Banjo Hangout - Music Theory Forum Feed

In need of some help.

eric@banjohangout.org — Thu, 5 Nov 2009 16:49:10 CST

Hello, I am very new to the banjo and am really enjoying it. I have been playing/ learning from the Earl Scruggs banjo book, which is really great. But I am in need of some help. I am taking a theory class at college. This is the first theory I have ever been exposed to, (I am a guitar player) and for our end of the year project we have to write a piece of music with at least two parts. Well I have been working on the guitar part, and I would like to have banjo as the second part. The guitar part is really slow and bluesy sounding (at least to my ears it is), and would really not sound very good with a fast bluegrass sounding banjo. I was wondering if anyone could tell me some chord shapes that would be more bluesy/ rock I suppose, or any other tips for achieving this sound. I have heared it before, I will have to go through my ITUNES to find some examples. Oh, and this will be my first time ever writing a banjo part, so anyother advice would be awesome. Thanks for taking the time to help. Best wishes.

Is chord progession the same in every style

eric@banjohangout.org — Thu, 5 Nov 2009 14:04:30 CST

Hi,this might be a confusing question, but is chord progression(CP) the same whether it is in Scruggs, CH, or any other styles. In other words is CP is CP is CP ...etc, no matter what style you play. I see some CH tunes with BG CP in them, and is it just they happen to share some common CP?. One answer might be , yes music theory is the same , no matter what instrument, or style you play, but on the other hand, if CP is the same in every style , then why do we have different names such as Scruggs, 3-finger, CH, melodic ...etc. Isn't every style has it's own CP?. I don't know if this helps, but it seems to me Scruggs is more chord-oriented, and CH seems less chord-oriented. Thanks.

Them multi-instruments players

eric@banjohangout.org — Wed, 4 Nov 2009 11:45:53 CST

You hear people say, " he/she can play anything that has string on it", and I don't how they do it. Some of my theories are, maybe they have sound library, or dictionary in their head, maybe they have sound theory built in their system, maybe they are in-touch with their soul, or subconcious mind, or whatever they tune-in. There got to be some science, or logic to it. Any help?. Thanks.

" Capo Theory"

eric@banjohangout.org — Mon, 2 Nov 2009 11:58:06 CST

Hi, can anyone explain to me how "capo theory" works, maybe a little detail on the theory side. Thanks.

KEY OF D// C TUNING CAPO 2

eric@banjohangout.org — Sun, 1 Nov 2009 14:43:58 CST

Sorry to bug ya'll again, would someone help me out with this?

TablEdit versus Guitar Pro???

eric@banjohangout.org — Sun, 1 Nov 2009 10:59:04 CST

Hi there, I'm looking for a good music creation program. The two I'm considering are TablEdit and GuitarPro and I wanted to ask everyone here their opinion. Here's the list of things I want to do: Create tabs for both banjo and guitar (obviously) Create tabs from sheet music (piano/classical guitar) and transpose them into banjo parts. This requires a good transposer and the ability to move notes (tab) from string to string easily. Create music with multiple parts for multiple instruments. Eventually be able to scan in sheet music and transpose to guitar/banjo. I think both TablEdit and GuitarPro has all these features (except scanning sheet music). I wondering all of your thoughts. At the moment I'm thinking GuitarPro because I like the interface better and there's a really large archive of tab out there. Thanks! Matt "Self preservation is a full time occupation" - Ani Difranco

Strumming book recommendation

eric@banjohangout.org — Sun, 1 Nov 2009 09:12:31 CST

Hi, I am trying to learn hearning chord changes, or chord progression, and I am wondering if anybody can recommend me strum book with letter chord names, and/or Roman numerals , without tab. Thanks.

