Swampuh - Posted - 02/07/2012:  08:12:46

---

Hi al!

I actually have my very first lesson this afternoon, and I am absolutely psyched!  I have wanted to learn the Banjo for some years now and it is finally come to pass.

My question:  As an absolute beginner to ANY form of music, how important is music theory and notation when it comes to the banjo, particularly in folk and bluegrass.  I have zero knowledge of theory and can not read music..  Obviously I will pose this question to my instructor but I wanted to get a general feeling from you lot..   I have been reading posts for several days and the amount of knowledge here is incredible.  Thanks in advance!

Swampuh

bjohio - Posted - 02/07/2012:  08:20:56

---

Personally, I don't think it is necessary to know a lot of "music theory" at the very beginning of banjo instruction.  Many of the first songs you will learn will probably have similar notes, rhythms, and picking patterns.  I think that you'll find that as you progress, learning the "nuts and bolts" of music will become increasingly more important.

Have fun!

barrybush - Posted - 02/07/2012:  08:22:23

---

buy music theory for dummies , it is college theory explained in a way any one can understand.music theory is simply how music is.

banjoy - Posted - 02/07/2012:  08:24:12

---

I agree. Music theory is not necessary to learn to begin playing an instrument. It's like learning to drive a car. You don't need to know the theory of an internal combustion engine to learn how to drive one. But, as you get better and learn more, it helps to know some basic stuff. Then if you become a mechanic, you need to know a lot more.

Some of the most famous musicians out there had very little grasp of chord construction, much less theory. My suggeston would be, to learn the joy of driving first, then learn as far as your interest takes you!

Enjoy the banjo.

Kstevensmd - Posted - 02/07/2012:  08:38:14

---

amazon.com/Music-Theory-Dummie...mp;sr=1-1

 

amazon.com/Complete-Idiots-Gui...592574378

 

Here are two very good books on basic music theory; The Idiot's Guide and Music Theory for Dummies which was mentioned earlier in this thread.  Good resources both!  Good luck!  

beegee - Posted - 02/07/2012:  08:40:29

---

You may not need it when starting out, but the sooner you learn it, the easier it is and the better you will be for it. My eyes were opened to it when I attended a Bill Keith Workshop in 1978. We thought we were going to learn some cool chromatic licks and he spent the day talking about music theory. Only in retrospect did I see the value. I'm still trying to learn,

banjoken - Posted - 02/07/2012:  08:49:27

---

Many many years ago when I first got turned onto the banjo I searched out for teachers. Took many phone calls to stores to finally find a person that taught banjo. He came to my house and he came with a Mel Bay book which had no songs, just notation and timing exercises. He did not come with a banjo for himself. He had me learning like I was playing classical music. I told him I never saw bluegrass music written in notation. On the third lesson I asked him to play me a song and he said he was not there to play songs for me, but to teach me music. Lesson went on like the first two. He came for the 4th lesson and I asked him to play me a song again and this time I insisted. He then admitted to me that he does not play the banjo, but he can teach it to me. He never got to teach me that 4th lesson. I was a pretty pushy 15 year old I guess!

Found another teacher and by week 2 I was playing cripple creek from Earls book. By week 4 I was playing foggy mountain breakdown and earls breakdown.

Notation and theory is good and should help in time. Learn to pick and play first! Make sure you listen to the songs you want to play!

Fathand - Posted - 02/07/2012:  09:04:46

---

I find theory to be of more use in banjo playing than notation.  Notation will teach you how to read music but not always where to play it on the banjo, example is if you want to play the note, middle C it could be played in several different places. Most Banjo teachers today use Tablature (tab) which shows you exactly where to play each note and this is a valuable tool. 

The theory that is valuable for beginners, is to understand that music is made up of 3 parts, Melody which is the tune that would be sung, Timing which is the speed you play and Harmony which is the chords that you and others play play or alternate notes that someone may sing along with you to form a chord with voices.  If you play and change the chords (Harmony) in the right Timing then they help people to follow or sing or play the Melody because the Melody notes are usually one of the Harmony notes. If you ever see people playing well together, they are all playing some piece of the Harmony at the same time as others.

