently than what a musician that is comp and courts and stuff maybe I don’t know I mean but let’s let’s just examine the idea of classical music and apply it to the guitar so classical music is all about having voices that move in and out of each other at counterpoint right so we actually have some actors some different actors in this play that we’re presenting on our guitar so we have the bass voice here which you can just imagine a guy that low e now we have the people that are giving us some background accompaniment and that’s our B and D here and then we have our melody which goes so what we get and when we put it all together and you actually the base has a different tone I keep these middle ones quiet because they’re just providing the backup and then this high one sings out over it so you when you’re running into these rests it’s to show you which voices start where and it is also to point out what the voices are so if we notated this all in triplets that would be technically this II know me that’s ringing would have to stop when that when that D starts out sound more like and that’s have a weird sounding right so I hope that answers that question so this is an e7 chord now we’re borrowing this from the key of a minor because the next chord is going to be an a minor this G sharp is really the out of key note and it wants to move up to an a right so if I’m even if I’m playing the C major scale and and I just throw in a G sharp out out of nowhere if we get that g sharp wants to move up to a if I even get continued so that’s what he’s doing but he’s throwing it right in the court so E G sharp B and D resolving to a minor so if we move forward we get a minor which is our six chord so you what you would call this is five of six five of six is a chord that likes to resolve to six so we’re going to see some other five of coming up but the bottom line is we have a tritone between G sharp and D and they like to resolve right actually I didn’t resolve it that’s that’s the effect that we’re getting and you’ll see that the next chord will actually be of a minor which goes so we have and next after that a minor which is our sixth court and I’ll show you here we have a c e egg and what happens is this is our bar board here right this is voicing for but just a piece of voicing for and you’re gonna grab also this minor third above it so we have and next we’re going into a deep chord can anybody tell me what kind of D chord this is this D chord is a t7 using shape an altered version of shape five so teenagers shape five is D 7 is she 5 which goes roof in instead of a fourth we’re gonna do a third right and then an augment and there’s another tritone here that pulls us to G so we’re borrowing this from the key of G so when you’re when you’re writing music and you have a chord that you really you know you want it to show up with some extra augusto go to the key of that chord and pull the five out of it the five seven is even better but at very least the five of it now here we have five of five the d7 resolving to five G and you’ll see that the next measure is actually our G chord right here this is shape three we’re just leaving out so we have three three four right for our four three six so we’re just leaving out the top three the low end threes or taking root and we’re doing octave third six so if you guys remember from all these shapes that we drilled earlier in the week these chords are actually following these shapes so when we go to the second half I’m gonna pause it for a second and ask if anyone has questions before we move on to the second half all right second half we start off with a g7 a g7 here the g7 has a tritone but you know he’s trying to have this idea where we have a nice melody so we get dessert and that five seven brings us to one because we have a tritone between BNF that like in the beginning that we saw that resolves to see alright then we go here alright this is another one and now the the non chord tones that half right so in G says GB F instead of G B D yeah so really one thing that you should keep in mind in G is when you’re building chords and composing music especially if you have a seven chord it’s not super rare to leave the five out the fifth of that chord in this case that would be D so we get really D is just not super necessary for that chord the F however is required and so is the beat and so it’s the G and with the guitar you only have so many options so to get good voice leading and just a good type of rich sound out of it you you’re gonna have to probably sacra make some sacrifices on the guitar that you may not need to make with an orchestra like the piano or something but anyways it is a g7 because of then F because F is seven over G and that brings us the seat back to C and instead of going up here to the G now he goes to the right now we’re getting these neighbor tones so we start on the tone that belongs to the cord we go to its neighbor and we come back and and next we have another borrow court this is why this piece is really cool to look at because these borrowed courts are gonna tell you how you know how how we are actually going to eventually branch out another keys through our our drills that we’ve been doing so here we have what’s called b7 now this was also leaving out the fifth note this one believe it