Ron Block Box Concept?

eric@banjohangout.org — Sun, 1 Nov 2009 07:09:42 CST

Hi Guys, In Ron Block's acutab DVD he talks alot about a box concept which he uses whilst improvising which allows him to see the areas on the fretboard where he can do some 'mining'. I am familiar with a similar principal from my days of rock guitar playing; where I would use both major and minor pentatonic scales, harmonic minor scales etc. I am unsure which scales Ron uses most frequently on which he bases his box concept. Does anyone have any idea's of which scales I want to be learning? Also where I can learn them? Thanks in advance, Chris. Happy Pickin'

rhythm

eric@banjohangout.org — Sat, 31 Oct 2009 08:30:40 CST

Is it when you play the notes correct that gives you rhythm? What I mean I guess is that the right combination of the 1/8 and 1/4 notes, correct timing.

double tonic

eric@banjohangout.org — Fri, 30 Oct 2009 01:37:07 CST

Rather than hijack the exciting thread on modes, I'm asking this here: What's double tonic? Here's wikipedia's sucky definition: "A double tonic is a chord progression, melodic motion, or shift of level consisting of a "regular back-and-forth motion", in melody similar to Bruno Nettl's pendulum type though it uses small intervals, most often a whole tone though may be almost a semitone to a minor third." This definition doesn't make sense the way I think the term "double tonic" was used in the recent modes thread. I just read another long internet article that was equally useless to the wiki article. What makes I Know you Rider double tonic? Thanks for your ear. Rob

silly question, but please help!

eric@banjohangout.org — Wed, 28 Oct 2009 17:20:19 CST

If I am playing in open C, how do I play the general chords - ie how do I play a g chord or an f chord? is it different to the fingering on open g tuning? sorry if this is a stupid question but I'm having trouble working it out! [B)]

Is this how modes work?

eric@banjohangout.org — Wed, 28 Oct 2009 12:59:37 CST

I've posted previously asking about applications of modes in my music, but for some reason I can't seem to get my brain around this stuff very well. Last night I watched a video on You Tube that may help me. Is the following true?: * The E minor scale is the same as the E Aeolian. * The G Dorian mode produces a minor scale (I don't know the name) in G. * The G Lydian and Mixolydian modes produce a Major 7 scale in G. If the above are correct, then I see that the modes are used to play a scale of the particular chord you are playing at the moment. For instance, if I'm playing in the key of G and hanging on an Em, I play in the E Aeolian mode. If I want an A minor 6th I play in the A Phrygian mode. If I want a diminished C scale I play in C Locrian mode. What if I just want to play a plain old D7 scale?; which mode do I use? ++++++++++++++++++++++++++++++++ I love my excellent sense of humor. Unfortunately it gets me into trouble, and un-funny people think I'm an idiot.

tab question -- software needed?

eric@banjohangout.org — Sun, 25 Oct 2009 10:14:43 CST

I tried to download some tabs posted in the archives but it is a ".ws" file and I can't open it. Is special software needed? If so, is it freeware or a commercial program? Thanks, Al Thanks, Al P.S. Visit my web site at http://sticks-and-stones.classyshots.com/ .

Not making a connection, I think

eric@banjohangout.org — Sat, 24 Oct 2009 16:48:30 CST

I believe the G scale is G, A, B C D E F# G. But on the banjo if you walk the neck you get. G G# A Bflat B C C# D Eflat E F F# What does this mean. I am not sure of the question I am asking. But I am sure there is a correlation between the two...just not getting it. Joseph Just nobody special

circle of fifths

eric@banjohangout.org — Thu, 22 Oct 2009 04:17:32 CST

I must be especially dense, and I hate to beat a dead horse, but I still can't figure out what the circle of fifths is good for. I know how to make chords, and I know how many semitones there are between each note in the major scale, so I know how to take any scale and see how many sharps & flats that scale has. I know what the harmonized scale is and how to write it down. I also know how the various modal scales are formed by rotating one to produce the other -- I don't do that often, so I'd have to consult the web for the details, should I need to do it, but at least I know it can be done. I know there must be something magic about it, but darned if I can understand what it is. I do know WHAT it is, I just don't know WHY it is -- and that's the important thing. Any help would be appreciated. Bill Martin

fret dots

eric@banjohangout.org — Wed, 21 Oct 2009 12:18:28 CST

Why are banjo dots at the 3rd, 5th,7th, 10th and 12th frets?

Writing Tabs

eric@banjohangout.org — Tue, 20 Oct 2009 08:21:26 CST

I try to tab out tunes I slow down so I remember them. If I don't write them out , then I tend to forget them. But I have a hard time writing the rhythm for tabs. I can usually find the notes. And I can get to where I can play a tune up to speed. But I can't write it down in the right rhythm. So I was wondering if other people out there have any tips on what I can do ?