That is my quick and dirty Music Theory for Dummies and should be all the Theory you need for a long time.  If you know someone who can strum and play a guitar ask them to show you this or ask your banjo teacher. 

danielburdett - Posted - 02/07/2012:  09:06:11

---

I agree with most of the posts here. It's important to learn the feel of your banjo first. I think a good indicator of when you should start to think about music is when you get to the point that you don't have to think about it, if that makes any sence...

boonjoer - Posted - 02/07/2012:  09:14:29

---

In my case, I learned theory as I needed it. I needed it pretty quickly though! (why are these weird minor chords showing up?)

Laurence Diehl - Posted - 02/07/2012:  09:23:17

---

Welcome to the banjo! You won't need to read music for a long time. Even people who have no formal training in music still absorb a lot of theory in a natural way as they go along. From the time you learn how to tune your banjo you are learning theory really - where the notes are on the fingerboard, what chords are and how they go together in a song. Yeah, I don't think you need to study theory on its own until much later in your learning process. But you don't need to be afraid of it either - the more you know the better, in the end.

Jody Hughes - Posted - 02/07/2012:  09:28:56

---

I think it's easy to miss the reason for learning theory.



For instance, Here is some "theory" that will make your life easier:



If you learn a chord shape and don't know the series of notes (which ones have sharps and flats) then you won't be able to move it to the appropriate place. Instead you will start off by memorizing and your brain will be overloaded. Elementary theory like that is mandatory for playing in other keys, as singers often like to do.



Likewise, it is much easier to learn your minors, 7ths and other extensions from your majors if you know how they are constructed than it is to simply memorize a bunch of shapes.



I think the first goal of any instructor should be to get you PLAYING music.



At the same time, if an instructor teaches you how it's all put together and connected I believe you will assimilate the material quicker. This is true for training your ear as well, if you have a name to put to something, know what to listen for it will help your ear development.



Music theory is lots of things-Form (how many sections does the song have and do they repeat), What common chord progressions does it follow, etc.  I think some of it has gotten a bad rep as something that is detrimental to your playing when a great deal of it is quite useful.



As to your comment about musical notation-I personally don't teach banjo students musical notation unless they ask for it.

---

Edited by - Jody Hughes on 02/07/2012 09:31:50

Swampuh - Posted - 02/07/2012:  09:39:28

---

This is all great stuff! What an awesome community! Thanks

Disco Kid - Posted - 02/07/2012:  09:42:56

---

When I first started my uncle made me learn basic theory before anything. 1-3-5, 1-4-5, ful notes, half, etc. That was 30 years ago and it's gotten me through many a jam literally and figuratively.

It also lets me get a better understanding when reading the heavy hitters like Bill Keith and Pat Cloud talk.

Worth its weight in gold and it's free.

dunaif - Posted - 02/07/2012:  10:20:23

---

quote:

---

Originally posted by bjohio

Personally, I don't think it is necessary to know a lot of "music theory" at the very beginning of banjo instruction.  Many of the first songs you will learn will probably have similar notes, rhythms, and picking patterns.  I think that you'll find that as you progress, learning the "nuts and bolts" of music will become increasingly more important.

Have fun!

---

I agree. An understanding of basic theory becomes important when you start to play with others. By basic theory, I mean understanding how melody, harmony (i.e., notes, scales & chords) and rhythm all interact to form music. When you have that knowledge in your head, it can act as the "software" program that allows you to make musically "correct" choices in the chords, licks and solos you actually play.

I think it's especially important, though, for adult beginning music students to not get too bogged down in this at the outset. It still should be fun as you learn theory basics along with learning to play your instrument.

--Donna

seanray - Posted - 02/07/2012:  10:23:02

---

You'll definitely want to supplement your banjo practice with some basic theory as mentioned above.

