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FRETBOARD WIZARD applying Tuesday lick to what shape and pattern
I don’t know how many of you are doing the new Fretboard Wizard. But, I want to ask a question of all of you. I am going back over the CAGED section and trying to apply the knowledge that we gained to apply to Tuesday’s lick (Two Pad Stack). To reinforce the skill we learned, we were to take Tuesday lick challenge and figure out what scale shape it’s derived from. I have sat down and fiddled on paper with it and I think it is derived from the D chord and the D pattern. Does anyone have any comments on this? I want to start applying the FBW till I understand what we are doing.
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48 Replies
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I am still working through this FBW with this weeks daily challenges. Week 3 Day 6 wants us to reinforce our skill on the improvisation challenge on Wednesday. I still think the CAGED shape I am to be using is ‘D”. I can walk the ‘D’ chord down the neck being able to play the notes for the Puckstopper scale. That’s as far as I am at this point. I did make a diagram of what I think we are supposed to do. Do I have any comments?
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Hey @Cadgirl ;
So, by the time you got to the Puckstopper, you should have realized that the D scale shape couldn’t be correct because it gave you the key of F, and Tony tells us the Puckstopper is in the “key of Em”. There is no such thing, so the “correct” way to say it is the “scale of Em”. Remember, the scale of G major is not a key either. Both of these are modes, which means that a certain note is designated as your tonal center. A key is simply the 7 notes you are using and it does not tell you which note to use as a tonal center. You can use any one of the 7 notes which is why you have 7 modes. Major and minor are 2 of those modes.
Now, I’m unclear on the assignment you are talking about. The notes of the Puckstopper are the 5 notes of the G major pentatonic or the Em pentatonic, which are the same notes. You leave out the 4th and 7th notes counting from the major root, G. So you leave out the C and the F#. (Counting from the minor root, you leave out the 2nd and the 6th. This is an example of why I always think in terms of the major scale, because everything can be derived from that and I only have to remember one formula. If I think in terms of the “key of G major” and the “key of Em”, now I have to remember 2 formulas. And if I want to do the rest of the modes, I have a new formula for each one. That’s means I need 7 different formulas to work with the modes. But I can derive everything quite quickly from just the major scale formula.)
Now, analyzing the notes on the 1st and 2nd strings, the open and 3rd fret is in the G shape scale; the 3rd and 5th frets are in the E shape scale; the 5th and 7th/8th are in the D shape scale; the 7th/8th and 10th are in the C shape scale; and finally, the 10th and 12th are in the A scale shape. And again, you are only playing the pentatonic scales, but you can easily add the 2 extra notes for the diatonic as soon as you correctly label the scale shapes you are playing.
MG 😀
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@N-lightMike I did see where I had the 2 Pad Stack incorrect. But, I’m still not in full agreement with you on using E shape on that. The same with the Puckstopper, I don’t see a problem with using the C shape throughout. You mention Puckstopper is in the Key of Em? I don’t have that?? I am working off a print out, I don’t always have sound on my computer (bummer)
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The notes could be either C or G (key of) because there are 2 notes left out, the F (or the F#), and the C. Now, in the key of C, you are leaving out the 1 and the 4, which is an interesting choice, but possible. However, again, let’s remember Tony does major and minor, never other modes. So, if you think of the key of G, you are leaving out the 4 and the 7, which is exactly what you leave out of pentatonic scales. Or, from the point of view of the minor root, E, you are leaving out the 2 and 6. Again, exactly what is left out in pentatonic scales.
So, part of the difficulty of analyzing songs is that there are different ways to label and understand the same music. Let’s remember the music is always the same, it’s the words that are different. So who really cares?
You want to see this as the D shape, using the key of F, having the 7th degree note the tonal center, and leaving out the C and the F, or the 5th and the 1st? That’s fine. Is it typical? No, but that makes no difference in music. Of course, it won’t “sound” very Locrian by leaving out those 2 notes, but it doesn’t matter.
Or, you could use the A shape and see it as the key of C, leaving out the 1st and the 4th and using the Phrygian root as your tonal center. Again, you’ll have trouble hearing Phrygian without the 4th.
So, here’s a suggestion. Play the full scale and the pentatonic scale of all three possible keys, and see which sounds like the Tuesday lick. Play G/Em pentatonic. Play F/Dm pentatonic. Play C/Am pentatonic. Then play the same keys with the full, diatonic scale. Then play all three with just the C and F/F# left out. See what has the same sound as the lick with the low E drone.
