Lazz
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Posts posted by Lazz
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Anyway Lazz, I'm not trying to spark a controversial debate about religion (It's not the forum for it). Just trying to clarify what I said.
I hear you.
Thanks for taking time to respond to my curiosity.
Much appreciated.
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Just to queer the pitch a little further - but well worth knowing about - let's not forget January’s IFPI digital music report showing that, despite digital revenues growing by 1,000% in seven years, the value of the entire recorded music industry has dropped 31% - which is certainly why Vivendi has ordered Universal Music Group to cut costs by $100 million this year - and why Sony Music has just this minute reported a 12.9% fall in revenue.
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Unless I have inside info in advance about what his specific likes & dislikes are, more times than not.....my weapon of choice will be humor.
Humour is good, I think.
Research also - he has come a long way from Aylesbury, for instance.
Loved The Clash, went to art school, Goldsmith's College, student ents, older brother Howard (Vietnam Vet) happens to be Sony CEO, views Simon Cowell as A&R perfection, sees TV as central to corporate future.
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I sincerely apologise for derailing John's intention with my misplaced humour,
Thinking about getting Rob Stringer to pay attention, let alone being allowed to share his elevator, just cracked me up.
But thinking about and preparing 'the pitch' is an essential exercise for all.
Can we have some serious responses now, please?
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"Mr Stringer, I am holding your wife and children captive....."
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Thanks Max.
With the sacred constituting the largest music market segment on the planet and country making up the second, what I see as a curious narrowness of focus does make considerable economic sense.
But my first issue with MW was language-based. "MasterWriter will unlock all the English language has to offer", it says right up front. Yet my first test-drive immediately demonstrated that they were either blithely unaware of the difference between adjective and adverb or simply considered it unimportant. Such blatant poverty of literacy made me conclude their claims to be any kind of writing-aid were an unqualified sham and I explored no further. Potential respect evaporated.
Sometimes I view Nashville as its own island nation.
But surely we all deserve the best from MW on the language front.
I am still a relative newbie to country so the genre's faith and patriotism content are perhaps more readily apparent than to a long-term aficionado for whom it's all taken-for-granted normality. Sounds very strange and disappointing to me that you should be considered an outcast for performing a gospel repertoire. Is the distinction from secular still drawn as heavily as it was in the past?
Lazz
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Not very easy when you're not a musician! How do you do it?
I write out lead sheets on regular manuscript paper.
I possess minimal instrumental facility or fluency but practical circumstances dictated that I learned quickly how to write regular conventional legible gigging charts so that people who are musicians can see exactly what is happening and make a constructive and supportive contribution.
As singer and bandleader, the practical circumstances are that I work with hired guns, professional jobbing musos who have way more experience and knowledge than I will ever achieve and yet I need to be confidently in charge at the front. Oftentimes, the first time we meet will be on the bandstand for the gig. Rehearsals are a rare luxury. So I need a solution that is simple clear and effective. Because singers are also notoriously poor at taking care of this end of the business, I also understand that the closer I get to their expected pro standard of music preparation the more my efforts are noticed and appreciated and the better job of work they will strive for on my behalf. So the hard work involved in learning how to do it, how to overcome mistakes and do it better, and then putting in the time patiently with pen and paper, for me it pays off big-time.
That's how musicians are able to deliver such a sweet job backing all those American Idol contestants, for instance.
(There are great software programmes which can simplify and rationalise the labour and reduce its level of intensiveness, but I personally still learn a great deal from the old-skool process and enjoy a kind of meditative fulfillment that comes from doing it all by hand.)
As a songwriter, the goal is to have work performed by others. To make a demo, efficiently, we hire appropriate guys capable of nailing first-takes so we get a top job and no wasted sheqels. A good lead sheet makes that possible. When an artist wants a song, they'll want a lead-sheet, too. Their musicians will also appreciate it. If they choose to record one of our tunes, they'll need it.
If a point is reached where orchestration is required, a lead-sheet provides the place to start.
