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I'v learned lots of scales for my guitars for standard-ish tuning, and now for a not-standard-at-all tuning, but Iv'e learned them all by memorizing modal-type patterns, and not by learning the mechanics behind those patterns. I would like a better comprehension of music theory so I can start to compose songs for different instruments without taking for god-damn-ever to figure out the notes between guitar and keyboard, etc.... Any theory geeks on here who have some good resources, techniques, or general ideas to share? I'll take websites, videos, books...whatever.

A while back I posted the Ravenspiral guide, which is, in my opinion, the best resource ever for learning theory.

And I'm actually in the same boat. I realized recently that I don't know much about theory, just sound, because I had memorized patterns in standard. I'm playing in open C now, and I'm feeling like a moderate begginner again.

Best advice I can give is to learn the notes, and then learn formulas, not shapes. 1+3+5 major 1+3b+5 minor, and the variations. How many steps make up each interval, etc. Learning the notes on the fretboard will make this tons easier, because you'll be able to think C Major->CEG->frets without thinking about the intervals as much.

Forgot to post the link to the guide.

http://www.scribd.com/doc/5220863/Raven ... sic-Theory

Rad! Thanks!

I think my biggest error has been that even though I played in lowered tunings for so long, I still think of the fretboard like it's in standard. Now I have a guitar in fifths tuning (except for the high string, which is a third) so learning some new theory is a must.

I've come to think of guitar in terms of theory automatically, at least in terms of harmony and intervals.
I really like playing in open turnings to I can have drone string and clash other notes against them.
Dirt/fuzz makes this 10,000% better, obviously

But peeps, what tips do you have for coming up with melodies?
I feel like that's my biggest weakness right now.
(you know, aside from technical skill, but fuck that, right?)

One trick I use to try and break out of my rhythmic rut is t write weird drums in my DAW tghen write guitar licks to those. This works wonders when writing in odd time signatures. If you wanna get weird with it, write the drum parts so they flow together. Then you have to write your guitar/bass to follow that!

Or you could always put a virtual drum sound into a midi sequencer and randomize it.... I think I saw a video with Ben Weinman of The Dillinger Escape Plan where he was doing stuff like that at some point.

Now that I'm playing a guitar in fifths tuning, it makes it so that fretting two strings on the same fret make a power chord (root fifth chord/diad), so writing melodies that sound burly is fun.

I'm in AP Music Theory in school. Music theory, as he says to my dismay, is not about creativity. It is the theory of music, not a creative writing class. I can tell you how to write in Sonata form, how to part write a piece using Bach's part writing rules, how follow figured bass, what a Five seven of five chord is, and how to write a fugue among other things. I cannot tell you how to write better melodies or better songs.

One exercise my teacher does in Orchestra, he teaches both classes, is to have us write a melody with extreme limitations. Starts and ends on tonic, only has roots, thirds, and fifths, quarter notes, and half notes. This helps the kids that play, but have never written on their own, to make something of very little.I like these exercises, more to see what other people write, and less for myself.

I don't think you want Music Theory, but musical inspiration.

The hardest thign for me is getting rhythms in my head or form playing onto paper. I use the software "Finale Notepad" at home to write music, it's the free version and worth checking out. You can write anything and it will play it back as if you were to play it, the midi sounds are only okay for some instruments though. We have the pay version at my school, which rules, but the free version is fine too. If you decide to download it, which I suggest, I'd be happy to help you with it.

The4455 wrote:One exercise my teacher does in Orchestra, he teaches both classes, is to have us write a melody with extreme limitations. Starts and ends on tonic, only has roots, thirds, and fifths, quarter notes, and half notes. This helps the kids that play, but have never written on their own, to make something of very little.I like these exercises, more to see what other people write, and less for myself.

I like this idea. I shall try it. Thank you, sir.

Also, I fucking hate trying to notate rhythm.

kbithecrowing wrote:

The4455 wrote:One exercise my teacher does in Orchestra, he teaches both classes, is to have us write a melody with extreme limitations. Starts and ends on tonic, only has roots, thirds, and fifths, quarter notes, and half notes. This helps the kids that play, but have never written on their own, to make something of very little.I like these exercises, more to see what other people write, and less for myself.

I like this idea. I shall try it. Thank you, sir.

Also, I fucking hate trying to notate rhythm.

No Sonatas? or Fugues?

I don't really know what those terms mean by definition haha.
I'll look them up eventually.

Whole notes
Everywhere

I agree, when it comes to writing stuff imposing limitations on yourself is oftentimes a good technique. As I kind of mentioned, I've done this with time signatures and different keys. In fact, when I'm writing music (not the stuff in my sig, that's just noise; structured stuff is forthcoming!) most of my songs are just labeled things like Dmoorish_5_4 or something until I think of a real name.

since this is about more inspiration. i;d say take a harmonic palette, like about 5 or 6 chords, figure out how they work together melodically, and fux around with those notes/transitions/w/e