I already know what you’ll hear. That’s why I have chosen the labels I have. But ultimately, you can call it whatever you want.
MG 😀
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Here is Tony’s description of Puckstopper:
“Puckstopper
Two single string scales paired with a steady bass pulse will open up a world of bluesy opportunity for you today. The scale is a basic pentatonic scale in the key of E. With only five notes, this scale will provide wonderfully fertile creative ground for you whether this is your first crack at improvising or your millionth. This E minor pentatonic scale is one that will serve as one of the most useful tools in your blues toolbox. Enjoy and create are the two names of the game today.”
First, he says it’s the “pentatonic scale in the key of E”, which is incorrect. The key of E has 4 sharps and leaves out the A and the D#. Later he says “This E minor pentatonic scale”, and that is exactly correct.
All week, he is working with the low E drone. He adds the A string on Thursday for the A7 chord. But notice that E7, A7 and B7 are never in the same key. But this is what both Blues and Jazz do, is use flat 7 major chords, pretty much always referred to as dominant 7 chords.
I don’t know if I’m helping or not. If not, then just ignore me.
MG 😀
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@N-lightMike , oh no…. thanks for the comments and for pointing out that D wasn’t my best pick. I was thinking I had to worry about that “open high E” string. Like I said, I really think the C shape will work for me. I’ll be working on it later today and see what I get. I’ll also get my head phones and listen to the videos. I will probably get back with you on this after I listen to the videos. I know i’m getting there and it’s all starting to make sense but I’m still not completely on the track. Thanks again.
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What I am doing right now is trying to get a handle on the CAGED system. I just went through the FBW and trying to do the reinforcement ideas that Tony has listed. I’ll attach a copy of the title page. But, in the meantime. I am going to open up a Word document and copy your answers into it so I can go back to it later and figure it out as to how the Daily Challenge is to be done. If I want too long I’ll never find the thread. I have to go step by step with this stuff. If I don’t understand why things are working, I’ll never truly get it. In other words you’ll be hearing back from me. 🙂
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To me It looks like you nailed it @Cadgirl !
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@Kitman ,What helped me is I printed up the daily challenge and the FBW CAGED D shape page. I was making different diagrams and then it hit me on what I was supposed to do. I really do think this is correct. Tomorrow, i go through it again and practice the scales as I go up and down the neck. Thanks for your comment.
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Yes, @Cadgirl I thought your process of diagramming was rock solid. Good old paper, pencil and the noggin – wins it every time! 😀
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Cadgirl-
This is a great thread- I think maybe there might be quite a few having trouble applying the FBW lessons and knowledge into “news they can use” in the TAC daily challenges.
I can freely admit I’m having trouble with it- (that’s why I’ve been watching this thread!).
I like to think of myself as fairly “analytically-minded”, but once in a while something comes along that just stumps me cold. Like a brick wall. I just look at it with a dumb, blank, look. I just don’t get it…. at least yet.
Using the FBW info within the Dailies is one of those things. More thought needed for sure.
I liked your diagrams and will study them further.
So…… I’m watching….. and hopeful to use others’ answers to learn from.
theoldcoach
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@the-old-coach I printed up the Wednesday challenge and then the CAGED D shape page. those two pages helped the most. Then I drew up all the patterns. If we start apply this with each daily challenge we will master this. I’ll have to look up what we are to do with the Friday Challenge. We got this!
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@Cadgirl and @the-old-coach I had done a mental exercise on todays rhythm challenge. The chord shapes were all D7s at different parts of the neck. So I took a flier on looking at the D string to see if I barred that string it would name the chord – and it did. What do the two of you think. Does the CAGED system work for 7th chords?
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“Does the caged system work for 7th chords?”
I gave this some thought. Tony says it’s all “universal”. It of course works on Major and Minor chords. (Guitar theory and experience-level taken into consideration🙃)– I thought it through without “peeking”, and I couldn’t see any reason why it wouldn’t…..
So- to check myself, I typed in that very sentence and hit “enter”. The answer was…… “Absolutely”.
But– there’s still part of this I’m “missing”….. (OK- probably more)…..
I don’t see any chords in the Puckstopper TABS…. just notes from the LowE, HighE, and B strings.
However- there are chords- (D7’s)- in the Butterfly Slide lesson.
Barring the D string on any particular note- (to make it into a normal “D-shape” chord), is what “names the chord”(?)