It all ultimately depends on the level of professionalism you aim for - but lead-sheets are an enormously worthwhile endeavour for any songwriter seriously looking to be able to operate successfully anywhere beyond the bed-room, home-studio, singer-songwriter or regularly-rehearsing ambitious indie-band arena. (I am not knocking anyone whose work is in those areas, not at all, they are fun and rewarding areas of practical magic, just offering how everything is dictated by practical need and circumstances - mine demand lead-sheets.)
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Is this program meant to be a vocabulary tool? There's no substitute for reading.
What a novel idea!
But reading is just so 20th Century, so pre-Twitter, so born-before-texting.
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I don't know about it being more for the Christian market.
More for the Christian market in that the software also provides a specifically Biblical reference resource.
Can be viewed as neither here nor there ultimately, I guess, and no harm done or presumed.
But, as a non-believing Red-Sea pedestrian, I just tend to notice these things.
Amen.
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I rate basic Band In A Box for those jobs.
It allows you to print a lead sheet with lyrics.
And don't overlook the fact it is also primarily the essential practice tool.
I don't know if it prints a lyric-sheet per se, but you must already have a word-processing package on board
More affordable than Sibelius.
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I downloaded and test-drove the software sometime ago and found it a complete waste of space on my hard drive.
I thought it was a piece of pointless junk with flaws that made me want to lay a tender corrective lashing on the writers.
I was forced to wonder whether they were really native speakers of language.
That's just me though - other people allegedly swear by it - they have endorsements from big names.
But for the big-names with whom I am familiar, I can't imagine them truly having use for it.
And no idea how or why any writer would have want or need.
Seems to have a Christian market focus.
Make up your own mind - I'm sure they have a free trial available - check it out and let us know.
But - just in case there is any confusion - I think it's extreme crap for the price.
Better off with a pencil.
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Over the holidays I've been reading as much as I can about meter and stresses and syllables etc
Crikey!
What a fog that must generate.
I'd suggest that reading through lyrics by Johnny Mercer and by Oscar Hammerstein would be a good place to start. (Contemporary pop-writers don't offer particularly good examples and don't seem much concerned with issues us old fuddy-duddies think about.) Look at what they do and how they do it and pay less attention to what 'experts' tell us about it as commentary. That's my suggestion. Start with the best.
There are still one or two questions like those little one syllable words for example: I, the, this, are these stressed?They can be. They might be. If you want. If it works. If it SOUNDS right.
an exercise in meter writing for me and keeping it consistEnt.
Ha ha. Well done.
I smell danger, Dee.
I know it's only an exercise (top marks) but I have some comments if you can bear it and without wishing to add to your load.
There's a hoary old William Wordsworth poem which has the same insistent rhythm as your exercise:
"I WANder'd LONE-ly AS a CLOUD
That FLOATS on HIGH o'er VALES and HILLS
When ALL at ONCE I SAW a CROWD
A HOST of GOL-den DAFF-o-DILS
Wordsworth was/is rightly regarded as a major Romantic poet - but, if this offers any guide or warning, he would have been a crap lyricist.
Why? Because of that constant marching rhythm like a damn drum - it's a straight-jacket leaving no room for flow of melody.
It works for poetry - but, whatever anyone else says, song-lyrics are a very different animal.
(That's why Mercer and Hammerstein may be my favourite places to start)
Most composers are quite wary of working lyrics-first for that reason - they say you'll end up with doggerel.
Be careful.
I'm trying to keep the emphasis in the same places in lines 1 and 3 and lines 2 and 4 which, I believe has been my problem all along.Ah.
Here we go.
That is only important if they are the rules you have set for yourself in a particular piece.
What IS important is that the emphases of line one in Verse 1 should be reflected in line one of Verse 2
........and that the emphases of line two in Verse 1 should be reflected in line two of Verse 2
....... and so on.
That's the same pattern our ears would expect the melody to follow.
After that - it is common for the last line of a verse to change its flow and accent and rhythm when it is musically turning around differently because it is leading into a separate different section like a bridge or a chorus or whatever you want to call it.
I hope this does more than merely add to the fog of confusion.