As for notation it's nice to be able to identify the notes on a treble clef staff if you ever want to pull tunes out of  a fiddle book. Other than that most reading associated with banjo playing is written in tablature format.

Jim Yates - Posted - 02/07/2012:  10:26:07

---

I played guitar for years before learning any theory, but you'll probably eventually want to learn what a chromatic scale is and how to construct chords at least.  This enables you to find chords that you don't know.  If you know that a G chord is 5435 a nd you also know that a major chord is made up of the root, 3rd and 5th notes of the scale, the you'll be able to make a Gb5 chord by finding the fifth note in the scale and flattening it. 5425. 

The chromatic scale comes in handy when you need a chord that you don't play regularly.  If you need a Bb chord and you've never played one before, you can take any form of the G chord and count up the chromatic scale a fret at a time to find the Bb.  "G, Ab, A, Bb" 

This is not a lot of theory; just enough to save you a lot of time and not take much effort to learn.

As far as reading goes, there are books with thousands of fiddle tunes and rags... in standard notation that are lots of fun to play on the banjo if you're interested in melodic playing.

Wow, Donna and seanray both posted while I was writing this.  Sorry if I've repeated anything.

---

Edited by - Jim Yates on 02/07/2012 10:31:32

Richard Dress - Posted - 02/07/2012:  11:05:56

---

I agree with Jim Yates.  You don't need it.  A little bit is helpful.  More is detrimental if it takes you away from learning the banjo.

banjoak - Posted - 02/07/2012:  11:15:35

---

I agree with jody that music theory is lots of things.

To me it's

A. Terminology, what to call things, so that you can communicate aspects about the music with others.

B. The general rules of the music.

C. Understanding and explanation the how and why things work.

With each of those, they have different levels, from simple to complex. Every musician acquires some form of music theory. Some of it just comes gradually and intuitively built up through experience and observation, gets revised and refined through experience.

Some students find it easier to (if not a need to) study formal theory, to learn a rather expansive MT right from the get go, before much direct experience. At the same time, others see formal MT, what is in a book or class, in more of it's entirety, contains things that  don't seem applicable, as overwhelmingly complex, akin to calculus, and so quite intimidating.

Essentially you only need enough to allow you to do what you want, and you can build up as needed.

Swampuh - Posted - 02/07/2012:  11:22:56

---

I like what you said Banjoak, it is important to me to know the basics, as well. It is nice to know that "theory" is not a hard and fast rule, that it can be fluid to my learning speed/ability/ etc..I do tend to tear things down in order to see how they are put together, so I definately see myself getting into theory, but it's nice to know I can start by just learning to play...

Corwyn - Posted - 02/07/2012:  11:38:33

---

Definitely learn to read and write tablature.  It is the simplest way to communicate with other banjo players about what to play.  That said, it isn't hard, devote an hour to it and you won't regret it.

Traditional music notation can wait until you have a piece of music you want to play, that you can only find in that notation.  That will be the motivation to learn it.

Music theory is basically the combined traditions of music as it is played in the culture.  Knowing it will make many things easier, but it is like a secret society in terms of weird names and notations.  Learn it as you go, or look for answers as soon as you have a 'why' question.

Rich Weill - Posted - 02/07/2012:  13:14:10

---

Even at the earliest stages, it is very helpful to learn about chords.  Not just where specific chords are located on the neck and how to form them with your fingers, but the basics of how chords are used to structure a song:  the principal chords in a key and how to find them in relation to one another; common chord progressions using those principal chords; additional, supporting chords, where to find them in relation to the principal chords, and where they're likely to go in the progression; how different kinds of chords (major, minor, 7th, etc.) are used and sound.

I was not taught to play using tab or written music.  I was not shown what to play.  I was taught to figure out songs myself by ear.  The chord structure of the song was the foundation.  From the very first song I worked on with my teacher, step one was learning to recognize the chords of the song.  Only then did we move on to adding rolls, melody notes, etc.

Learning about chords takes a lot of the guesswork out of hearing a song's chords.

minstrelmike - Posted - 02/07/2012:  13:38:56

---

Music theory is like grammar.

