Here are 3 factors I suggest you memorize.
Question: Why do this?
Answer: To gain a more complete learning of the instrument, and to learn where you may be always and to learn why what you’re playing might sound wise and why it might sound not thus advantageous.
Question: Is there a simpler means? Can I receive around not recognizing any music theory and not understanding where some of the notes on my instrument are found?
Answer: I have found in the event you never like to understand any music theory 1 could nevertheless play and truth be told receive stop superior. Tons of great players have completed it, and this might be what I think ones choices are if they wish To receive good, but never wish To discover any music theory.
No Music Theory Option 1:
(I very suggest carrying this out “In addition” to moreover learning music theory)
To merely transcribe tons and tons and tons of tunes, solos, rhythm playing, track types, etc…so various to utilize the memory of those solos to dictate what you need to play when you hear it in the context of the track. Your memory of all of the tunes and solos that you’ve learned and transcribed may trigger a muscle memory with your fingers and notice, and it is like you may be talking with your instrument. Just reacting to what you hear like you’d should you were carrying on a conversation with somebody. You will see all of the patterns, and scales, and key signatures more as shapes that you equate to items that you’ve learned from solos, tunes, and additional musicians.
You may have a functioning knowledge of the theory, but won’t recognize why any of it functions. You merely learn it does.
This is a excellent means of understanding, and this method combined with an learning of music theory may dramatically boost your playing and improvising in a much faster technique than only theory alone, or simply transcribing alone.
Wtih theory you are able to take something that you transcribe and play it in additional keys. Know how to change it about and play it over different chords. Basically multiplying everything that you absolutely understand.
No Music Theory Option 2:
(I never suggest doing this)
The slowest method of improving….Not transcribing solos and merely to employ trial and mistake or “noodling” around, fishing for the appropriate note, without a clue why anything you play sounds advantageous or bad.
The Sharp Keys:
C MAJOR – C, D, E, F, G, A, B, C
G MAJOR – G, A, B, C, D, E, F#, G
D MAJOR – D, E, F#, G, A, B, C#, D
A MAJOR – A, B, C#, D, E, F#, G#, A
E MAJOR – E, F#, G#, A, B, C#, D#, E
B MAJOR – B, C#, D#, E, F#, G#, A#, B
F# MAJOR – F#, G#, A#, B, C#, D#, E#, F#
C# MAJOR – C#, D#, E#, F#, G#, A#, B#, C#
The Flat Keys
C MAJOR – C, D, E, F, G, A, B, C
F MAJOR – F, G, A, Bb, C, D, E, F
Bb MAJOR – Bb, C, D, Eb, F, G, A, Bb
Eb MAJOR – Eb, F, G, Ab, Bb, C, D, Eb
Ab MAJOR – Ab, Bb, C, Db, Eb, F, G, Ab
Db MAJOR – Db, Eb, F, Gb, Ab, Bb, C, Db
Gb MAJOR – Gb, Ab, Bb, Cb, Db, Eb, F, Gb
Cb MAJOR – Cb, Db, Eb, Fb, Gb, Ab, Bb, Cb
To Start Memorizing the Chords and Chord Tones Simply Utilize these easy rules:
1) Chords are integrated 3rds – Root, third, 5th. Start with your root, skip a note, then you’ve got your 3rd, skip a note, then you’ve got your fifth.
2) Should you do that in a main key you end up with this pattern, harmonizing over each note of the scale: (examples are in the Key of G major)
1. = MAJOR ex. GBD
2. = minor ex. ACE
3. = minor ex. BDF#
4. = MAJOR ex. CEG
5. = MAJOR ex. DF#A
6. = minor ex. EGB
7. = diminished ex. F#AC