Now clearly I have my own biases and preferences, but I have never personally found a single one of these "How To Write Better Song Lyrics..." to be worth the price of bog-roll. Even if your aim is to fit snuggly into the styles of contemporary pop, I believe it will be well worthwhile heading to your library and ordering up these little gems for bed-time reading:
"The Complete Lyrics Of Johnny Mercer"
"Lyrics on Several Occasions" - Ira Gershwin
"The Complete Lyrics of Oscar Hammerstein II"
Yowzer!
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Is it a Rodeo Cowpat throwing service?
I said 'educated' guess.
Or perhaps the West Country champion is merely touting for work.
PERRETTZ COWPATZ
tossers to the gentry
(sheep by request)
24 hour call
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Just realized that there is a "part 2".
As of now, there are six (6) people (including me) who wish to know what a "brokering/pitching service" is. So, may I ask what a "brokering/pitching service" is?
Take an educated guess.
I guarantee you would be correct if venturing that it described a service which 'brokered' or 'pitched' product on your behalf.
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Can I be an amature barbarian too? That sounds like fun.
Face-paint.
It's all in the face-paint.
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I honestly can't think of anything I'd change. I believe, if it was mine.....I'd be calling it done right about now!
So THAT'S what he meant by "is it ever done?"
I thought he was asking whether anyone should ever write songs of this nature.
As in "is it the done thing?"
Two nations divided by a common language
Eh?
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The thirteenth chord uses every note in the diatonic scale.
Crikey, Brad !
How many fingers do you have ?
To me it's all a bit confusing in the previous posts with all the extra theory added, mixed with the different ways of saying the same things.Sorry about that.
I strive for clarity and simplicity but worry that I fail at too much, too often.
Your version is the one shared by many others and it serves them all perfectly well. Most importantly it works good enough for guys here, like you and Roxhythe and Musicthom and more, who get out there regularly gigging and giving real pleasure to real people. Job done.
I learned that way of looking at it too, back when I was a young folkie, and it worked for me. Big Bill Broonzy and Snooks Eaglin were the two guys who I wanted to be like first-off – and with records, a couple of basic books from the library, and odd help from other enthusiasts, I began to make a reasonably decent fist of it. But then my listening broadened and pretty soon Jim Hall was the player I wanted to be. I was awake now to a greater world of ways to drive from A to B. I could hear them all. But I couldn’t make sense of it in terms of the understanding I had under my fingers. My enthusiast friends were unable to help. And there were no books in the library for it. It was like I ran out of road. Or was repeatedly driving into a wall of my own blindness until the machinery eventually lay broken. The progress I desired at that point was stymied. Stuck.
When I struggled to go further – what I thought I knew, and the way I knew it, turned out to be not so good or useful anymore.
Like for figuring the changes and variants in progressions used by Jim Hall.
In the places where that old traditional home-learned folk-way of looking at it works – it works!
No contest.
No issue.
Nashville numbers are the same.
They work just fine for every ilk of the Nashville scene.
But not much further.
They don’t travel well.
One of my favourite Nashville guys was Hank Garland. Working with acts like Elvis, the Everleys, Orbison, Patsy Cline, Brenda Lee, Marty Robbins, Conway Twitty, Mel Tillis…… I’m sure Nashville numbers did the job. But they weren’t cut out for his work with Charlie Parker.
I’m listening to one of the rare Garland-led recordings at this very moment – “Jazz Winds from a New Direction” – on which the first track is the Jerome Kern tune I posted as an example, above, which in its entirety moves through half-a-dozen different key centres. You can bet that – if he had been required to sketch out a part for anyone at the session – Nashville numbers wouldn’t be at all fit for the purpose.
Horses for courses
Not interested in seeing anyone’s horse put down, but they do have different value in helping work out chord progressions.
And their mileage ratios are way different.
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lol thank you for taking time to listen and comment.
My word, you are welcome.
Thank you for posting and giving pleasure to my ears .
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Top-line pro work from everyone involved
(except maybe the video guy)
Great sounds.
Poor Subject? It's sure a tough subject.
Only country could carry the sentimentalism involved.