Playing music is like speaking.

How much grammar does a 7-year-old need to know officially before she can talk well?

Many people speak perfectly well without knowing the terms for predicate or subject-verb matching, they just learned how to do it by doing it.

JoeDownes - Posted - 02/07/2012:  14:09:45

---

quote:

---

Originally posted by minstrelmike

Music theory is like grammar.

Playing music is like speaking.

How much grammar does a 7-year-old need to know officially before she can talk well?

Many people speak perfectly well without knowing the terms for predicate or subject-verb matching, they just learned how to do it by doing it.

---

It depends if bluegrass banjo is more like a first language or a foreign language. If you can grasp the structure of music without systematically learning it, you're like a native speaker. If you don't 'get it' naturally, it's good to learn about the underlying structure. It's helpful in many ways to know the structure of music, like chords and scales. It helped me to learn some grammar in order to communicate in English and understanding music theory helps me to learn to play the banjo.

---

Edited by - JoeDownes on 02/07/2012 14:17:25

marshh - Posted - 02/07/2012:  18:23:49

---

Someone asked Earl if he could read music,  He responded, "Not enough to hurt my picking."

JoeDownes - Posted - 02/08/2012:  00:56:30

---

Funny, that's the same thing that Chet Atkins, Louie Armstrong, Clarence Ashley and Glenn Campbell (among others) said.

overhere - Posted - 02/08/2012:  02:37:07

---

You could say that  from the moment you pick up an instrument and start learning how to play it then you are applying theory. You just don’t see it. It sneaks up on you. You’d be surprised how many musical in -theory questions you could answer with out knowing you learned the answers informally

---

Edited by - overhere on 02/08/2012 02:38:39

rabidhunter66 - Posted - 02/08/2012:  04:29:28

---

I am 6 or so weeks in to learning the banjo (the only instruments i have ever learned) and i do take lessons about 1-2 hours every 2-3 weeks. My instructor asked if i wanted to just learm to play or i wanted to learn theory also. I asked for SOME theory but didnt want to be bogged down with it. Using the car analogy (as it relates to me. Not everyone is the same and i know how i learn) learning to drive is fin but i want to know the basic theory behind the workings of the engine such as why it needs oil. But that is me. I jave enjoyed yhe little bit i have learned and may be i would be able to play better by now but im not in any hurry and i am having fun......just a newbee point of view.

---

Edited by - rabidhunter66 on 02/08/2012 04:30:30

Jim Yates - Posted - 02/08/2012:  04:51:56

---

Isn't it also at the start of Pete Seeger's banjo book attributed to an old time banjo picker?

marklori - Posted - 02/08/2012:  06:15:10

---

Thanks for posting the question. It made me stop and think. I find that many things that I learned in school and playing trumpet in band for 9 years are absolutely worthless to me now. Technically, if I dig back into the memory banks a bit I know several scales, etc. but have never tried to apply that knowledge to banjo playing. I can read treble clef music with no problem whatsoever, but never really tried to apply that to the banjo either.
I can pick a few tunes though which is what I wanted to do. I think your question has pointed out a place where I can look to grow my understanding of the instrument itself and by doing so, make myself a better picker. I can learn anything if shown how to play it and then practice, but that is learning by rote. It's a great way to get going, but the theory is what you'll want when you don't want to be dependant on that.
All in all, I agree with the majority of folks here in that you don't want to worry yourself with it too much right off. I think that as you grow your skills, you will then find the areas that you'll need to dig deeper into instinctively. Many top players know theory, as applied to chords and scales especially, but can't read a note of music or tab. Above all else, they listen.

minstrelmike - Posted - 02/08/2012:  08:29:11

---

In my opinion (backed up by the prefaces of several piano music theory books), there are two different bases from which to learn theory. One is scale-based and it works very well for single-note instruments such as flute or saxophone.

The other is chord-based and works very well for chorded instruments playing pop music written after 1850.

