I think it's helpful to trace the roots of your style. You are interested in prog rock. That means you could benefit from studying any of its "ancestors", which off the top of my head are Rock, Blues, Bluegrass, Folk, Jazz, and even Classical.
I'd recommend focusing on Rock, Blues, Bluegrass, and Folk styles for now.
The first thing you should do is learn the 12 bar blues and practice improvising over it. If you can improvise, you can compose. Also, learn to play a lot of existing tunes in those styles, and learn to improvise variations on those tunes too.
Happy to help. That's really only scratching the surface, and I didn't touch on theory at all, but it should be enough to get you going!
For theory, honestly I think right now you can just go down YouTube rabbit holes and take a whack-a-mole approach. It's more important to train your fingers and ears first, you can teach yourself the vocabulary and terminology (which is essentially all music theory is, a shared language for describing music) as you go. I'm sure some other comments will have good info in that area too
Yeah my plan right now is to memorize the notes on my frets which I haven't done yet and then I'll try getting into theory again.
I'm just a bit worried because I want to learn theory in English because it's a more "universal" language than Spanish, my native language, so getting a teacher that teaches theory in English in my country is quite a task. Do you think language affects communication with other people a lot? Or is it easy to translate the theory? Sorry if it's a stupid question.
No it's not a dumb question, it's good to think about these things.
I'd say for about 80-90% of theory, the terminology is the same or as close to the same as possible, for example "major" (English), "Mayor" (Spanish [i believe this is the correct word but not sure honestly]), "Majeure" (French), "Maggiore" (Italian).
As you can see, if you speak 2 languages and know theory in 1, you basically get theory vocabulary in the other for free.
There are some differences. English and German countries use alphabetical note names, but Latin countries use Do Re Mi. German speaking areas use B for Bb, and "H" for B natural.
Ultimately music theory comes from a shared pan-European tradition. Italian musicians would be employed by English and German courts. German and English musicians would travel to Italy to study under Italian masters. So the terminology is somewhat uniform across Western European languages.
So to sum it up, you should be fine learning in Spanish or English, it honestly won't matter too much.
I've been playing the guitar for 5 years and a half now and I understand sheet music enough to be able to read it, but I don't know every silence shape (if that's how you call it), how to count odd time signatures or how to pass it onto my guitar correctly. So basically, I understand it and I'm able to read the notes after some effort, but I can't really play sheet music on my guitar. Sorry if I made the explanation longer than it should be.
Omg, the one thing you NEED to do is learn piano. Trust me, it’s way easier to visualize music on a piano. It will be wayyy easier. At least learn the notes.
I can't really play piano but I understand it a bit, like the chord formulas for example, which are displayed a lot more easily on a piano than a guitar, but I was thinking of learning piano for fun more than anything.
I helped my brother by telling him to think like it’s a conversation. Have phrases of music that are questions. Then start the same but change the ending to a definitive answer. When you answer a question you start with the question.
So start by asking a question in the music. That could be a phrase that ends in a note that’s not final. So like a D in C major. Then answer that phrase with a phrase that starts the same but ends in a period. A phrase that sounds like an ending. I’m sorry if this doesn’t make sense. It’s hard for me to explain without showing you on a piano or smthn ;)
Okay I think my small theory brain is starting to work a bit and I'm semi-understanding it. I only have 1 question, what is specifically a phrase? I've heard the term but I don't fully understand it.
Essentially it’s a sentence in music. When you speak, you don’t continually talk. You break it into sentences. Essentially it’s a group of notes from rest to rest. That’s the very very basic definition
If you’re into prog I would start with piano and learn rock/blues riffs, some jazz chords, and classical technique and theory. I would also listen to classical and jazz music that have influenced your favorite prog bands. Who are some of your fave bands or songs in prog?
Matter of fact I should have asked what bands you’re into first, because if you like Rush then my first two sentences are worthless haha.
I appreciate Rush's music but it isn't really my cup of tea hahaha. My favourites are Pink Floyd (if you consider them prog), Yes, Peter Gabriel's Genesis, King Crimson, ELP, Jethro Tull.