Trying to picture a fitting image of its niche made me grimace.
I mean, picturing a woman serving a long way from home and family, and listening to music on a snatch of free time.
I wondered if it was something she might not want to hear.
And would families who lost their women dig it?
Well....
It is just conceived and performed and produced so damn well to my ears - that I'm thinking maybe they would.
What do I know? I don't even like country. But this sounds great.
And the country music culture soaks up heavy family sentiment, don't they?
American Idol?
A winner?
I like it.
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How do you go about getting it played and broadcast and heard?
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My understanding of a chord progression was gained through "stuff on the net" and this:- though it doesn't explain how the chords came to be used.
Sadly, this is all I can actually get. I was reading Guitar all-in-one (dummies) but it seems that to be.. not too good! maybe you could point me in the direction of some books that you know are very useful? or even a webpage.
Well.
At least, from that vid, I now understand what you meant by “Am chord progression” and have a much better purchase on where you’re at.
I’m still going to leave everything I have posted up here just in case it has value for someone else, but it looks like you are happening right now pretty much close to starting-out level – even though your mind and curiosity is rushing ahead to pursue answers to core musical questions already – and that the stuff I have been describing is not going to be relevant to you for a little while yet.
There are NO books or webpages in my experience able to serve your needs.
Certainly none which I would confidently recommend.
The time I have spent working on all this is quite insane and the mear thought of it makes me sweatYou are wasting a lot of highly valuable spirit-fuel just spinning your wheels without a proper teacher.
But if you are so willing to invest time and sweat, I can tell you what Pat Metheny did with those very same magic ingredients. He brought home an album by Wes Montgomery and sat down with his guitar and the first track, listening and copying, working and sweating, until eventually he learned how to play what Wes was playing note-for-note. When he finished with track one, he went on to track two and did the same thing. And when he had made his way through the entire album, he went out and brought home another one and did the same thing with that one. Gradually, his progress became quicker.
Many players learned from records, from copying. Do enough of it and you just kind of soak up an internal understanding which will eventually give you an entire vocabulary to apply in your own way with your own accent and individuality. The same way that we all learned language. Listening.
The process goes like this
1. Emulation – 2. Assimilation – 3. Innovation
And all it takes is time and sweat – of which you have plenty.
Go for it.
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Hmmm. How is it that you know that those two are in Ab Major and C Major? What are the tell tell signs?
These are the relevant three paragraphs from what I posted above:
Look at this basic example from what is known as standard functional harmony. It’s called ‘functional’ because it assumes that each chord has a ‘function’ – i.e. a direction in which it naturally wants to move. Our example is known as the II-V-I, and is significant because the V chord is ‘unstable’ and feels as if it should naturally resolve to the I chord, while the II chord is naturally nudging it’s way towards that V chord.Thinking in terms of the defining tones of the third and the seventh, this is how it works so sweetly as a progression in, for example, the key of C Major:
With the II chord being Dm7: the third is F and the seventh is C
With the V chord being G7: the third is B (just a half-step away from C) and the seventh is F (the same as the third of Dm7)
With the I chord being CMaj7: the third is E (just a half-step from F) and the seventh is B (the same as the third of G7)
The movement of those inner defining tones is quite minimal – do you see? – that’s what makes it smooth and effective.
Notice how the seventh of one chord flows to the third of the next and vice versa – that is what’s known as voice-leading – nice and easy.
Notice how all notes are derived from the scale of C Major – that means anytime you see Dm7 followed by G7, you can improvise using the scale of C Major.
They are all about a standard progression known as the II-V-I.
The II-V relationship is what to look out for – these are the tell-tale signs.
Dm7 to G7 is a II-V in the key of C
Remember that basic idea we have all repeated ad nauseam – and all to do with chord-generation – where we get chords from:
the II chord is built upon the second note of a Major scale using only notes from that Major scale.
the III chord is built upon the third note of a Major scale using only notes from that Major scale.
the IV chord is built upon the fourth note of a Major scale using only notes from that Major scale.
the V chord is built upon the fifth note of a Major scale using only notes from that Major scale.
the VI chord is built upon the sixth note of a Major scale using only notes from that Major scale.
the VII chord is built upon the seventh note of a Major scale using only notes from that Major scale.