I’m gonna get this– right now it feels like I’m assembling an IKEA dresser and there’s a page missing in the directions!😀
theoldcoach
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This reply was modified 3 years, 3 months ago by the-old-coach.
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Sweet @the-old-coach ! Thanks for the check and confirmation!
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This reply was modified 3 years, 3 months ago by
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Hey @Kitman ;
The direct answer to your question is: yes and no. If you are talking about the minor pentatonic, yes. If you are talking the major pentatonic, no. If you are talking about the full, diatonic scale shapes, then yes, absolutely.
But the circle of 5ths and the scale shapes are only aids to playing the fretboard until you actually “get it”. But they will never give it to you as they are “crutches” which only enable you to never learn it.
Learn the scale pattern, theory, then apply that to the fretboard, reality. Then you will see the whole thing, and it is surprisingly easy if you start looking at it the right way.
So, the real answer is to use the scale shapes to understand how a “key” fits onto the fretboard. Of course, that is impossible if you don’t know what a key is. If you think G major and Em are keys, you will never get it.
This leads you back to the circle of 5ths. Understand the keys. There are only 12 and they all have the same pattern. And each one has the same 7 variations called modes. Now, go back to the scale shapes and learn how to “see” the keys in the scales shapes you are playing.
It turns out, the secret is seeing intervals. First, see the intervals of the major scale. Now, realize, all the other modes (yes, the major scale is a mode, not a key) are the exact same pattern, they are simply shifted. Once you see that, now you can put those interval patterns onto the fretboard. But, you have to know how to go across the strings. And that’s simple. Starting from the lowest string 6, it is 5 half steps, or 5 frets, up in pitch to go to the 5th string. So, again, starting from the 6th, it is: 5, 5, 5, 4, 5.
So here’s all you ever need to “memorize”. 2, 2, 1, 2, 2, 2, 1; and 5, 5, 5, 4, 5. Well, there are a few minor details, and no, I’m not kidding. Like the “blue” note. And the minor scale variations, there are 2 of them. But aside from those additions, those 2 strings of numbers allows you to play up and down and across the fretboard in any key. And you can understand and even derive standard chords, jazz chords, finger picking chords.
Once you “see” the scale patterns fitting onto the fretboard, everything makes sense and fits together. Otherwise, there are a blue million things that don’t fit together and have to be “memorized”.
MG 😀
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Hey there Mike @N-lightMike , thanks very much for taking the time to explain intervals and how the relate to the strings, fretboard, modes and scales. I have read it a couple times (plus have read your explanations here and on JMG multiple times) and some “pennies are starting to drop”. What clicked for me today was your explanation about the intervals between the strings. I will read your post a few more time and attempt to “see”. Appreciate your efforts to help me understand
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You are welcome, @Kitman .
I’m starting to finally get it that no one can make it easy for someone else to understand music theory. Each person has to put in the effort it takes to understand. Both the amount of effort and the understanding are going to be different for different people. But it’s music so it always works out.
MG 😀
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@Cadgirl That is impressive work. I haven’t tried that yet. Thank you so much. Great job!
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This is the hard part @Philb , we have to take everything we learned in FBW and start applying it to the challenges. The day will come where we’ll just be sitting on the front porch noodling up songs.
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@Kitman and @the-old-coach I agree. The root is still D the D7 is just a variation, but still using the D root note. Also the pattern encompasses the note of the D7. Tony states in the CAGED system about flattening the notes. We can flatten the 3 6 and 7th.
This is what I got when I googled ‘is D7 and D the same in musical theory’.
D7 is a D chord with the flatted 7th note of the scale added. A standard D chord contains the notes D, F# and A. The flatted 7th note of the D scale is a C, so a D7 chord would contain the notes D, F#, A and C. Seventh chords are often used to transition back to the root of the chord progression.Ok, guys this is Friday. We are supposed to take the Chord progression and use different shapes. But, first I want to thank the both of you for jumping in on this thread. I was pulling my hair out over it and now it seems like i can see a faint light at the end of the tunnel.
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CRAP-
Typed in a well-thought-out post- (about a half-hour’s worth)- and got……..
the pink screen of death…….🤬
CRAP
I’ll try it again😀…… maybe
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This reply was modified 3 years, 3 months ago by the-old-coach.
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This reply was modified 3 years, 3 months ago by the-old-coach.