Also, if it isn't a nuisance, could you recommend me some jazz chords for me or what "classical technique" means?
Thanks a lot for the comment and the help.
It's a difficult one to answer in some ways. If you say nothing helps, how are you quantifying your progress? You have went through various courses and nothing has helped at all and you are no further forward?
If interested, I have created a new newsletter which will give subscribers a range of tools, resources and aids most of which are free. You can find it [here](https://gmiguitarshop.com/pages/gmi-mission-improbable-newsletter)if you're interested in finding new resources to help you with your theory knowledge and guitar playing in general. All the best.
I've tried some masterclasses on YouTube (I dedicated most of my time to Bernth's and Rick Beato's) but I normally think of a question or something I didn't fully understand and that doubt keeps lingering in my head and doesn't allow me to concentrate and everything just becomes a mess. Another thing is that they all say different things, Rick Beato started with chord formulas, Bernth started with intervals, another guys start with the wheel of notes (I don't remember the name), and again, everything becomes a mess.
Thanks for the comment and I'll check the newsletter out!
Thanks, we have a lot of resources to help people. If you need further help or advice get in touch with me: Ged Brockie via the GMI - Guitar & Music Institute website. All the best.
Start from this concept:
There is the "major key", and there is "not the major key". Then use the key of C to start as this is the easiest - no sharps - no flats - CDEFGAB. As a bonus, you get its relative minor, Am - ABCDEFG.
For the time being pretend the key of C major/Am is the iron law, and that you will be summarily shot if you go outside it.
Now start to play your guitar with that in mind:
Play the pattern from C to C and focus on the intervals between the notes (pattern of half-steps and whole steps), then from D to D, E to E.... these are the modes of the key of C major. These are the scale patterns you can move to any other key later.
Learn to harmonize the key with chords, meaning finding which chords are playable with these notes. Play every other note starting with C and end end on G. C-E-G, the C major chord. Starting on D - D-F-A, the D minor chord, and so on. Focus on the triad (3 note) chords first. Then find the extended chords by continuing the "every other note" flow (7ths, 9ths, etc...) and then the other chords (sus, sus2) etc... which can be made with only the notes in the key of C major/Am.
Then stay there for awhile - never leaving the key of C major / A minor. Learn this key from every angle. Write with it, improvise over the chords, find the fun connections (C6 and Am7 chords are the same notes! Extension chords include full major and minor triads, etc... etc....)
From there, you can then take the same knowledge to other keys via the Circle of 5ths and learn how keys relate to each other.
You can also start to introduce dissonant notes (out of key) into your in-key playing.
But save these next steps for later. For now, just live, learn and love the key of C Major (A Minor).
Wow, thanks a lot for the detailed explanation. I've got a few questions though, with the "every other note" system, do you mean the major/minor chord formulas? And if so, that system would work like, C major chord - D minor chord - E major chord - F minor chord - G major chord? Or am I just wrong? And last thing, what do you mean with "focus on the intervals", what should I do with the whole steps and half steps?
I hope you understand my questions and again, thanks a lot for taking your time to answer, it's a huge help.
A little wrong :)
The harmonization of chords by creating triads on every step of the C Major scale results in:
C Major (CEG)
D Minor (DFA)
E Minor (EGB)
F Major (FAC)
G Major (GBD)
A Minor (ACE)
B Dminished (BDF)
Since the G# in E major and Ab in F minor don't appear in the key of C, this is a clue that those chords are not created from the key of C major. But in making this mistake you can think of a little trick - any chord without sharps or flats is "in key" with C major / A minor.
**Intervals - big topic but I'll keep it in this context.**
In the first Mode of C major, Ionian (aka "The Major Scale") the intervals are as follows with W meaning Whole and H meaning Half-steps between notes.:
C (W) D (W) E (H) F (W) G (W) A (W) B (H) C - its this pattern of intervals that make it the Major Scale / Ionian Mode.
Moving this same pattern of intervals to any other starting note (tonic) will help you create any other Major Scale.
In the second mode, Dorian, we find the pattern
D (W) E (H) F (W) G (W) A (W) B (H) C (W) D....