Thus – every one of these chords is manufactured from the notes of the same scale.
So – every time we see one of those chords, we know that the notes from that Major scale will be ‘safe’.
*(Don’t forget that we aren’t at all limited to using just the notes from that Major scale – as you yourself noticed watching other players – and as you discussed with Tom in another thread – it’s simply that the notes from that Major scale will be the ones which present themselves most obviously and come pretty much with a guarantee that they are going to sound decent)
*(Don’t forget also – as I have been at pains to suggest in the above post – that we need to be careful not to be deceived into thinking that the III minor or the VI minor is working as a II chord just because of its minor quality.)
Q. How do we tell that a minor chord is happening as a II chord ?
A. When it is followed by the V chord.
So first we look to spot II-V progressions:
Dm7 to G7 is a II-V in the key of C
Ebm7 to Ab7 is a II-V in the key of Db
Em7 to A7 is a II-V in the key of D
Fm7 to Bb7 is a II-V in the key of Eb
F#m7 to B7 is a II-V in the key of E
etc.…………. (you can work out the rest yourself)
And there – in the 2nd and 3rd bar of our example – we have just such a II-V in the Bbmin7 to Eb7.
Plus – just to nail the point home in case of any uncertainty – it all resolves to the I Major chord in bar 4.
Voila!
It’s a II-V-I
I Fmi7 / / / I Bbmi7 / / / I Eb7 / / / I AbMaj7 / / / II DbMaj7 / / / I Dmi7 / G7 / I CMaj7 / / / I CMaj7 / / / I
In the 1st bar there’s an Fmin7.
This chord, contextually, sits quite happily as the VI chord of Ab Major.
(The VI chord is a regular standard normal add-on for the regular standard II-V – so, once you get used to it, the VI-II-V-I is a basic standard ‘vamp’-like progression to keep your eye out for just as much as the II-V-I)
So, in the first 4 bar phrase, we have a VI-II-V-I in the key of Ab Major.
Take a step back, briefly, to check out that root movement.
Fm7 – down a perfect 5th – Bbm7 – then up a perfect 4th to - Eb7 – then down a perfect 5th to Ab Major.
(Movements of a 5th and 4th are also indicators – in functional harmony they seem the most natural root movements and fall happiest in our ears while that other inner voice-leading is happening at a more gentle and closer step-wise pace.)
Now – up a perfect 4th from Ab Maj – and we get to the Db Maj in bar 5 – the IV chord of Ab Major.
All that stuff tells us that those first 5 bars are all happening in the key of Ab Major.
Now look at what’s happening in bar 5 and the start of bar 6, together – DbMaj7 to Dmin7.
Forget about the 5th notes of chords – they’re almost totally irrelevant for us – and remember that the defining tones are the third note and the seventh note.
From bar 5 to bar 6 it’s only the root note which changes by slipping upwards a half-step.
The third and seventh are exactly the same.
Voice-leading without doing anything!
The entirety of bar 6 contains our old friend, the II-V : Dm7 to G7
Bars 7 and 8 are CMaj7.
So altogether we have Dm7 to G7 to CMaj7.
II-V-I in the key of C Major.
I don’t think I can break it down any simpler.
Hope it makes sense for you.
RIDER
This theoretical stuff is good only for thinking, for analyzing, for practicing, for preparing, for finding answers to questions.
When you are really doing, when you’re playing for real – the game changes.
When you’re on the job the goal is to be able to hear your way through the changes, to be able to sing coherent melodies through those changes in your imagination: when you’re on the job the goal is to be able to express the melodies in your head immediately on your instrument without any intervening thinking processes.
Doesn’t happen overnight – but that’s what we aim for – hear something: play it.
There are practice games to help you get there.
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As I understand it, there are two co-existent theories of light.
In some circumstances the wave-theory is perfectly adequate in explaining and understanding while, in others, it’s the particle theory which does the job. So, both of them work. It’s the appropriateness of their focus which differentiates between them.