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@the-old-coach , ha ha ha….. Haven’t seen the pink screen in a while. Better you than me. You can try to reboot or hit that refresh button. Usually I have to wait till the next day. Looking forward to your thoughts
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SH*T
Another half-hour post………. GONE.
I give up.
And of course the post (this one!!!- done IMMEDIATELY AFTER)—- makes it thru- (just like the last one)🤬🤬🤬
Makes it difficult to get a “flow of ideas” back and forth- (that’s the idea and actual definition of a “Forum” is, right?).
Not assigning any kind of blame on anyone- but I wish someone could provide clear explanation as to why this happens. Or if they can be resurrected? It’s just a frustrating “what the hell?” really.
Gonna limit myself to just reading along- it’s just too frustrating
theoldcoach
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Perfect
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@the-old-coach You could type your message on a Word Document or email. Then copy then paste your message in. I have done that a lot. Especially when we are experiencing issues with the pink death screen
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This reply was modified 3 years, 3 months ago by
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Thanks @Cadgirl and @the-old-coach for your deep dives into my question on 7th notes. Applying the CAGED system to find other positions to play the notes should be fun – especially with the flattened notes involved in the 7th chords.
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We have to help each other out from time to time. Otherwise we get frustrated to the point of just giving up.
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Hey @Cadgirl ;
So, this is a trick question. The Two-Pad-Stack has an out of key note. Since it has both a B and a Bb. Now, of course, the Bb could be an A#. Yeah, but there is also an A, so no, you can’t make it fit. Forgetting the E drone, the notes are G, A, G, E; D, E, D, B; A, Bb. A, G; E, D, E.
Ok, now let’s look at the scale shapes. If this is the D scale shape, then the B (the open 2nd string) is your out of key note. But that would mean that you were in the key of F and you would be playing E Locrian. I doubt that Tony would be playing Locrian.
I get why you would end up thinking it’s D, because the first few notes seem to fit that pattern However, when you go up the neck to the E scale shape, then you see that the open 2nd string doesn’t fit. Since we have notes that go lower than the D scale shape, we have to look further. We also have to consider that E note drone.
Since we found the open 2 string doesn’t fit, let’s try the A scale shape. Now that open 2 string fits, but it’s the Bb (3rd fret, 3rd string ) that doesn’t fit. As you listen to this lick, it is the Bb that sounds like the “blue” note. But, now you are in the key of C, so the E drone would put you in the mode of Phrygian. Yeah, no. Again, not Tony. He plays major and minor, that’s it. As long as you think the major and minor scales are keys, you can’t play modes because it is too confusing. What I mean is, if major and minor are keys, then why isn’t Locrian and Phrygian keys. And there are still 3 more. So yeah, it’s not Phrygian.
Ok, well, let’s try the E scale shape. Oh, it turns out it fits just like the A scale shape, everything but the Bb (3rd fret, 3rd string) fits. AND NOW YOU ARE IN THE KEY OF G!!! In the key of G, E is the relative minor. Oh, Tony loves the key of G, and he loves using the minor scale. And if you were playing the Em scale, then Bb would be your true “blue” note.
So, the correct answer to the original question is the E scale shape. In that shape, the 3rd fret, 1st string is your major root, and the open 1st string is your minor root. And he loves the G scale shape the best, and that’s the one right below the E scale shape which you have to consider since this lick crosses the boundary between two scale shapes.
P.S. I didn’t bother to read anyone else’s comments. I just started with your original comment.
MG 😀
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@N-lightMike , I don’t think I can agree with you on this. I think a better choice for me was to use the C shape since they both have the same shape as a D in regards to the first 3 strings being barred). The C would be correct with the Open 4, 12th & 14 notes, whereas the D doesn’t work. To me it looks like I could use a C shape till I got to the 8 note then I would have to change to an E to capture that open string correctly. Also…. I do want to thank you for taking the time to look everything over. I never would have caught my error had you not pointed it out. I’ll go over everything again tomorrow and redo my diagram, when I do you can look it over and see if you agree. With that…. I’m pouring myself a beverage and sitting down and watching some YouTubes.
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This exercise was just to reinforce what we learned in FBW. The daily challenge is another nightmare all together.
I redid the challenge Puckstopper. These are my changes. I’m using the C shape everything works using the C shape EXCEPT for the note on the 2<sup>nd</sup> string which is open. For that note I would switch to an E shape.