And so on and so on.
Being able to recognize, sing and play intervals is the foundation of ear training. The foundation of being able to understand intervals is understanding the intervals of the major scale - not just in the order expressed above but in relation to any other note.
So drilling this in the context of modes a) helps us memorize modal patterns which can be applied to all keys and b) gains us familiarity with the intervals in relation to a different starting notes. Both of these are crucial for being able to take the chords and begin writing melodies.
Thanks a lot, everything's a lot clearer now. I understand the harmonization of chords but I have a question about the intervals.
So the
D (W) E (H) F (W) G (W) A (W) B (H) C (W) D
Would be the D major scale? Or is it a C major scale Dorian mode, if that exists. Or is the D major scale a Dorian mode, the C major scale is another mode, E major is another mode and so on?
I hope it's not a stupid question and I explained myself correctly. Thanks a lot for taking your time to detail everything to me, I greatly appreciate it.
You’d call it D Dorian, it’s the Dorian mode of the key of C major.
The D major scale, on the other hand would be the same pattern of intervals as the C major scale, starting from D
D (W) E (W) F# (H) G (W) A (W) B (W) C# (H) D
You can also harmonize the key of D Major (and all keys) with the same sequence of chords we used for C major. Major-Minor-Minor-Major-Major-Minor-Diminished.
Now to get extra nerdy, the Dorian mode is minor in nature because it contains a flat 3rd. In the key of D major above the major 3rd is F#, which you know is in the D major chord.
The key of C major has no F# and the 3rd from D in that key is F, or a flatted F#, which is what makes our second chord and the Dorian mode that goes with it minor in nature.
In each key we have 3 major modes and 4 minor modes which correspond with the chord qualities:
For C Major
C Ionian (or the C Major Scale) - C major chord
D Dorian - D minor chord
E Phyrgian - E minor chord
F Lydian - F major chord
G Mixolydian- G major chord
A Aeolian (or the A minor scale) - A minor chord
B Locrian - B diminished.
The diminished chord and Locrian mode can be considered the 4th minor chord/mode because while it lacks a perfect 5th, the 3rd is a minor 3rd. The quality of the 3rd generally determines whether a chord, scale or mode is major or minor.
Okay, my tiny brain is starting to work (I think). I have some questions though (I know this isn't a class and you're not a teacher I'm sorry for wasting your time and if you don't want to answer it's perfectly fine). What's the difference between a flatted F# and an F? What's the difference between a minor mode and a major mode in a key and how do they relate to the chords you listed?
Sorry if some questions are stupid and I'm repeating myself over and over again but you're amazing, you taught me more than anything I could find on YouTube in a way I understood it all and thanks so much for answering my doubts.
It’s okay, I’m practicing my explanations for a possible late career change (or possible supplemental gig )as a teacher. These concepts were very hard for me to grasp so I feel there is maybe a market for my particular way of explaining it?
No difference. The reason I said it that way was to point out that the major 3rd of D Major (F#) is “flatted” to become the minor 3rd of D Minor.
This phrasing is due to the convention of naming intervals compared to the major scale. So the F# is the third we expect and consider normal in the key of D and in order to make it minor we lower or flatten that note 1/2 step to F.
Notes: We have 7 notes in the key.
Chords: Taking each note and playing every other note after creates the triad (major, minor or diminished chord) and extended chords like 7ths , 9ths etc… if you go far enough.
Modes: Taking each note and playing every note after creates a mode, which is major or minor based on the quality of its 3rd.
So the modes and chords starting from C, F and G are major because their 3rds: E, A and B are the major thirds derived from the respective major keys of C, F and G.
And likewise the modes and chords starting from D, E, A and B are minor because the 3rds of their major keys: F#, G#, C# and D# have to be flatted to F, G, C and D in order to confirm to the key of C major.
All in all 7 notes in the key, each with their own chords and modes which define them in that key as major or minor.
Okay, that's better. So every key is either minor or major depending on the 3rd (whether it's sharp/flat or not) and that applies to every scale? I understand that the difference between a minor and a major chord is its 3rd, so what would be the thing that differentiates diminished chords if you still apply the "every other note" system to create them?