Similarly for music theory: simplistic triadic thinking is totally inadequate for understanding how chord progressions work and for making appropriate choices of scales to use in improvising solos over them. For basic folk and rock guitar strumming, it works just fine. But for making any further useful sense of what’s going on, it’s just too restrictive to bother with. It’s a blind-alley. It has absolutely no heuristic value.
Instead, what you need is to be hip to the process of chord-generation so that you are aware of the appropriate upper extensions beyond each simple triad – even if you are not voicing those notes in your chosen chord.
I can explain chord-generation in more detail in another post if you wish.
It is also valuable and useful, in terms of making sense of how chord progressions flow effectively, to recognise that the defining tones of a chord are the third and the seventh. The importance of this lies in the fact that a chord progression works through what is known as voice-leading – i.e. the gentle step-wise neatness of the way in which internal notes of chord-voicings move from one to another.
Look at this basic example from what is known as standard functional harmony. It’s called ‘functional’ because it assumes that each chord has a ‘function’ – i.e. a direction in which it naturally wants to move. Our example is known as the II-V-I, and is significant because the V chord is ‘unstable’ and feels as if it should naturally resolve to the I chord, while the II chord is naturally nudging it’s way towards that V chord.
Thinking in terms of the defining tones of the third and the seventh, this is how it works so sweetly as a progression in, for example, the key of C Major:
With the II chord being Dm7: the third is F and the seventh is C
With the V chord being G7: the third is B (just a half-step away from C) and the seventh is F (the same as the third of Dm7)
With the I chord being CMaj7: the third is E (just a half-step from F) and the seventh is B (the same as the third of G7)
The movement of those inner defining tones is quite minimal – do you see? – that’s what makes it smooth and effective.
Notice how the seventh of one chord flows to the third of the next and vice versa – that is what’s known as voice-leading – nice and easy.
Notice how all notes are derived from the scale of C Major – that means anytime you see Dm7 followed by G7, you can improvise using the scale of C Major.
If you can spare the time to wade through the disagreements and misunderstandings, you can find the most recent occasion when we attempted to grapple with chord progressions here – I don’t know how edifying you might find it – but I need to re-iterate that you should be aware of suspect information – however well-intentioned.
For instance, while both Andrew and Tom seem agreed on certain aspects of triadic thinking which obviously work quite happily for them, I want to take a little time to illustrate what’s wrong with it in terms of theory and its potential impact in terms of improvising your solo.
“the I chord will always be major”
Nothing wrong with that – you can safely use the scale tones from that major scale.
“the II chord will always be minor”
Nothing wrong with that, either – again, you can safely use the notes of the I Major scale from which it is derived.
“the III chord will always be minor”
This doesn’t quite give the whole picture – what we don’t want is to see a B minor in this function for example, and mistakenly presume it’s functioning as a II chord and hence conclude we can safely use the notes from A Major. There must be a better way of letting us know that it’s really a III chord. (And there is.)
“the IV chord always be major”
Again, this is not the whole picture – in the key of C Major, for example, this IV chord would be F Major – and, again, what we don’t want is to think we can safely use notes from the scale of F Major or we could run into some ugliness problems with that extraneous Bb. Again, there has to be a better way, and there is.
Some people will choose to spell this chord as 'Lydian', so we know explicitly that it has a raised fourth.
“the V chord will always be major”
Look Out !!
Maybe this could be the clearest example of my issues with triadic thinking. Once more in the key of C Major, it is more advisable to call the triadic V chord just a G triad or just G because, just like with the IV chord above, what we don’t want is to think we can depend on notes from the G Major scale. The G Major scale requires an F#. But the Major scale from which this V chord is derived is C Major – in which there is no F#. So we have another potential problem for soloing. The V chord is NOT a Major chord – it is a dominant chord – G7.
“the VI chord will always be minor”
Only in triadic thinking will this be true. The danger for the improvising soloist, once more in the key of C Major, is again to think that the Amin is functioning as a II chord, hence leading us to choose notes from the scale of G Major. Again, we could run into trouble with the mistaken seventh of that scale. Somehow, we need to be forewarned that the appropriate key is C Major.