I opened up the FRETBOARD WIZARD 3.1 – CAGED ingredients (attached) and it allows me to use the open C chord. The only Chords that allow me an open 2<sup>nd</sup> string is the E or G. I just happen to choose the E.
This works with ‘Puckstopper’ and ‘Glove Save and a Beaut’
Thanks to N-lightMike for pointing out my error on D. I am still going to go back and check out the daily challenges for this week and LISTEN to the video this time 🙂
Still not saying this is correct, but I think I am going in the right direction. It’s starting to make sense.
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I am so far behind you all it’s not even funny. Someday I’ll get there.
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@the-old-coach just take it slow. I took the 1st FBW and I was lost. I could get the musical alphabet and then getting into the Chord Matrix was getting a little harder. In fact I still get confused with it. The CAGED system is hard. Just happened after messaging back and forth with you and @Kitman it started to make a little more sense. Then when @N-lightMike got in the conversation, he pointed out a few things and I could see a little better. I still don’t know if I’m 100% correct, but I see more than i did just last week. So just give it time and one day, you see just a small light at the end of the tunnel. maybe just a spark 🙂
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Cadgirl-
I got thru FBW course just fine, really– except for the following two concepts:
1. Have a little trouble still on all the “soloing/improvising” portions. I just don’t “get” the ability of making “informed decisions” (per Tony) in choosing notes within a solo or improv. My brain isn’t getting it– especially at ANY kind of speed. I can “jump around”, acting as if I’m soloing- but it’s NOT from thinking about what I’m actually doing.
2. The application of what I’ve learned in FBW and applying it to the Dailies. I know I sound like a broken record on this- (sorry….). Tony’s explanations on how this is done- are just too fast and/or confusing to me. But I admit I have NOT “really dug in” like you & Mike have in this thread- because I don’t know if I’m able to understand it. I read and re-read both of your and Mike’s “later” discussion/posts in this thread– several times– and my eyes glossed-over, and my brain just turned to mush.
I’ll go back and re-read the entire thread in a few days- with “fresh eyes”.
Thanks for your (as always) kind words- (you also Mike!).
theoldcoach
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@the-old-coach I started going through the soloing and had to stop. I was spinning my wheels trying to figure it out. Once I get a handle on this CAGED system, i’ll go back to soloing again. Your kicking yourself for nothing. it will come to you.
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You’ve likely already “got” this- but here’s what stuck in my mind as far as the CAGED system goes……
1. If your brain works in terms of “chord shape” first– then the first thing to consider is the STRING the root note is on. On the root-note string, simply find “the NOTE that names the chord”, and apply chord shape from there. (Note- the other fretted notes can either be “above” OR “below” your root-note, depending on the chord itself).
2. If your brain works in terms of “chord” first– put your chord-shape (with the barre) onto the fretboard and then move it to the location on your target root-note string and note “that names the chord”.
These thoughts worked for me. Both worked equally easily.
Sorry if this sounds confusing.. but to me the most confusing part was what to call it…
Took me awhile to figure out which was “cleaner” in my mind— (for example…)- “an E-shaped D chord” (from method #1 above)…… OR……. “a D chord in an E shape” (method #2 above)…
Tomayto- tomahto. I use both, but prefer #1 because it gives me the root string first, then all I have to do is find the note that names the chord. Seems faster to me…..
As I said- if you’ve already got this– good on ya!
theoldcoach
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@the-old-coach it sounds good to me. I write stuff down all the time. Make my little diagrams just to make some sense of it all. All we have to do is use or our brains turn to mush and we forget. 🙂
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I also write and scribble stuff down all the time– I have LOTS of drawings and diagrams nearly exactly like the ones you made!!! They make sense only to me!
For me- when I write/scribble something down- I’m kind-of learning it as I write it- (does that even make any sense?- after all, I’m just writing it for myself anyway, right?).
Even here in the Forum, when I re-read all the posts in a thread- (I read nearly EVERY thread- it’s a curse), I read my own posts right along with, kind-of “in the third person”– as if someone else wrote them. Weird– I remember things better if I SEE them in print- even my own stuff.
Yeah, I know. Again— it’s a curse…..