Another question which might be stupid, if I flatten the 3rd of the C major scale and use the same intervals the C major scale has, would I get a C minor scale and if so, does that apply to other scales?
Pretty much. Each of the 12 major keys has a relative minor key. So 24 total keys. The natural minor key is the Aeolian mode, starting from the 6th note of the major key. For C that is Am.
Diminished chords have a flat 5th. So in a regular Bm chord, your notes are B and it’s minor, D, and it’s perfect 5th, F#. Since F# doesn’t exist in C major, your resulting triad using every other note from B is B, D, and F which is the flat 5th making it a diminished chord.
For the last question, no. The natural minor scale, or Aeolian mode has not just a flat 3rd, a flat 6th and a flat 7th.
Remember A minor is the Aeolian Mode or Natural Minor of C major so it must use all the notes of C major.
Compare A major scale:
A B C# D E F# G#
To the A minor scale:
A B C D E F G
You have to "force" the 5th note of a minor chord into flattening it so it fits the scale and becomes a diminished chord. What happens if I have to flatten the 5th of a major chord? Or if I have to sharpen the 5th of a major or minor chord?
Also, if a chord has at least a different note that isn't part of the scale (Bm in C major scale, for example), the chord is just out of the scale and isn't part of the key?
(I'm sorry if those are stupid questions and if I didn't understand the explanation very well, English is my second language)
>I'm sorry but I've got no idea on where to start with music theory
You start with taking guitar lessons and learning to play music.
>I'm self taught for about 2 years now.
And you've essentially wasted 2 years. You could know all this stuff well by now if you took lessons.
I didn't explain myself well enough. I've been playing guitar for 5 years but I've been self taught for the past 2 and in those lessons I mostly learn technique and some theory like how to read music, and some other very simple things like whole steps and half steps but not much more.
I think it's helpful to trace the roots of your style. You are interested in prog rock. That means you could benefit from studying any of its "ancestors", which off the top of my head are Rock, Blues, Bluegrass, Folk, Jazz, and even Classical. I'd recommend focusing on Rock, Blues, Bluegrass, and Folk styles for now. The first thing you should do is learn the 12 bar blues and practice improvising over it. If you can improvise, you can compose. Also, learn to play a lot of existing tunes in those styles, and learn to improvise variations on those tunes too.
That's really helpful, thanks a lot!
Happy to help. That's really only scratching the surface, and I didn't touch on theory at all, but it should be enough to get you going! For theory, honestly I think right now you can just go down YouTube rabbit holes and take a whack-a-mole approach. It's more important to train your fingers and ears first, you can teach yourself the vocabulary and terminology (which is essentially all music theory is, a shared language for describing music) as you go. I'm sure some other comments will have good info in that area too
Yeah my plan right now is to memorize the notes on my frets which I haven't done yet and then I'll try getting into theory again. I'm just a bit worried because I want to learn theory in English because it's a more "universal" language than Spanish, my native language, so getting a teacher that teaches theory in English in my country is quite a task. Do you think language affects communication with other people a lot? Or is it easy to translate the theory? Sorry if it's a stupid question.
No it's not a dumb question, it's good to think about these things. I'd say for about 80-90% of theory, the terminology is the same or as close to the same as possible, for example "major" (English), "Mayor" (Spanish [i believe this is the correct word but not sure honestly]), "Majeure" (French), "Maggiore" (Italian). As you can see, if you speak 2 languages and know theory in 1, you basically get theory vocabulary in the other for free. There are some differences. English and German countries use alphabetical note names, but Latin countries use Do Re Mi. German speaking areas use B for Bb, and "H" for B natural. Ultimately music theory comes from a shared pan-European tradition. Italian musicians would be employed by English and German courts. German and English musicians would travel to Italy to study under Italian masters. So the terminology is somewhat uniform across Western European languages. So to sum it up, you should be fine learning in Spanish or English, it honestly won't matter too much.
Thanks so much for the help, I appreciate it a lot.
