Wednesday 4 July 2012
Song Of The Day
The song of the day uses some finger picking, open chords, barre chords, and artificial harmonics.
Wednesday 28 March 2012
More Mode Madness
Today I had a student ask me to explain how the modes worked. First things first, I told him that the name of each mode comes from various Greek Islands. These names can take some effort to memorize, here they are:
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXO-LYDIAN
AEOLIAN
LOCRIAN
I told the student to focus more on what the concept behind each mode actually meant in practical, music making terms. I said that each mode represents a starting point of any Major scale. Ionian is the very first mode, and represents Do to Do. Dorian is the second mode which represents Re to Re. Phrygian is the third mode and represents Mi to Mi. Lydian is the fourth mode and represents Fa to Fa. Mixo-Lydian is the fifth mode and represents So to So. Aeolian is the sixth mode and represents La to La. Locrian is the seventh mode and represents Ti to Ti. Make Sense???
When someone says "Let's play in B Locrian" how do we know what key we are playing in? In other words, how do we come up with names for each mode? As usual, I will be using the key of CMajor to demonstrate the practical application of this knowledge, as CMajor has no sharps and no flats. You start by taking all the notes in a scale and putting them in order, for example: C D E F G A B C. Next, apply that to the order of the modes to get
C IONIAN
D DORIAN
E PHRYGIAN
F LYDIAN
G MIXO-LYDIAN
A AEOLIAN
B LOCRIAN
How do we use this seemingly useless information? Imagine we have two guitarists, one playing rhythm and one playing lead guitar. The rhythm guitar plays a C Major chord, and the lead guitar player is going to experiment with the different sounds each mode produces. The lead guitar player is going to do this by figuring out the Do to Do, Re to Re, Mi to Mi, Fa to Fa, So to So, La to La, Ti to Ti scales in the key of CMajor.
Practise playing these two scales, and then try to fill out the third scale on your own
C IONIAN
Do to Do = C to C = C D E F G A B C
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
|------------------7-9-10-----------------------------------
|--------7-8-10---------------------------------------------
|-8-10------------------------------------------------------
D DORIAN
Re to Re = D to D = D E F G A B C D
|-----------------------------------------------------------
|-----------------------------------------------------------
|--------------------------7--------------------------------
|----------------7-9-10-----------------------------------
|------7-8-10---------------------------------------------
|-10-------------------------------------------------------
E PHRYGIAN
Mi to Mi = ?
|-----------------------------------------------------------
|-----------------------------------------------------------
|-----------------------------------------------------------
|----------------------------------------------------------
|----------------------------------------------------------
|----------------------------------------------------------
IONIAN
DORIAN
PHRYGIAN
LYDIAN
MIXO-LYDIAN
AEOLIAN
LOCRIAN
I told the student to focus more on what the concept behind each mode actually meant in practical, music making terms. I said that each mode represents a starting point of any Major scale. Ionian is the very first mode, and represents Do to Do. Dorian is the second mode which represents Re to Re. Phrygian is the third mode and represents Mi to Mi. Lydian is the fourth mode and represents Fa to Fa. Mixo-Lydian is the fifth mode and represents So to So. Aeolian is the sixth mode and represents La to La. Locrian is the seventh mode and represents Ti to Ti. Make Sense???
When someone says "Let's play in B Locrian" how do we know what key we are playing in? In other words, how do we come up with names for each mode? As usual, I will be using the key of CMajor to demonstrate the practical application of this knowledge, as CMajor has no sharps and no flats. You start by taking all the notes in a scale and putting them in order, for example: C D E F G A B C. Next, apply that to the order of the modes to get
C IONIAN
D DORIAN
E PHRYGIAN
F LYDIAN
G MIXO-LYDIAN
A AEOLIAN
B LOCRIAN
How do we use this seemingly useless information? Imagine we have two guitarists, one playing rhythm and one playing lead guitar. The rhythm guitar plays a C Major chord, and the lead guitar player is going to experiment with the different sounds each mode produces. The lead guitar player is going to do this by figuring out the Do to Do, Re to Re, Mi to Mi, Fa to Fa, So to So, La to La, Ti to Ti scales in the key of CMajor.