Descending scales

eric@banjohangout.org — Mon, 19 Oct 2009 20:14:37 CST

What is the mystery in this? I pulled out my circle of fifths and I am trying to understand why the patterns I am playing sound so good together... I am playing around, not staying in I IV V chord combos and just having some fun figuring out the neck. ............Lay back, relax, get back on the human track.....

skeleton chords

eric@banjohangout.org — Thu, 15 Oct 2009 20:03:55 CST

I made this post in another thread and then realized it should have a thread of its own in the music theory section. my question is. can you take any song just abut and make it three chords (1,4,5) and that the other stuff is just to fancy it up? I got this notion from playing a version of amazing grace that leaves out the minor chord I thought had to be there and the song still sounded fine without it. I certainly know alot of bluegrass is just 1,4,5 but I like stuff like alison krauss and patty loveless, and many of their songs that I've seen show weird chords and like 6 in a song sometimes. take Patty Loveless' song "a thousand Times a Day." http://www.ultimate-guitar.com/tabs..._day_crd.htm according to that I need to play G, C, D but also Em and something called a D-sus-D I've checked out other songs with weird chords like F/D or some crazy thing like that. what is that half of each? then there's other weird ones.. LOL! I've seen songs with like 6 chords in it. like a Dm, G, C, Bb and A all i one song combined with weird stuff like the sus thing and D/G stuff, but for all I know you could get by with the basic 1,4,5 just wouldn't sound as fancy. if thats the case, I could feel out any song with the 1.4.5 and then after that work out how to jazz it up. this way I could work out any song on my own without any need for looking up chords. (or anything else) am I on to something? (probably getting ahead of myself but my curiosity about the journey ahead is kicking in. ) also on that note I saw a post in this section mention something called Mixolydian and Dorain modes, and I've heard of Minor, Major and Modal modes. (and the only two I understand is Major and Minor. (major sounds happy, minor sounds sad) what does all that mean and what do I actually need to know in order to play well, and by ear?

D minor licks

eric@banjohangout.org — Fri, 9 Oct 2009 09:46:09 CST

An instructor of mine was teaching me you can play Dminor over G and C. Right now I'm just rolling, does anyone know any Dminor licks they can tab out???? Also , do you have any experience playing Dminor over other chords and what chords?

Question about 3/4 vs. 6/4 ...

eric@banjohangout.org — Sun, 4 Oct 2009 09:09:30 CST

I have two songbooks with sheet music to the song 'Drifting Too Far From The Shore' and I notice: 1st book has the song 'Drifting Too Far From The Shore' with time signature 3/4 and shows (for example) 16 measures to a verse with 3 quarter note equivalents per measure. 2nd book has the same song with time signature 6/4 and shows (for example) 8 measures to a verse with 6 quarter note equivalents per measure. The chords changes on syllables in the song are identical in both versions of sheet music (duh!). My question - what is going on here? If I hear the song at a jam (where most likely nobody has the sheet music or even if they do have it) I am going to do a waltz type backup and I don't care if it is called 3/4 or 6/4. Why is the music written in different ways and does it make any real difference? If you just listen to the song can you identify it as "yep! that's a 6/4" .... or might you say "That is not a 6/4...it is 3/4)"? Thanks for any comments. Phil "Listen, listen, listen and play, play, play." (Murphy Henry)

Remedial Music Theory

eric@banjohangout.org — Tue, 29 Sep 2009 12:22:14 CST

Hello All, I have been lurking in this forum for a few weeks now and after reading many (or all) of the posts in this section I have determined that I have absolutely no understanding of music theory. I can barely understand the questions. The answers are so far over my head I need a ladder. Does anyone have a suggestion as to what materials would be best for me to study? Keep in mind that we are talking the basics here! Any assistance would be appreciated. Kathie "All of us contain Music and Truth but most of us can't get it out"-Mark Twain

