Manuel is a passionate, driven, and techsavvy AV technician, 
Here are three things I suggest you memorize:
- All the notes of the dobro or a specific instrument
- All the Key Signatures
- All the Chords and Chord Tones for each key
Question: Why do this?
Answer: To gain a more comprehensive understanding of the instrument, and to know where you are at all times, and to understand why what you’re playing may sound good and why it may sound not so good.
Question: Is there an easier way? Can I get around not knowing any music theory and not knowing where some of the notes on my instrument are located?
Answer: I have found that if you don’t want to learn any music theory, you can still play and even become quite good. Many great players have done it, and here are what I think your options are if you want to become good but don’t want to learn any music theory.
No Music Theory Option 1:
(I highly recommend doing this “in addition” to also learning music theory)
To simply transcribe a vast amount of songs, solos, rhythm playing, song styles, etc., so many that you use the memory of those solos to dictate what you should play when you hear it in the context of a song. Your memory of all the songs and solos you’ve learned and transcribed will trigger a muscle memory with your fingers and mind, and it will be like you are speaking through your instrument. You will react to what you hear as if you were carrying on a conversation with someone. You will see all the patterns, scales, and key signatures more as shapes that you associate with things you’ve learned from solos, songs, and other musicians.
You may have a working knowledge of the theory but won’t know why any of it works. You just know it does.
This is an excellent way of learning, and this method combined with an understanding of music theory can dramatically improve your playing and improvising much faster than just theory alone or just transcribing alone.
With theory, you can take something you transcribe and play it in other keys. Understand how to modify it and play it over different chords. Essentially multiplying everything you already know.
No Music Theory Option 2:
(I do not recommend doing this)
The slowest way of improving… Not transcribing solos and merely using trial and error or “noodling” around, searching for the right note without a clue why anything you play sounds good or bad.
Getting Started:
The Keys:
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 use these simple rules:
- Chords are built in 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 5th.
- If you do this in a major key, you end up with this pattern, harmonizing over each note of the scale: (examples are in the Key of G major)
- = MAJOR ex. GBD
- = minor ex. ACE
- = minor ex. BDF#
- = MAJOR ex. CEG
- = MAJOR ex. DF#A
- = minor ex. EGB
- = diminished ex. F#AC
Manuel Marino is a seasoned Senior Producer, Music Composer, and Artist with over a decade of experience. He specializes in branded entertainment across various mediums, including video games, films, and advertising campaigns. With 20+ years as a game music composer, Manuel has worked on numerous platforms, creating diverse orchestral soundtracks. HIRE ME