Practise playing these two scales, and then try to fill out the third scale on your own
C IONIAN
Do to Do = C to C = C D E F G A B C
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
|------------------7-9-10-----------------------------------
|--------7-8-10---------------------------------------------
|-8-10------------------------------------------------------
D DORIAN
Re to Re = D to D = D E F G A B C D
|-----------------------------------------------------------
|-----------------------------------------------------------
|--------------------------7--------------------------------
|----------------7-9-10-----------------------------------
|------7-8-10---------------------------------------------
|-10-------------------------------------------------------
E PHRYGIAN
Mi to Mi = ?
|-----------------------------------------------------------
|-----------------------------------------------------------
|-----------------------------------------------------------
|----------------------------------------------------------
|----------------------------------------------------------
|----------------------------------------------------------
Thursday 9 February 2012
THE RENT UNMASTERED
http://soundcloud.com/greenemusic/the-rent-unmastered
Copyright Greenemusc
All Rights Reserved
Recorded on February 7, 2012
Length 5:25
"THE RENT UNMASTERED"
Recorded by B L C
Guitar Vocals Drums
Original Composition
For Educational Purposes
Copyright Greenemusc
All Rights Reserved
Recorded on February 7, 2012
Length 5:25
"THE RENT UNMASTERED"
Recorded by B L C
Guitar Vocals Drums
Original Composition
For Educational Purposes
Wednesday 8 February 2012
Friday 23 December 2011
Happy Birthday Mina
Today is my niece's first birthday. I composed a compilation as a gift to Mina, and it can be heard here:
http://soundcloud.com/greenemusic/happy-birthday-mina
This tune has two parts, A and B. In part A, it begins with an FMajor7 chord and uses two different finger picking techniques.
The first technique is called a "Forwards Roll". Translation: we use our thumb to pluck the bass note of the chord (either D(4)string or A(5)string or E(6)string), next we use our index finger on the G(3)string, next we use our middle finger on the B(2)string, next, we use our ring finger on the Hi-E(1) string. You pluck one after another, in a forwards motion.
The second technique is called a "Backwards Roll" and is essentially the exact opposite of the Forwards Roll. Translation: we start with our third finger on the Hi-E(1)string, followed by the middle finger on the B(2)string, followed by the index finger on the G(3)string in a backwards motion.
RHYTHM
This part plays six eighth notes in each measure, also known as 6/8 timing (or time signature). Translation: Six Eighth Notes Per Measure. Each chord is played for a value of six eighth notes (a single eighth note has a value of 1/2 a beat). This adds up to 3 beats in total for each measure. When counting in your head, try saying "ONE AND A" followed by "TWO AND A" and so on...
HARMONY
This chord breaks down the notes in the FMAJOR7 chord, which are: F A C E. Provided the 6/8 time signature, the notes we pluck are as follows: F A C E C A. Note: we are playing a Forwards Roll when we play F A C E and then we switch to the Backwards roll during the reverse notes C A.
The chord then descends down, lowering the bass note to an open D, so we pluck as follows: D A C E C A.
The chord then descends further, lowering the bass note to a C on the third position of the A(5)string, and so we pluck: C A C E C A
Finally, the chord descends to an open A, and so we pluck: A A C E C A.
After playing all these notes, you will have completed 4 measures and a total of 24 eighth notes (12 beats total). Repeat this as many times as you wish and have fun singing along if you so choose.
http://soundcloud.com/greenemusic/happy-birthday-mina
This tune has two parts, A and B. In part A, it begins with an FMajor7 chord and uses two different finger picking techniques.
The first technique is called a "Forwards Roll". Translation: we use our thumb to pluck the bass note of the chord (either D(4)string or A(5)string or E(6)string), next we use our index finger on the G(3)string, next we use our middle finger on the B(2)string, next, we use our ring finger on the Hi-E(1) string. You pluck one after another, in a forwards motion.
The second technique is called a "Backwards Roll" and is essentially the exact opposite of the Forwards Roll. Translation: we start with our third finger on the Hi-E(1)string, followed by the middle finger on the B(2)string, followed by the index finger on the G(3)string in a backwards motion.
RHYTHM
This part plays six eighth notes in each measure, also known as 6/8 timing (or time signature). Translation: Six Eighth Notes Per Measure. Each chord is played for a value of six eighth notes (a single eighth note has a value of 1/2 a beat). This adds up to 3 beats in total for each measure. When counting in your head, try saying "ONE AND A" followed by "TWO AND A" and so on...
HARMONY
This chord breaks down the notes in the FMAJOR7 chord, which are: F A C E. Provided the 6/8 time signature, the notes we pluck are as follows: F A C E C A. Note: we are playing a Forwards Roll when we play F A C E and then we switch to the Backwards roll during the reverse notes C A.
The chord then descends down, lowering the bass note to an open D, so we pluck as follows: D A C E C A.
The chord then descends further, lowering the bass note to a C on the third position of the A(5)string, and so we pluck: C A C E C A
Finally, the chord descends to an open A, and so we pluck: A A C E C A.
