Quote:
Originally Posted by Gmountain
I have a real hard time with theory. I think if a person has an affinity or math, theory will come much easier.
I read it, but for me, I need a live person to explain it to me.
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What you need to begin is a basic roadmap to theory. It's not that hard if you don't get overwhelmed by the term. (IMO) Theory is easier to learn on a keyboard, but easier to apply on a guitar. Now, you can take your guitar experience and reverse-engineer the theory (as I was able to), but there is a progression of things you have to learn. It's all easy if you learn it in the proper sequence. What the keyboard gives you is a linear visualization of notes, something that the guitar does not. On the keyboard you have C thru B and the 5 sharps/flats in between, essentially 12 tones that repeat every octave (assuming you first know what an octave is).
The first thing to learn is ROOT PROGRESSIONS and the "rules" of root progressions. It is helpful to know that every note on the major scale (or any scale for that matter) is assigned a number. CDEFGABC (and their corresponding chords) would would have roots (the bass notes) notated as I II III IV V VI VII VIII. Once you know the root notes of each chord in a key you would learn that "I is often followed by IV or V, sometime VI, less often II or III". So, in the key of C you would know that C maj is often followed by F or G, sometimes Am, less often Dm or Em. Using the numbering system as illustrated above, in the key of G, G maj is often followed by C or D, sometimes Em, less often Am or Bm. Each number has a general rule for root progressions.
Next is understanding TRIADS, the three basic notes in each chord. So, in the key of C major, going up the scale of roots, I, II, III, IV, V, VI, VII, VIII you'd have C, Dm, Em, F, G, Am, B diminished.
Following that you have basic embellishments, 7th, minor 7ths. After that you have secondary embellishments; 9ths, 13th, b5ths, etc. And that all blends into poly-chordal things where two (or more) chords are played on top of each other for unique sounds and textures.
On the melodic side you have scales, modes and intervals. Then there are some rules of voice leading, which are typically followed rather loosely, if at all.
Getting back to guitar, the problem is that, because we can use positions and patterns there is often a disconnect between the actual music/theory and what we're playing and hearing. You can play any number of chords and almost magically the ones that sound the best often follow the rules of theory, root progressions and voice leading. We know how to finger chords and strum. We know how to link chords together, and know it sounds good. What's lacking is an understand of how the rules apply to those things that sound good. It's not so hard. Trust me. After playing years of guitar I took my first music theory class in college and remember the first time the professor put stuff up on the board and recall thinking "Oh...that's what they call that".
So again, don't get overwhelmed. Most of what we guitarists use consciously from a theory standpoint can be learned in a few weeks or months- if we already have song playing experience. Those that have no musical experience will have a more difficult time because without it, it's all ether until they have time to gain musical experience.
Dismounting soap box.