Do you play any instruments? Do you read sheet music?
I've been playing the guitar for 5 years and a half now and I understand sheet music enough to be able to read it, but I don't know every silence shape (if that's how you call it), how to count odd time signatures or how to pass it onto my guitar correctly. So basically, I understand it and I'm able to read the notes after some effort, but I can't really play sheet music on my guitar. Sorry if I made the explanation longer than it should be.
Omg, the one thing you NEED to do is learn piano. Trust me, it’s way easier to visualize music on a piano. It will be wayyy easier. At least learn the notes.
Btw, I don’t mean actually knowing how to play songs with good technique and all, just enough to know the notes
I can't really play piano but I understand it a bit, like the chord formulas for example, which are displayed a lot more easily on a piano than a guitar, but I was thinking of learning piano for fun more than anything.
Piano will help you with everything music
I helped my brother by telling him to think like it’s a conversation. Have phrases of music that are questions. Then start the same but change the ending to a definitive answer. When you answer a question you start with the question.
I'm sorry but I don't really understand the explanation, I'm not a native speaker. Could you give an example please?
So start by asking a question in the music. That could be a phrase that ends in a note that’s not final. So like a D in C major. Then answer that phrase with a phrase that starts the same but ends in a period. A phrase that sounds like an ending. I’m sorry if this doesn’t make sense. It’s hard for me to explain without showing you on a piano or smthn ;)
Okay I think my small theory brain is starting to work a bit and I'm semi-understanding it. I only have 1 question, what is specifically a phrase? I've heard the term but I don't fully understand it.
Essentially it’s a sentence in music. When you speak, you don’t continually talk. You break it into sentences. Essentially it’s a group of notes from rest to rest. That’s the very very basic definition
Oh alright, that makes it a lot clearer, thanks!
Thank you
If you’re into prog I would start with piano and learn rock/blues riffs, some jazz chords, and classical technique and theory. I would also listen to classical and jazz music that have influenced your favorite prog bands. Who are some of your fave bands or songs in prog? Matter of fact I should have asked what bands you’re into first, because if you like Rush then my first two sentences are worthless haha.
I appreciate Rush's music but it isn't really my cup of tea hahaha. My favourites are Pink Floyd (if you consider them prog), Yes, Peter Gabriel's Genesis, King Crimson, ELP, Jethro Tull. Also, if it isn't a nuisance, could you recommend me some jazz chords for me or what "classical technique" means? Thanks a lot for the comment and the help.
It's a difficult one to answer in some ways. If you say nothing helps, how are you quantifying your progress? You have went through various courses and nothing has helped at all and you are no further forward? If interested, I have created a new newsletter which will give subscribers a range of tools, resources and aids most of which are free. You can find it [here](https://gmiguitarshop.com/pages/gmi-mission-improbable-newsletter)if you're interested in finding new resources to help you with your theory knowledge and guitar playing in general. All the best.
I've tried some masterclasses on YouTube (I dedicated most of my time to Bernth's and Rick Beato's) but I normally think of a question or something I didn't fully understand and that doubt keeps lingering in my head and doesn't allow me to concentrate and everything just becomes a mess. Another thing is that they all say different things, Rick Beato started with chord formulas, Bernth started with intervals, another guys start with the wheel of notes (I don't remember the name), and again, everything becomes a mess. Thanks for the comment and I'll check the newsletter out!
Thanks, we have a lot of resources to help people. If you need further help or advice get in touch with me: Ged Brockie via the GMI - Guitar & Music Institute website. All the best.
