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is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Seriously: If you value it, take/fetch it yourself
Seriously: If you value it, take/fetch it yourself
It's free, and contains lots of handy little things, like working out chord names from fingering, or coming up with alternative fingering for chords. It also has a lot of things that come in handy for theory work.
Practically speaking I think maybe what’s required is just loads of critical listening till it’s instinctive, or maybe take up bass.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
http://i.imgur.com/saUyvuS.jpg
The chords in that first bar are I-V7-I-I, or G-D7-G-G. If you were playing bass guitar to a really simple level, you’d play G-D-G-G.
However here the bass line here is G - A - B - G.
And the tune is D - F# - G - G
So if you are singing bass, you are basically singing root, 2nd inv, 1st inv, root. And if you’re singing treble, you’re singing the 5th, 3rd, 1st and 1st of the underlying chords. In fact each of the 4 voices have valid tunes throughout the piece - that’s the beauty of well-written 4-part harmony and that’s why it’s difficult to decipher.
But you must train yourself to put that aside and pull out the chord structure that underlies all this shifting harmony, to recognise the I-V-I-I progression and play that G-D-G-G in your mind, just like the grade 1 bass guitarist would. It takes time, but I think most of the trick is to try and ignore the confusing cues given by the harmonic interplay and stubbonly pull out the roots of each chord.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Another thing is you could have rootless voicings or ones that don't have the 5th . Say like a Am9 without the root note being the same as a Cmaj7 ...its probably same as the human language a lot of random words can have different meanings until part of a sentance
1) Are there 3 distinct pitches and no more?
2) Can they be arranged within the span of 7 semitones so that they are at least 3 semitones apart?
3) If so, the lowest note of the three when so arranged will be the root note (excepting all the many exceptions)
I reckon this would get you there about 90%+ of the time in pop / rock music