Chords are built from scales AND scales drop out of chords

You can start from either side of that equation and derive much of the other stuff. But not all.

imo, scale-based theory does NOT work for modern chorded instruments very well because of its basis in 7-note modes.

Tell me the _single_ scale you would play to express a song such as Five Foot Two (key of C) or Salty Dog (key of G). Both of those use a standard major scale with the G# note added. I can give you the scale (unnamed) to play either of those songs on a chorded instrument (collect all the notes from each chord used in the progression). A single-scale theory requires multiple different modes in different keys to 'explain' how to play a simple song such as these. (Modes are pretty much the best way to explain chords so far to an instrumentalist who can only play one note at a time).

minstrelmike - Posted - 02/08/2012:  08:31:24

---

quote:

---

Originally posted by overhere

You could say that  from the moment you pick up an instrument and start learning how to play it then you are applying theory.... 

---

Which is _exactly_ the way native 4-year-olds pick up the grammar of their parent's language--thru speaking

Darrick - Posted - 02/08/2012:  09:17:22

---

quote:

---

Originally posted by minstrelmike

In my opinion (backed up by the prefaces of several piano music theory books), there are two different bases from which to learn theory. One is scale-based and it works very well for single-note instruments such as flute or saxophone.

The other is chord-based and works very well for chorded instruments playing pop music written after 1850.

Chords are built from scales AND scales drop out of chords

You can start from either side of that equation and derive much of the other stuff. But not all.

imo, scale-based theory does NOT work for modern chorded instruments very well because of its basis in 7-note modes.

Tell me the _single_ scale you would play to express a song such as Five Foot Two (key of C) or Salty Dog (key of G). Both of those use a standard major scale with the G# note added. I can give you the scale (unnamed) to play either of those songs on a chorded instrument (collect all the notes from each chord used in the progression). A single-scale theory requires multiple different modes in different keys to 'explain' how to play a simple song such as these. (Modes are pretty much the best way to explain chords so far to an instrumentalist who can only play one note at a time).

---

Mike, is there a teaching tool (dvd, book, audio tape, etc) you are aware of that would help me learn to understand this comment of yours.  Seriously, I started playing later in life and I would like to dig into this and learn it...if I can?  I only asked this publicly because I'm sure others would be interested in your response.

Thanks, Darrick

Brian T - Posted - 02/08/2012:  09:26:16

---

Get into the banjo first. You won't know which theory questions to ask until you have some applications to relate it to.
My formal music education (piano & clarinet) started about 4th grade. More than half a century later, I discovered that a lot
of "banjo things" needed to become second nature, THEN the music theory helps a little.

Joe Larson - Posted - 02/08/2012:  10:39:59

---

I'll add my 2 cents. It's not at all necessary to learn music theory to be a beginning banjo student. And much of the theory you're going to learn won't  necessarily be labeled as such. You'll learn the 3 major chords in the key of G. You'll learn the notes in G (that'll be the scale). You'll learn to transpose from G to other keys etc. The rest of it will depend on how curious you are. At least that's why I learned. I wanted to know why you call it a 7 chord or a diminished or augmented and so on. And some of it is so esoteric it won't make any difference in your playing at all.

So how'd the lesson go?

j

---

Edited by - Joe Larson on 02/08/2012 10:41:51

Sterling grass - Posted - 02/08/2012:  10:55:16

---

Unless you have an awfully good "ear" for music (which I doubt since you say you're new to musical instruments) there are some very basic "theory" fundamentals that will go a long way until you're ready to absorb the rest of it.

I'd suggest the following to go along with your banjo lessons.

1.  Learn what a basic chromatic scale is (naming the notes) and what it looks like on a piano keyboard.  (step, step, 1/2 step, step, step, step, 1/2 step.)   It was always easier for me to grasp when looking at a keyboard.  Understand what a "sharp" and "flat" means.  See how it works in the scale of C, then G and D--maybe A.  You don't have to memorize all this,  just get a basic understanding of how it works, then apply it to the banjo neck.  After a while, learn about the Nashville numbering system and how chords work.

