here are some music and guitar lessons

[Easy E]

i feel like im taking crazy pills, where's Hof to help me here?

edit: I realize now that he wasn't posting these for the purposes of feedback so i'll shut up

[JimiThing_91]

keep it up man... good job

[Brian M.D.]

well i didn't get too much of a chance to work on the 3rd lesson this week, but here is what i have done so far. the first part should be helpful if you're having trouble with lesson 2. hopefully today or tomorrow i'll have time to finish it up. also ill put links to each lesson in the first post so you can find them easier.

Lesson 3: Tonality, and the major scale
Covers: Dividing the notes into ordered groups called scales.

Before we cover new material, here are a few important points that may look new, but are just extensions of ideas from lesson 2.

In the musical alphabet, there are 12 possible notes; the 7 natural notes (A B C D E F G), and the 5 accidental notes, which are positioned a half step above or below the natural note whose name they use. The 5 accidentals: A#/Bb, C#/Db, D#/Eb, F#/Gb, G#/Ab. For example, G# is half step above G and a half step below A. Db is a half step below D and a half step above C.

Though the accidentals have two theoretical names, you will almost always see an accidental being referred to one name at a time. So, when you see G# written, know that the note sounds the same as Ab, but analyze the note G# as the note a half step above G.

Remember, there is a half step between B and C, and between E and F. All other sets of natural notes have a whole step in between them.

Here are all the notes in one octave of the musical alphabet (from A to A) spelled out twice, once naming the accidentals with sharps, once with flats.

A A# B C D D# E F F# G G# A
A Bb B C Db D Eb E F Gb G Ab A

I mentioned in Lesson 2 that Western music theory separates the notes of the musical alphabet into groups, depending on the sonic relationships between the notes.

Western music revolves around the ideas of tension and resolution. In a musical context, imagine a guitar solo that begins on a certain note, strays from that note (as other notes are played), and then returns to the original note.

Music theory gives us several tools to help us understand how to stray away from the ‘root note’ of a musical idea, introducing tension in a way that is pleasing to the ears, and finally to resolve what we are playing, returning to the root note.

[Brian M.D.]

well im kind of getting sick of writing these long lessons, i dont have work next week, and theres a bunch of papers i've written out for people that i'll scan in, and there are a few videos that i might try to make, i think the first one i do will be about triads on the 4 sets of 3 adjacent strings and harmonizing the major scale up the neck...that would be good application and it would introduce a bunch of stuff. ill try to at least finish up lesson 3 too. so this is a worthless post but sit tight there is more coming.