“the VII chord will always be diminished”
Wrong.
The VII chord is what we call half-diminished – meaning that there are seven notes to its scale rather than the eight notes of the fully-diminished scale from which it is being distinguished.
I hope that helps demonstrate the limits of triadic thinking for understanding chord progressions and for providing useful working signposts for someone attempting to build a coherent solo.
As an example of how those ideas work in practice, let’s take the first 8 bars of Jerome Kern’s “All The Things You Are” – I know it’s not a rock’n’roll tune, but it’s part of the standard repertoire where I come from specifically because it contains within it all these little lessons and illustrations which are so fundamental to getting a basic understanding what’s going on in terms of progressions and the guidance they can offer to an improvising soloist.
I Fmi7 / / / I Bbmi7 / / / I Eb7 / / / I AbMaj7 / / / I
I DbMaj7 / / / I Dmi7 / G7 / I CMaj7 / / / I CMaj7 / / / I
The trick for an improviser is being able to spot from this that the first 5 bars are using VI-II-V-I-IV in Ab Major, and the last 3 bars use a II-V-I in C Major. So you can make a decent solo playing from those two different Major scales in their appropriate places.
It gets easier, the more you dive in and swim around.
You need a proper teacher.
This internet is dangerous.
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so for instance the A major chord scale would be, A, Bm, Cm, D, E, Fm, Adim ? and the roman numerals would be used to show which order they are played in?
No.
No.
And no again.
A chord-scale is simply a scale which can be played with a chord.
The Roman numerals simply indicate the degree of a scale upon which the given chord is built.
Nothing whatsoever to do with the order in which they are played.
You have previously complained of the confusion of contradictions out there on the weird-wild-web.
This is due to two things, I reckon:
1. the inadequacies of the medium
2. the plethora of folk who don't really know what they're talking about but are gonna tell you anyway
The only real working solution is to get yourself a teacher - someone with whom you can clarify ambiguities as they arise, who is able to give you a solid but gradual cumulative understanding relevant to the direction of your struggles, and who is able to steer you away from the avoidable damage of well-intentioned mis-information.
For a single scale to work over a chord progression the chords need to be belonging to a chord progression, right?Yes and no maybe.
I am getting the definite impression we have different meanings and understandings for the same terms.
A chord progression is a series of chords which happen to work well together in their sequence.
If every single one of those chords has been derived from one single scale, then the notes from that scale will work throughout that chord progression.
Am chord progression for instanceI have no idea what you mean here.
..or do I just move the pentatonic scale to the right fret to fit the chords I am currently playing? B Maj, 4th fret.. E Maj, 9th fret etcI have no idea what you mean here, either.
The pentatonic scale? Which pentatonic scale are you talking about?
If the chord is B Maj, what is the fret information supposed to signify?
(Whatever fret you’re at, if you play B Maj, it’s still B Maj, right?)
What does the “etcetera” bit tell me?
Sorry about that – but it illustrates the language issues and problems with ambiguity we get on the net.
You are obviously very keen and asking the right questions – all that enthusiasm really needs to be focused and encouraged in the right direction to avoid frustration.
Underlines your need for a good teacher.
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I think you mean 'pint'.
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Your 30 Second Elevator Pitch...
in Music Industry
Posted
I was honestly trying to be realistic - especially in terms of making your own luck.
When I was still a dreamer, an incipient mogul in pursuit of the big cigar, and attended conferences and events where such big-wigs gathered, the possibilities for getting next to them and for engineering such accidental encounters were always on my devious and unsuccessful agenda - and so I always aimed to know who they were and what their situation was. Old habits die hard, and I still pay some attention to what's going on in the business. Even though Rob Stringer's Wikipedia entry is slim enough to be irrelevant, that was all stuff I already knew about him - apart from those recently released operational figures.
But that was all yesterday.
Today - I honestly don't think Stringer would give you the time of day - unless maybe you had a TV production company and populist project-ideas that made a good fit with his desperate straw-grabbing survival mode.