should have an F well actually their mind is probably they have a fifth hope it’s Lea it’s a what note are we missing because there’s an octave it’s actually leaving out the third so that happens I mean this is the guitar but what’s important is that this be in the ng are kind of bringing together as well as the a if you listen to this a it’s really gonna want to resolve down to two your G so right so we have and we’ll go down to the low heat so what this is as far away from Imai nur so ii miners are 3rd chord you would name this five of three really more specifically five seven or three be there should be a de chartres so really the traditional b7 is this first fret here he’s just leaving it out B d sharp F sharp and a and we’re gonna move to the three because this is five seven of three e minor and he’s actually taking the F sharp he’s gonna continue to borrow from E minor throughout this this measure so that we get this note another neighbor top right so that the b7 the neighbor tone was the G this one neighbor tone is the F sharp right in this is e G be our E minor chord and we come here to our four chord the F major chord right and after that I think is this my I hope this isn’t the Edition that I had with there no it’s not good okay so we have all right so this F major is your 4 chord and then it actually goes to a 1 chord and 2nd inversion so this is preparing us for a perfect cadence it’s very common to see so a piece of music close where you give 164 which is the one chord in 2nd inversion then a 5 7 and then a 1 now the reason that the 1 6 4 comes before the 5 7 is because you’re actually using the same bass note for both chords it’s almost like your ear wants to hear the 5 5 chord and it gets part of it in the bass but it also gets the 1 chord up top which kind of feels like it still needs to move somewhere then we hit the proper bass note right so we go one in first inversion and then our five seven thing that we had earlier them so then we move back to one ultimately and that’s the end of the piece so I’m gonna give you guys a few moments to send some questions in my way I won’t be online for much longer this morning because lots of recording and teaching to do today that at a time crunch this week so I hope that eventually I can get the live streams do at an entire hour every day but in for now it’s gonna rain between a half hour and an hour so I’m gonna let I’m gonna let you guys type in some questions remember this is really good to do on a regular basis just to open up a score and start to analyze it I think what I’m gonna do is at the beginning of every week I’m going to upload a score to the fretboard dojo so that everybody can sit down and write in the chords and then at the end of the week what I’m going to do is is do an analysis on the live stream and I think that’s probably a pretty good thing to do so let me know if you like that idea as well so for my dojo members you guys will see the score in the members area and the Facebook you can download it directly and sit down and try to figure out what the chords are and then I’ll walk you all through it at the end of the week live on drummer in the park asks do you find scores of these pieces online or by them so this score I put this one together but I source my scores from what’s called the imslp which is a online Public Library everything’s public domain right there’s no copy written material up there but the public domain stuff you can find everything it’s a ton of class it’s so much class more classical music than you can stuff in one lifetime and they also you know they have a way to donate as well so you should definitely give them some money if you use their service but I find the scores there and then I edit them with my own fingerings too to get the scores here that I present on the screen so ng asks there are four triplets in a one measure which ones are chords how are we to decide which chord it is so I want to introduce a really important idea to you in G and this is I want you to take a couple days to let this sink in because this is this is a super like a super foundational thing that a lot of the times is glossed over anywhere but the the University so what happens is courts are you so don’t think of chords as something being on a guitar right chords are actually when multiple melodies at once are forming harmony right so these triplets technically all of them are chords you have to see what all the notes are cumulatively in the measure to decide what chord you’re dealing with so the melody of top is actually still a part of the chord the bass note down below is actually still a part of the court and those middle notes are still part of the court as well there are actual melodies that are kind of running independent of each other so for example if I were to play each of these melodies independently on this measure the bass though goes one in two and three now that that’d be our sorry the G the next G is is going to be on the end of every triplet so it was one two right and then the B is on the of every triplet so we get one two three and with the melody of top we get on the two and A three and a four so we got one and two and three and four and right and if if you have those voices all going on at once the only way to achieve it is to arpeggiate them on the