Needing help with chord construction

eric@banjohangout.org — Mon, 28 Sep 2009 20:57:01 CST

I've been playing jazz banjo, mostly Big Band and some Swing. I play it well enough but I would like to get a better understanding of what makes a chord a chord. That style of music has absolutely wonderful chord structures, more than the primary color chords - G, C, D7, or red, yellow, & blue. I understand some basic theory - inversions, relative minors, and so on, but what is throwing me for a loop right now is what determines a 9th chord? Or a 6th? Or a -9 +11?? And what determines the correct name for a diminished chord when an inversion of that chord occurs every three frets? In other words if it is a Ddim at one fret is it still a Ddim three frets up? Same holds true with augmented chords which occur every fourth fret. My mind is pretty well boggled at this point. I don't know if I'm articulating this topic well enough; I hope so. I'm pretty ignorant about all of this and I just need to know the real skinny, expand my knowledge. My thinking on it is this: When I break a G chord down I know it is made up of the 1-3-5 notes or G-B-D. I know that if I flat the 3rd I have a minor. That's basic. So in my mind I figure that if I play a barre G - which I decided to call the first inversion for no other reason than I want to play King of the Universe [:D] - and add the 6th note on the diatonic scale to the original three notes 1-3-5 then I should be playing a G6 or Gmaj6. Am I close in my supposition or just how far off base am I? If someone could shed some light on my ignorance I would appreciate it just a whole lot. Thanks. Regular Guy says, "Nuffs enuff" www.customscrimshaw.com Email: edweber@customscrimshaw.com

Mystery Clef...

eric@banjohangout.org — Sun, 27 Sep 2009 19:34:12 CST

Cross posting from the ning Classic Group...obviously a broader knowledge base here. Ok, music sleuths... My 1909 vintage "Jacobs' No. 1 Amateur Folio for Orchestra and Mandolin Orchestra, Banjo Solos" (which is where I get most of my Weidt stuff), has a strange version of the treble clef (G clef). This is simply your basic G clef but it has an added bar or 'strike' thru the clef, right at the staff line for the D note. Go here: [url]http://www.classicbanjo.com/tutors/WeidtCollection/Weidt.pdf[/url] and look at the first three tunes (which start on page 7) for an example. PC alert...this is 1900's stuff and some of the titles are offensive. My question is: What does this odd clef indicate? It doesn't seem to affect the time signature, key signature or tuning...I've found it in variations of all of those. So? I'm stumped, please enlighten me! ===Marc "If banjos needed tone rings, S.S. Stewart would have made them that way."

the scale lessons on banjohangout.com

eric@banjohangout.org — Tue, 22 Sep 2009 04:42:30 CST

I'm having difficulty accessing the scales in the lessons section of banjo hangout. When I attempt to click on, say, Pat Cloud's Major Scale link, it simply refreshes the list page I'm on. Also, some of the scale lessons that I'd really love to see are those of Terry Holland, but they were hosted at CompuServe and, well, we all know what became of the former Compuserve Empire. Anyway, if anyone knows how I can access some of these lessons on scales, please let me know. Thanks. ____________________________ Am I the only banjo player in India?

Tuning the banjo to open D?

eric@banjohangout.org — Sat, 19 Sep 2009 16:36:42 CST

Would somebody please tell me what tuning the banjo to open D is all about? Thanks, Phil "Listen, listen, listen and play, play, play." (Murphy Henry)

Shady Grove Cluck Ol Hen revisitied

eric@banjohangout.org — Sat, 19 Sep 2009 05:29:42 CST

Hi folks, I know this was discussed several months ago but following the thread I still wasn't able to figure out the bottom line. When playing either of the above songs with the banjo in 'mountain minor' (2nd string tuned to C) what chords should the guitarist be using? Thanks Raise Your Action & Listen to Earl

choosing interesting chord progressions in backup

eric@banjohangout.org — Fri, 18 Sep 2009 09:21:47 CST

I was watching a little Angeline the Baker at http://www.youtube.com/watch?v=qq1c---sgS4 (warning, no banjos in this video!), and at 0:20 the guy playing backup does a great, chord progression that builds up over what normally would be a ~8 measure stretch of a single chord (D?). Anyway, the chords he's moving through, though I don't know enough guitar chords to recognize them, seem like there's a simple rule he's following...is he just moving chromatically up the chords? if not, is there a music theory rule for what kind of backup chords he's using, and where you should be looking for them? If I'm misusing terms, please correct me :)

