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Re: question - it's neither, has its own theory.


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Posted by Carol Kaye on May 08, 2000 at 01:47:29:

In Reply to: question(probably C. Kaye could answer best) posted by phairis on May 06, 2000 at 07:05:06:

: I've been reading just about all of these messages, and they're very instructive, but it seems 90% of the theory that is discussed is jazz. I play progressive and hard rock for the most part, and i was wondering if the theory is the same. For instance, the chord cyles, etc...I can probably use it in the prog stuff, but is rock/metal a whole different type of theory? Or should I just use my basic classical theory on it?
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For most pop, the jazz theory is best, but you're right, for the hard-rock, other styles, it's a different theory. Not classical either - you still don't want scales involved. Basically it's this: your key focal notes for the following different chords are: R 5 6 for major, R 5 b7 for minor and 7th chords, with lead-in notes coming from 2 frets below up to the notes, and of course the common 3-4-#4-5 fills or part of the 2-part lines (if you do use them, sometimes a 1-bar thing is fine. You don't need much of a study of chordal cycles, but a little bit won't hurt as a key to listening to chord changes, but just practicing some good rock and maybe funky lines could help you develop the way you can hear chords. Remeber for your fills to use pentatonic (R 6 5 3 2 R) notes for fills, and for minor (and dominant too), use the blues notes of (going down): R b7 5 b5 4 b3 R and another one (going up) is 4 5 b7 R b3 4 down to b7 to R. These are basic ideas, you can use a lot of different rhythmic ideas based on these notes. But.....it's always wise to get your pop (jazz-based) theory going too: The chordal notes, the cycles, and the different chords of augmented, diminished, m7b5 (now commonly called 1/2-diminished). Some very hard-rock bands have used these chords in their music to great success (and they're still considered hard-rock)...you never know when you're going to need it. I always teach the "commercial" vs. the jazz theories too, showing how UN-important the 3rd is in commercial music, but VITALLY important it is in progressive pop and jazz music. It wouldn't hart to even learn some chordal subs, it'll stretch your mind, open you up to creativity you never knew existed in you and you can ALWAYS play this to hard-rock settings. It doesn't have to be named "jaza" to use jazz theory in hard-rock successfully.



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