guitar right but you could actually take these chords and say alright I’m going to actually change this music and to a choir thing and have all the people sing those on the guitar were arpeggiating it because that’s the way it works but that’s how chords come together on the guitar there’s what’s called voice leading right and in fact I’m going to probably be doing a lot of a lot of voice leading exercises coming up I wanted to run and a couple ideas be by you guys because you gave me some great feedback last time I want to see Tom Rafa asks any suggestion for good software for arranging or for for what I use my software I use Sibelius I use Ableton Live and to do the live streams I use OBS studio but in all honesty I know a lot more about music and I know about musical gear so I’m not always the best person asked even like what brand of guitar is the best one right I I’m I’m I’m really absorbed in the music but I I I don’t even have it I have like two pairs of pants like I’m not much of a collector so I don’t know a lot about the brands and stuff I just have a couple really nice guitars indie you are very very welcome please all questions are very very welcome here there’s there’s no question that I don’t want to take I can’t always promise that I can answer every question because I am a human being but any question you guys want to run by me either I will answer it or I will hunt down the answer if I don’t already have it okay guys so here’s the last suggestion that I want to run by you again this is a these this series of lectures I want to cater it to what you guys need with my whole heart that’s what I want so the way I’m thinking about formatting this I want to do what I said before where I upload a score at the beginning of the week you guys can download it and do the analysis and at the end of the week I run you through it and perhaps Monday through Thursday the format I would like to do is I’ll start with our warn up warm up calisthenics so I’ll put a poll up on the video and you guys can vote whether or not we do know finding court identification or interval identification and we’ll do that for about 10 to 15 minutes after that we’re gonna do maybe one sight reading example one sight reading example and after that I’m going to introduce my new concept composition templates where we’re gonna have blank staff paper where I filled out the chords or perhaps the bass line or something and I’m going to take however much time throughout the livestreams to fill one out entirely and then you guys can download the blank templates and write your own music with it so let me know what you think about that because that sounds like a lot of fun that sounds like a lot of fun to me and there’d be a lot of these uploaded eventually composition templates just sound like a blast and you guys can actually really write some cool music using it so I’m gonna close with that guys that announcement let me know in the comments section below what you think about that format for these live streams I will also probably be live streaming my classical guitar lessons however I will pre record the performance because I want to have a good recording if it’s going up permanently under and what I’d like to do with that is perhaps all of Fernando soars over the 60 because I love the opus 60 by Fernandez or I’ll probably do over 60 by mateo carcassi as well one at a time I’m also thinking you know some suggestions would be good Giuliani because there’s a there’s I think it’s opus 50 something that I’ll probably go through one at a time so Tom Rafa you know I actually do teach ukulele Tom Rafa I teach that as well as banjo the thing about being in classical guitars is that if you can tell me what tuning it’s in and put some sheet music in front of me or just tell me what tuning it’s in I’ll figure it out and I can I can get I can find my way around so perhaps one of these days I will do a fun little ukulele tutorial maybe not soon but one of these days with Martin’s I’m not sure who that is drummer in the park yes do you like whim Martin’s I I don’t I don’t know anything by him so if you could actually link a good example of his music to me in the comments down there after the livestream shuts off I will get to listening to it it won’t be today because I’ve got well I’ve got five and a half hours of teaching roughly two and a half hours time to record some music and I have a meeting with a company that I do a a few kind of marketing tasks or later in the evening yeah Cydia scipio link if he’s a pianist I would love to hear it just put the link down in the comments in the video after it gets posted to the channel alright guys I got to get it running the dog looks like she wants to go catch the frisbee Malina we’re gonna meet my dog everybody Elina come here up here come on come on we’re gonna close with you guys meeting my dogs if I’m gonna be doing these live streams at home she’ll probably some point 3 bit come here all right come here Lou doggy this it’s the doggy we’re gonna cut out a live stream just like this..

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  • Hy ross… What does p i m a means that you shown on screen?? And sometime I dont understand what you teach.. Its means will I understand slowly as lesson go on or I have to be clear about it right now??