Playing from Sheet Music

eric@banjohangout.org — Wed, 16 Sep 2009 09:59:48 CST

I can't read sheet music (yet), but I've come across an interesting book of songs about the Ohio-Erie Canal ("Scenes and Songs from the Ohio and Erie Canal," Pearl Nye) that I would love to figure out how to play on my banjo. What's the best way to get started? I've researched the rudiments of reading music, but I still have many questions. For instance, I'm not sure which notes correspond to which strings on a banjo. Where's Middle C? How do I determine the key or tuning? Is there a way I can easily convert these to tab form? Thank you in advance for your help. I apologize if this topic is well-trampled. If you can point me to an informative, existing thread, I would appreciate that as well. Cheers! __________________________________________________________ Right way or wrong way, I just want to play the banjo SOME way.

Merky Tonalities

eric@banjohangout.org — Sat, 12 Sep 2009 12:47:00 CST

I was reading the text to one of the Tunes in Tony T's 'Fiddle Tunes for the banjo' book (marvelous book) and was left a little confused with one of his coments relating to a tune. Unfortunately I can't remeber the name of the tune and don't have the book to hand but in anycase maybe someone can answer me anyway. Basically he is refering to an old time tune in G which he makes a case for having no chords. The tune is tabbed out of G modal tuning (B raised to a C) and the C is a commonly recurring note in the melody. He suggests this makes for merky tonalities"i.e. is it major or is it minor". How is this so?, raising the B to a C means that the fourth note of the G major scale commonly recurrs in the tune but this is still in the G major scale? As far as I can remember there was no flat third in the tune so why would the 'tonalities' be merky? I admit that despite my reasoning they sound merky!

question about tabledit

eric@banjohangout.org — Sat, 12 Sep 2009 01:53:35 CST

howdy! does someone know how i can "cut off" the musical notations on tabledit, to keep only the tab part? (excuse my english) thanks alot!

Astounding new fact?

eric@banjohangout.org — Fri, 11 Sep 2009 10:35:35 CST

I've discovered an astounding new fact. Well, to me it was astounding, to you music theorists it's probably old stuff. Here's a rule, I'd like to know if you agree: In any scale, S, the sus 2 chord of the root note contains the same notes as the sus 4 chord of the fifth of that scale. For example, referencing the C scale, Csus2 has the same notes as Gsus4, and referencing the E scale, Esus2 has the same notes as Bsus4. So that would make the sus 2 chord of the root interchangeable with the sus 4 chord of the scale's 5th. Is that something everyone but me already knows?

Does anyone know the name of this chord?

eric@banjohangout.org — Tue, 8 Sep 2009 09:29:35 CST

I'm trying to figure out the name of this , I use it as a C chord. Anyone out there know the name of this C? Any help appreciated, thanks. -8--------- -8---------- -5----------- -5--------- ----------

Question about 'Worried Man Blues'....

eric@banjohangout.org — Sun, 6 Sep 2009 13:10:01 CST

Sometimes (usually) I see and hear 'Worried Man Blues' like this: (1) It takes a worried man to sing a worried song (x3) I'm worried now, but I won't be worried long. Sometimes I see and hear 'Worried Man Blues' like this: (2) It takes a worried man to sing a worried song (x2) I'm worried now, but I won't be worried long. In both versions the chord progression is I IV I V I. In both versions the structure is then followed througout for every verse and chorus. I have songbooks that show the song in (1) and other songbooks that show the song in (2). I also have recorded versions that perform the song in (1) and other recorded versions that perform the song in (2). In my very limited experience when I hear the song done in the second way I feel that a line is being left out of the song.....it seems (to me) like 4 measures are left out in the second example. Which way does the song play from the masters of the BG world and how do you play the song? What could be the history or story behind these different versions? In every jam I have ever been to the first version is performed. I would appreciate any comments. Thanks, Phil "Listen, listen, listen and play, play, play." (Murphy Henry)