2.  Get a firm, basic understanding of timing early on.  This includes the concept of a "measure" and how many "beats" are in every measure.  Learn the "value" of the different notes--whole, half, quarter, 1/8, 1/16, and the concept that all the fractions must equal the whole.  4/4, 2/4, 3/4 concept.  Most good tablature today includes timing. 

When you learn a tune as it's given to you in a lesson, the correct timing is taken for granted.  When you start to work on very simple arrangements on your own, a train wreck will soon happen if you don't understand your timing.  If your tune is all 1/8 notes in 4/4 timing, there must be eight of them in each measure.  When you start adding in whole, 1/2 and 1/4 notes, those note values still MUST add up to a complete measure.  When you're playing by yourself, an error in timing can easily be overlooked, but when you start playing with other folks, -------think "train wreck". 

Errors in timing stand out much more than a couple wrong notes.  Good luck with your lessons.

Jeanie

 

Jim Yates - Posted - 02/08/2012:  19:35:16

---

Jeanie - Your last point is right on.  I find it much easier to teach a student who's tone deaf than one who can't keep time. 

 

The chromatic scale comes in really handy when looking for where on the neck to play movable chords and in transposing tunes.

---

Edited by - Jim Yates on 02/08/2012 19:38:54

Peanutscreams - Posted - 02/08/2012:  21:05:01

---

Then would this be the correct forum to ask you good folks a question about playing counts? I just today began working with BIAB and here's all these back up tracts with such a variation of different play counts from 22 - 300 !! Some higher, some lower; what in the world do they represent? I haven't a clue how to read these let alone play with them.

Would some one give me a quick little tip in music theory, and how to play with BiAB. if this is part of what I need to learn.

 

Thank you.

Butch B.

drew-gurbach - Posted - 02/08/2012:  21:39:15

---

I try to teach mechanics, structure, technique- and I sprinkle in theory.  I don’t go overboard at first.  Some sticks, some doesn’t.  But eventually, what doesn’t stick at first, when it’s time comes to “stick” is recalled as vaguely familiar; kind of like “Oh, I remember something like that.”  I was self taught.  I wish I had someone teach me theory, or at least given me basic knowledge, when I first started.

overhere - Posted - 02/09/2012:  04:01:51

---

As important if not more so with bluegrass is yes music theory but also what bluegrass is as opposed to just country. Bluegrass is unique as to theory applied. Strange things go on inside a bluegrass song. Beat tempo rhythm are kinda unique to bluegrass. Early on with bluegrass as opposed to straight country was some of the songs were being played at a rapid pace but the singing parts were kinda slow comparatively. It was mentioned the “musicality” of bluegrass. All demonstrated when you here a pop singer try to sing blue moon of Kentucky. They may have talent and great singing voices but something always seems to be missing. Also their phrasing most times are miles off. Theory applied to bluegrass is a whole different animal. Especially what bluegrass instruments are doing again as opposed to other forms of music.
Which opens up the arguments of what is/isn’t bluegrass?
Playing ahead of the beat for instance. Or fitting in some Flatt G runs or Earls licks at high speed.
Bluegrass is more about musicality then theory. You have to have bluegrass in your soul for it to sound its best.

steve davis - Posted - 02/09/2012:  05:08:41

---

Many people have played good music all their lives without any knowledge of theory.
Simply by knowing 3 basic chord shapes and figuring out where melody and harmony notes are located within them(by ear) these things get burned into the memory(brain and fingers) and become second nature.

Like familiar roads.

Playing what sounds right.Training the ear.

Hotrodtruck - Posted - 02/09/2012:  07:20:11

---

Learn music theory as you go, but don't let it detract from learning to play the banjo. For a beginner, there is a lot of music in the first five frets of the banjo and if you learn enough to get around down there, you will be jamming and playing music with others very soon. 

Once you have developed a pretty good brain-finger interconnect, and are comfortable making and changing chords there, you will find yourself wanting to move up the fingerboard. Chord inversions and moveable chords will become important to you, and that is a step on the road to learning music theory as it relates to  the banjo!