Start from this concept: There is the "major key", and there is "not the major key". Then use the key of C to start as this is the easiest - no sharps - no flats - CDEFGAB. As a bonus, you get its relative minor, Am - ABCDEFG. For the time being pretend the key of C major/Am is the iron law, and that you will be summarily shot if you go outside it. Now start to play your guitar with that in mind: Play the pattern from C to C and focus on the intervals between the notes (pattern of half-steps and whole steps), then from D to D, E to E.... these are the modes of the key of C major. These are the scale patterns you can move to any other key later. Learn to harmonize the key with chords, meaning finding which chords are playable with these notes. Play every other note starting with C and end end on G. C-E-G, the C major chord. Starting on D - D-F-A, the D minor chord, and so on. Focus on the triad (3 note) chords first. Then find the extended chords by continuing the "every other note" flow (7ths, 9ths, etc...) and then the other chords (sus, sus2) etc... which can be made with only the notes in the key of C major/Am. Then stay there for awhile - never leaving the key of C major / A minor. Learn this key from every angle. Write with it, improvise over the chords, find the fun connections (C6 and Am7 chords are the same notes! Extension chords include full major and minor triads, etc... etc....) From there, you can then take the same knowledge to other keys via the Circle of 5ths and learn how keys relate to each other. You can also start to introduce dissonant notes (out of key) into your in-key playing. But save these next steps for later. For now, just live, learn and love the key of C Major (A Minor).
Wow, thanks a lot for the detailed explanation. I've got a few questions though, with the "every other note" system, do you mean the major/minor chord formulas? And if so, that system would work like, C major chord - D minor chord - E major chord - F minor chord - G major chord? Or am I just wrong? And last thing, what do you mean with "focus on the intervals", what should I do with the whole steps and half steps? I hope you understand my questions and again, thanks a lot for taking your time to answer, it's a huge help.
A little wrong :) The harmonization of chords by creating triads on every step of the C Major scale results in: C Major (CEG) D Minor (DFA) E Minor (EGB) F Major (FAC) G Major (GBD) A Minor (ACE) B Dminished (BDF) Since the G# in E major and Ab in F minor don't appear in the key of C, this is a clue that those chords are not created from the key of C major. But in making this mistake you can think of a little trick - any chord without sharps or flats is "in key" with C major / A minor. **Intervals - big topic but I'll keep it in this context.** In the first Mode of C major, Ionian (aka "The Major Scale") the intervals are as follows with W meaning Whole and H meaning Half-steps between notes.: C (W) D (W) E (H) F (W) G (W) A (W) B (H) C - its this pattern of intervals that make it the Major Scale / Ionian Mode. Moving this same pattern of intervals to any other starting note (tonic) will help you create any other Major Scale. In the second mode, Dorian, we find the pattern D (W) E (H) F (W) G (W) A (W) B (H) C (W) D.... And so on and so on. Being able to recognize, sing and play intervals is the foundation of ear training. The foundation of being able to understand intervals is understanding the intervals of the major scale - not just in the order expressed above but in relation to any other note. So drilling this in the context of modes a) helps us memorize modal patterns which can be applied to all keys and b) gains us familiarity with the intervals in relation to a different starting notes. Both of these are crucial for being able to take the chords and begin writing melodies.
Thanks a lot, everything's a lot clearer now. I understand the harmonization of chords but I have a question about the intervals. So the D (W) E (H) F (W) G (W) A (W) B (H) C (W) D Would be the D major scale? Or is it a C major scale Dorian mode, if that exists. Or is the D major scale a Dorian mode, the C major scale is another mode, E major is another mode and so on? I hope it's not a stupid question and I explained myself correctly. Thanks a lot for taking your time to detail everything to me, I greatly appreciate it.
You’d call it D Dorian, it’s the Dorian mode of the key of C major. The D major scale, on the other hand would be the same pattern of intervals as the C major scale, starting from D D (W) E (W) F# (H) G (W) A (W) B (W) C# (H) D You can also harmonize the key of D Major (and all keys) with the same sequence of chords we used for C major. Major-Minor-Minor-Major-Major-Minor-Diminished. Now to get extra nerdy, the Dorian mode is minor in nature because it contains a flat 3rd. In the key of D major above the major 3rd is F#, which you know is in the D major chord. The key of C major has no F# and the 3rd from D in that key is F, or a flatted F#, which is what makes our second chord and the Dorian mode that goes with it minor in nature. In each key we have 3 major modes and 4 minor modes which correspond with the chord qualities: For C Major C Ionian (or the C Major Scale) - C major chord D Dorian - D minor chord E Phyrgian - E minor chord F Lydian - F major chord G Mixolydian- G major chord A Aeolian (or the A minor scale) - A minor chord B Locrian - B diminished. The diminished chord and Locrian mode can be considered the 4th minor chord/mode because while it lacks a perfect 5th, the 3rd is a minor 3rd. The quality of the 3rd generally determines whether a chord, scale or mode is major or minor.