I need an understanding of minors

eric@banjohangout.org — Sat, 5 Sep 2009 19:23:03 CST

I have been playing a few songs that were mostly minors lately and there is something I don't quite understand. So I know that we play in keys and that there are 12 keys - one for every note of the chromatic scale. So we have a a key of G and a key of G# etc.. Now I know that to make a normal chord a minor you flat the 3rd and then it becomes a minor. So my father-in-law started learning Wayfaring Stranger on the guitar and so I was playing along with him. He said it was in the key of Am. Is this the correct way to name this? The keys were Am, Dm, Em and I think we had an F and C in the chorus. So basically I understand in the key of A my 1,3,5s are A, D and E. So we just minored them. So is it correct to say that we can have a key of "x" minor which would then be the same as the key of "x" except the 1 3rd and 5th are minor chords instead of the normal chords? I hope that makes sense. Thanks,

Retuning

eric@banjohangout.org — Tue, 1 Sep 2009 14:04:15 CST

Hey, Im too old to be figuring out retunings when playing in C,D,E,Im fine with capoing up to the fourth fret,cant I just play the right chords at the right time instead of retuning?I do find it kinda hard to solo in C,D,E,Bill The plumber

Parentheses in Tablature?

eric@banjohangout.org — Sat, 29 Aug 2009 20:00:32 CST

I feel stupid for asking this but here goes. I have some tab for "Wayfaring Stranger" by Dix Bruce. It has parentheses around some notes and I don't know what they (the parentheses) are supposed to mean? Also, there is one more question about the tab but I can't explain it...you actually need to see the tab. I have scanned it and would be thrilled to email it to anyone that wouldn't mind helping me! Thanks! Ken krose29743@yahoo.com

"Playing scales over chords"

eric@banjohangout.org — Fri, 28 Aug 2009 01:16:32 CST

A question so simple I haven't seen it answered.... What does it mean to play a scale 'over' a chord, or over a chord progression? I got some instruction to "Play the pentatonic scale over a chord progression in several keys" to start understanding the scales.I'm not sure that it makes sense to play a 5 note scale in keys that match the chords in 4/4 time.

Chord Changes: Nagasaki, Sheik Of Araby, Avalon

eric@banjohangout.org — Sun, 23 Aug 2009 16:04:17 CST

Looking for the changes to these old pop/swing tunes. I'm... reasonably good at figuring out chords, but I'm still coming a long when it comes to swing (e.g. is that an F9 or a Cm in Sheik of Araby?). Thanks! 73, Brennen Bill Monroe (to Don Reno): Where''s your capo, Don? Don (to Bill): Where''s yours?

Help identify chord

eric@banjohangout.org — Sun, 23 Aug 2009 10:45:31 CST

Hey, can anyone help indentify a chord that has an F# on the foutrth string, a C on the third string and an A on the first? Thanks The best picker is the one having the most fun.

F#m in the key of A

eric@banjohangout.org — Sun, 16 Aug 2009 18:44:59 CST

I have my banjo in G tuning and I have it capoed at the second fret. The song I'm trying to work out calls for a F#m chord. Do I finger a Fm chord or and E chord?

learning the fretboard

eric@banjohangout.org — Sat, 15 Aug 2009 11:34:32 CST

I am busy trying to learn my way around the fretboard. I've can figure out all the notes by knowing the chromatic scale, but when it comes to learning them better - I just get bored and play some tunes..![:I] Can anyone suggest some exercises that might make learning the fretboard a little more, well, interesting..? thanks! marc

Fretboard Logic

eric@banjohangout.org — Fri, 14 Aug 2009 08:08:21 CST

Has only else read Fretboard Logic for the guitar? It's an excellent book, and I was wondering if there were any similar books for banjo that work off the same principal. Take care, but take it!-Harold Hausenfluck

How to play Bm

eric@banjohangout.org — Wed, 12 Aug 2009 15:52:57 CST

Absolute beginner question, but none of my instuctional books seem to have it. How to you strum a B minor on clawhammer? Thanks