Let your desire and curiosity continue to lead you through the maze of theory, as far as you want to go.

 

Mike

minstrelmike - Posted - 02/09/2012:  08:58:44

---

quote:

---

Originally posted by DarrickMike, is there a teaching tool (dvd, book, audio tape, etc) you are aware of that would help me learn to understand this comment of yours.  Seriously, I started playing later in life and I would like to dig into this and learn it...if I can?  I only asked this publicly because I'm sure others would be interested in your response.

Thanks, Darrick

---

There isn't anything I've found and truthfully, the difference between the two 'theories' is sort of irrelevant.

They are both limited in what they can describe. They both end up _having_ to describe the same thing.

Piano-based theory books are the best. How to Teach Yourself Piano Despite Years of Lessons is the closest one to a chord-based theory. For yourself, think of songs as a collection of chords instead of as a collection of scales and that helps align thoughts chordally. And if you are theory-minded like a mathematician or somebody, pay attention to when the theory of scales says the key or tonal center is moving in a song that doesn't actually change keys for someone who is playing the chords.

Learn the circle of fifths. (Not really, don't learn it, learn to draw it yourself by drawing a blank clock (12 notches) then start at C at 12 o'clock and write down each of the 5ths going around). Learn the circle of fifths on your fretboard. Make a chord and then move to the chord a 5th higher. Now do it from that chord again. Learn to do it from chord shape (f-shape or d-shape) instead of by chord name and you're pretty much done with chord 'theory' except for knowing the exact progression of the particular song.

Familiarize yourself with chord progressions by playing songs. After 100 songs, you may discover the 4 major (non-modal progressions) and the 'modal' ones too. Be sure and know the relative minors are identical (the way the scales are in jazz too). G and Em are pretty much the same chord so make them the same when trying to categorize chord progressions (the way scale theory makes them the same).

4 chord progressions: 1,4,5  (Any and all orders including relative minors)

2)add the 2 chord (usually 2-5) which is just a circle of fifths jump-ahead one notch.

3) straight circle of fifths where you jump ahead and roll back> Five Foot Two: C E A D G C

This is often added to 1/4/5 tunes such as the end of Beaumont Rag

4) 1-3-4  G-B-C found in Old Home Place, Pallet on Your Floor and Tennessee Waltz.

Modal tunes jump the other direction on the circle of fifths generally.

Do note that jazz single-note players need to know the chord progression first in order to know which scales they are supposed to be playing. The chord progressions--the harmonization scheme--is what they start with over and above the melody.

dunaif - Posted - 02/09/2012:  11:42:38

---

quote:

---

Originally posted by Peanutscreams

Then would this be the correct forum to ask you good folks a question about playing counts? I just today began working with BIAB and here's all these back up tracts with such a variation of different play counts from 22 - 300 !! Some higher, some lower; what in the world do they represent? I haven't a clue how to read these let alone play with them.

Would some one give me a quick little tip in music theory, and how to play with BiAB. if this is part of what I need to learn.

 

Thank you.

Butch B.

---

Butch, when you refer to "play counts" I believe you mean the number of beats per minute. This is a measure of how fast or slow a song is. BIAB is a bit of a world unto itself and I'd be glad to walk you through some of the basics. I'll send you a PM. There's a little bit of theory needed to work with BIAB and I'd be glad to help you.

Cheers,

Donna

dunaif - Posted - 02/10/2012:  10:07:11

---

Oops...didn't realize at first Butch was referring to the "play counts" on posted BIAB files...thought he was actually creating stuff in BIAB. My previous response was totally off-base.  No beats per minute (or theory) need be involved.

--Donna

Peanutscreams - Posted - 02/10/2012:  10:27:52

---

Okay, think I'm back on track now Donna. I'm going to work / (play) hard this week-end playing around with these MP3's. I say play because this is fun.

I know I'm learning music theory as I go along without even thinking about it.

Butch B.