After playing all these notes, you will have completed 4 measures and a total of 24 eighth notes (12 beats total). Repeat this as many times as you wish and have fun singing along if you so choose.
Wednesday 21 December 2011
More On Modes
First off, what is a mode? A mode is a set of notes and or chords that harmonize with each other in a unique way, providing a noticeable, familiar sound. Each mode starts at a specific point in the scale of Do Re Mi Fa So La Ti Do. This is also known as their "Scale Degree".
The modes were named after greek islands, there are a total of seven (natural) modes and they are: IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXO-LYDIAN, AEOLIAN, LOCRIAN.
Scale Degree Name Notes
I MAJOR C IONIAN C D E F G A B C Do Re Mi Fa So La Ti
II minor D DORIAN D E F G A B C D Re Mi Fa So La Ti Do
III minor E PHRYGIAN E F G A B C D E Mi Fa So La Ti Do Re
IV MAJOR F LYDIAN F G A B C D E F Fa So La Ti Do Re Mi
V MAJOR G MIXO-LYDIAN G A B C D E F G So La Ti Do Re Mi Fa
VI minor A AEOLIAN A B C D E F G A La Ti Do Re Mi Fa So
VII minor B LOCRIAN B C D E F G A B Ti Do Re Mi Fa So La
You will notice that each mode starts at a certain point on the Do Re Mi scale, which is what produces that unique sound. Each mode has special qualities, and the type of mode you choose as your starting point will greatly affect the overall sound of your composition, and hence, it is very important to think about what kind of sound you want your composition to have before beginning. In general, MAJOR chords and modes tend to produce a happy, uplifting sound, whereas minor tends to produce the exact opposite effect; a saddening, reflective, seemingly morbid sound. Each chord will produce a sound that is either "more or less MAJOR or minor" when compared to the other chords available in that specific Key / Mode. This is determined by chords' Scale Degree, which tells us the chords' position in the Do Re Mi scale.
THEORY TIDBIT
You will also notice one can infer the Key by simply being told what Mode we are playing in. For Example: If I said "let's play something in D Dorian", you could respond by playing something that was in the Key of CMAJOR. You would know that if D = Re (Dorian) then C = Do (Ionian). To demonstrate a more complex example, if I said "let's play something in Gb Aeolian" you could respond by playing something that was in the Key of AMAJOR. You would know that if Gb = La (Aeolian), then A = Do (Ionian).
The modes were named after greek islands, there are a total of seven (natural) modes and they are: IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXO-LYDIAN, AEOLIAN, LOCRIAN.
Scale Degree Name Notes
I MAJOR C IONIAN C D E F G A B C Do Re Mi Fa So La Ti
II minor D DORIAN D E F G A B C D Re Mi Fa So La Ti Do
III minor E PHRYGIAN E F G A B C D E Mi Fa So La Ti Do Re
IV MAJOR F LYDIAN F G A B C D E F Fa So La Ti Do Re Mi
V MAJOR G MIXO-LYDIAN G A B C D E F G So La Ti Do Re Mi Fa
VI minor A AEOLIAN A B C D E F G A La Ti Do Re Mi Fa So
VII minor B LOCRIAN B C D E F G A B Ti Do Re Mi Fa So La
You will notice that each mode starts at a certain point on the Do Re Mi scale, which is what produces that unique sound. Each mode has special qualities, and the type of mode you choose as your starting point will greatly affect the overall sound of your composition, and hence, it is very important to think about what kind of sound you want your composition to have before beginning. In general, MAJOR chords and modes tend to produce a happy, uplifting sound, whereas minor tends to produce the exact opposite effect; a saddening, reflective, seemingly morbid sound. Each chord will produce a sound that is either "more or less MAJOR or minor" when compared to the other chords available in that specific Key / Mode. This is determined by chords' Scale Degree, which tells us the chords' position in the Do Re Mi scale.
THEORY TIDBIT
You will also notice one can infer the Key by simply being told what Mode we are playing in. For Example: If I said "let's play something in D Dorian", you could respond by playing something that was in the Key of CMAJOR. You would know that if D = Re (Dorian) then C = Do (Ionian). To demonstrate a more complex example, if I said "let's play something in Gb Aeolian" you could respond by playing something that was in the Key of AMAJOR. You would know that if Gb = La (Aeolian), then A = Do (Ionian).
Tuesday 13 December 2011
Time For Some Tunes
Greenemusic can now be accessed through Soundcloud's website here:
http://soundcloud.com/greenemusic
Enjoy!
http://soundcloud.com/greenemusic
Enjoy!
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