Looking for banjo notes/chords

eric@banjohangout.org — Wed, 12 Aug 2009 15:49:44 CST

does anyone have the chords to the following songs: Grateful Dead - Friend of the Devil CCR - Lookin out my Backdoor Led Zepplin - Going to California THANKS

chord substitution tips and tricks

eric@banjohangout.org — Tue, 11 Aug 2009 19:26:13 CST

In a thread drawing folks attention to a great video that Cathy Fink that highlights the adventures someone can have with a melody, creating all kinds of variations on a tune I mentioned chord substitutions as a fun means to that end. Paul Roberts asked me to expand on the subject there, but I thought it really merited a new thread. I'll post some of my own thoughts, but really I'm pretty clueless in the grand scheme of things. I suspect there are some Celtic folks, jazz cats and Newgrassy types around here that know a great deal on this subject, and I hope they all chime in and teach us some tricks. Most of the times I do it it takes one of four forms: -using the relative major or minor of a chord (such as E minor where there was a G or vice versa). There should be a lot of reference materials about how to find the relative minor out there, but generally it's three frets below it's major counterpart. -I find what other chords feature the note I'm playing in a passage of a tune. For example I noticed that June Apple features a G note in the second measure when playing in the key of A. Rather than just playing a G chord as the note would typically suggest, I tried playing a C chord (or at least hitting other notes from a C chord to suggest it more robustly during the measure), which also features the note G. Another example of this is several tunes I play in G minor tuning (gDGBbD). Many of the songs I know in this key typically go back and forth between G minor and F major, but you can sometimes continue down from the F to an Eb major. This is because that chord is only one note different from G minor (G,Bb,D vs. G,Bb,Eb). It's crazy, not for the faint of heart, and doesn't work in a jam, but it sounds great. -happy accidents! I sometimes grab a note and my other fingers go towards some other notes that make a chord shape with that note. Sometimes it's the wrong chord, but still sounds good. -Someone smarter than me teaches me a specific one. This is where I hope someone else chimes in. I could list out the specific ones I've learned, but have no method to the madness or rules of thumb that will help beyond knowing that in particular songs you can play a this crazy diminished chord or something... Teach me! Mark

Techie Article Japan, Shamisen [like Banjo]

eric@banjohangout.org — Mon, 10 Aug 2009 21:09:38 CST

This article from a Japanese acoustic science magazine [in English] discusses methods of creating a "buzzing" resonance [sawari] on the Japanese shamisen [think 3 string banjo] and biwa [lute]. It's kind of like when you were a kid, and you stuck cards near the wheel of your bike to get a flapping sound as you rode by. Now, for those of you with nylon, gut, or silk string banjos, the technique should work well. Basic idea is to have a bump on the fretboard [the "card"] which lightly touches the spokes of the wheel [think, vibrating string]. The sawari would be about the size of a 5th string nut. Don't try this on that museum quality B&D Montans you have. I am going to mess with this. It produces a tone similar to the "buzz bridge" of a sitar. Have fun, and check out the cool article, if so inclined to all things bizarre and techie. http://www.jstage.jst.go.jp/article/ast/22/3/199/_pdf

chord inversions?

eric@banjohangout.org — Mon, 10 Aug 2009 19:40:43 CST

What, exactly, is a chord inversion, and how do you use them? ________________________________________________ Humans are capable of believing anything; and that explains a lot. ________________________________________________

What is this circle of fifths?!?

eric@banjohangout.org — Fri, 7 Aug 2009 23:19:23 CST

Hey everyone, I have been trying to take my playing to the next level for some time. I am trying to depend less on tab and am using dvds and various books to help my understanding. Every time i turn around I hear this "circle of fifths" mentioned in regards to playing and how great of a tool this is. I do not know music theory at all.(despite a lot of effort!) I see these graphs and charts and it might as well be written in hieroglyphics because I cannot make anything out of it. Can anyone shed some light on this for a complete music theory beginner. Anyone know of a good resource that can explain this in a not-so-difficult way? and if anyone knows any good resources (books,internet, dvd) about banjo theory that could get me up and rolling I would really appreciate it! Thanks!!

Online Piano

eric@banjohangout.org — Thu, 6 Aug 2009 18:37:47 CST

I found this on line piano learning tool and I thought I would pass it on. I think it's a great way to check out scales, chords, keys etc. I think the piano keyboard is a great way to visualize intervals, etc. http://www.primaryresources.co.uk/music/piano.html Ken Stevens Grafton, MA