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Just wanted to point out that E is the relative minor (minor 6th degree) of G making them the same exact scale
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@That_Guy , Ok, first let me mention I’m a bit shaky on this subject. Just to clarify, we are talking about doing the daily challenge which Mike pointed out was in the Key of Em. Since the key of G major’s 6th degree is Em and both keys (G & E) use the same notes, the tonality would be the same? It will give us more opportunities to use in soloing or an accompaniment. As I’m playing a song in the Key of Em, I could be playing a lick in the Key of G and it would still sound good because the Harmonics would match? I hope what I wrote makes a little bit of sense. I’ll sit back and work on this a little bit today. To get a better handle on it. Thanks for the input. It actually seems to make some sense. I don’t have that ‘lost in the forest’ feeling.
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Hey @Cadgirl ;
Let me start by saying, yes, you have the correct understanding.
Now, let me clarify the terms, because it is very common now a days to use the terminology incorrectly, which greatly increases the confusion and makes it harder to understand.
So, a “key” is simply a collection of 7 notes and 7 chords. If you stay “in key”, that means all your notes and all your chords are “diatonic”, that is, they stay within those 7 notes and 7 chords.
Now, a “mode” is when you use those 7 notes and 7 chords, the “key”, and pick one of the notes to be your tonal center. Since you have 7 notes, you will have 7 modes. So, using the key that has 6 natural notes and one sharp, F#, your Ionian mode (major) is G. Your Aeolian mode (relative minor, it’s a relative of G major since it’s in the same “key”, or same set of 7 notes) would be Em. Neither G major nor E minor are keys, rather they are scales within a key, the same key. So it is the “key of G”, not the “key of G major”. Again, the “key of G” determines the 7 notes, not which note you use as your tonal center.
One reason this is confusing is because the G is the first degree and we call it the “one chord”, which sounds like we are talking about the scale of G major. However, and this is exactly why there is so much misuse of terms, the note G is the “root” of G major, but it is the “fundamental” of the key of G, not the “root”.
Ok so what’s the difference between a “root” and a “fundamental”? The “root note” is the tonal center, so it’s G in G major, it’s E in E minor, (it’s A in A Dorian, it’s B in B Phrygian, it’s C in C Lydian, it’s D in D Mixolydian, and it’s F# in F# Locrian, all of which are relatives as they are all in the “key of G” with one sharp, F#.)
The “fundamental” is the low note that is used to build the key. So all the notes are related to the fundamental by simple mathematical ratios. That’s why they all sound good together and why the major scale sounds the most resolved.
I hope this mini lesson in theory helps.
MG 😀
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So, I had to leave and I finished that last comment quickly.
I reread your comment, and I want to respond more directly than I did in the mini theory dissertation.
Yes, you can solo in G major over Em, because they have the same notes, as you said. However, that’s why they can’t be different keys. The notes are the key. So the 2 “scales”, G major and E minor, are in the same key. One key.
By the way, there are only 12 keys. C, G, D, A, E, B/Cb, F#/Gb, Db/C#, Ab, Eb, Bb, and F. I just went around the circle of 5ths from C back around to F. There are 3 enharmonic keys, meaning there are 15 key “signatures” even though there are 12 keys.
Each of the 12 keys have 7 modes. That’s the basic system. Beyond that, there are variations they use in jazz, variations in blues, and of course the many variations of international music.
Music theory is a puzzle that you have to look closely at for quite a while until you finally “see” it. When you see it, you wonder why it was so hard to see as then it appears quite simple.
MG 😀
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@N-lightMike , I have copied your answers to go over at a slower pace than on this post. All sounds like good stuff just need to look it over carefully so I understand what you are explaining.
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Yeah, I got sucked into the same misunderstanding so many do. Once I “saw” how “simple” music theory was, I thought I could “show” other people how simple it is. However, I have read many books and watched many videos by others who tried to show me how simple it was. And I never “got it” from hearing their expressions of understanding. It wasn’t until I had spent enough time trying to wrestle with the concepts that I got my own, personal understanding of music theory.
I have put so much out there. I’ll keep trying, but now I get it. No one is going to “see it” because of what I say. If someone has that ah-ha moment as they are seeing my explanations, then it’s because they have already put in the effort to be ready for that ah-ha moment. I was only one piece of their puzzle.
Take your time. Please ask any questions you have and I will do what I can to help you on your path of music theory discovery.
MG 😀
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THanks @N-lightMike . You have a lot of knowledge on the subject and i appreciate your comments. It just takes me awhile to go through and figure things out at time. I’m getting there. Slowly but surely. 🙂
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👍😊
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Same notes. You just turn the dial and start on a different note. Although where you start will change the illusion of either happy or sad making it major or minor
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Thank you. I actually think I understand it. 🙂
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