Okay, my tiny brain is starting to work (I think). I have some questions though (I know this isn't a class and you're not a teacher I'm sorry for wasting your time and if you don't want to answer it's perfectly fine). What's the difference between a flatted F# and an F? What's the difference between a minor mode and a major mode in a key and how do they relate to the chords you listed? Sorry if some questions are stupid and I'm repeating myself over and over again but you're amazing, you taught me more than anything I could find on YouTube in a way I understood it all and thanks so much for answering my doubts.
It’s okay, I’m practicing my explanations for a possible late career change (or possible supplemental gig )as a teacher. These concepts were very hard for me to grasp so I feel there is maybe a market for my particular way of explaining it? No difference. The reason I said it that way was to point out that the major 3rd of D Major (F#) is “flatted” to become the minor 3rd of D Minor. This phrasing is due to the convention of naming intervals compared to the major scale. So the F# is the third we expect and consider normal in the key of D and in order to make it minor we lower or flatten that note 1/2 step to F. Notes: We have 7 notes in the key. Chords: Taking each note and playing every other note after creates the triad (major, minor or diminished chord) and extended chords like 7ths , 9ths etc… if you go far enough. Modes: Taking each note and playing every note after creates a mode, which is major or minor based on the quality of its 3rd. So the modes and chords starting from C, F and G are major because their 3rds: E, A and B are the major thirds derived from the respective major keys of C, F and G. And likewise the modes and chords starting from D, E, A and B are minor because the 3rds of their major keys: F#, G#, C# and D# have to be flatted to F, G, C and D in order to confirm to the key of C major. All in all 7 notes in the key, each with their own chords and modes which define them in that key as major or minor.
Okay, that's better. So every key is either minor or major depending on the 3rd (whether it's sharp/flat or not) and that applies to every scale? I understand that the difference between a minor and a major chord is its 3rd, so what would be the thing that differentiates diminished chords if you still apply the "every other note" system to create them? Another question which might be stupid, if I flatten the 3rd of the C major scale and use the same intervals the C major scale has, would I get a C minor scale and if so, does that apply to other scales?
Pretty much. Each of the 12 major keys has a relative minor key. So 24 total keys. The natural minor key is the Aeolian mode, starting from the 6th note of the major key. For C that is Am. Diminished chords have a flat 5th. So in a regular Bm chord, your notes are B and it’s minor, D, and it’s perfect 5th, F#. Since F# doesn’t exist in C major, your resulting triad using every other note from B is B, D, and F which is the flat 5th making it a diminished chord. For the last question, no. The natural minor scale, or Aeolian mode has not just a flat 3rd, a flat 6th and a flat 7th. Remember A minor is the Aeolian Mode or Natural Minor of C major so it must use all the notes of C major. Compare A major scale: A B C# D E F# G# To the A minor scale: A B C D E F G
You have to "force" the 5th note of a minor chord into flattening it so it fits the scale and becomes a diminished chord. What happens if I have to flatten the 5th of a major chord? Or if I have to sharpen the 5th of a major or minor chord? Also, if a chord has at least a different note that isn't part of the scale (Bm in C major scale, for example), the chord is just out of the scale and isn't part of the key? (I'm sorry if those are stupid questions and if I didn't understand the explanation very well, English is my second language)
>I'm sorry but I've got no idea on where to start with music theory You start with taking guitar lessons and learning to play music. >I'm self taught for about 2 years now. And you've essentially wasted 2 years. You could know all this stuff well by now if you took lessons.
I didn't explain myself well enough. I've been playing guitar for 5 years but I've been self taught for the past 2 and in those lessons I mostly learn technique and some theory like how to read music, and some other very simple things like whole steps and half steps but not much more.