Just about every musician has at some point thought that they should probably learn some scales and practice them. But almost no one ever does. I think that's partly because it's not clear WHY. There's at least two excellent reasons to practice scales. The obvious one is that it's good for coordination with both hands. The goal is to remove the physical obstacles that might impede a musical idea from materializing. It doesn't take long with any of these forms before you're able to play them with your eyes closed ... and that's exactly what you want, because then you're LISTENING to what you play, not watching your fingers wiggle. As I discuss at length in Chapter 12, Melody, Harmony, Scales and Chords, the vast, overwhelming majority of melodies in music are constructed out of scale tones from one of five scales. The second reason is that it's great ear training. When you can play the scales well enough to hear them inside your head, then you can hum a tune and figure out the chords while you're strolling down the avenue. I start with abbreviated 5 note examples of the scales in the open positions because that's enough. Then they're moved up the neck in to moveable forms with no open strings. Then you'll learn to link them together. There's several well known examples that illustrate just how most melodies can be found in the scales, and they're tabbed in four different places on the guitar neck, as well as two different tabs for the mandolin. Have fun! Everything in this book came from Garage Band Theory and there's loads more useful stuff there. This is non Academic, practical, useful theory for living-room pickers and working musicians who want to be able to think coherently about music in order to ask questions and understand answers about the music they want to play. The stuff in GBT is about understanding The Beatles and The Rolling Stones, Cole Porter and Duke Ellington, The Grateful Dead and Vampire Weekend. It's NOT about analyzing Bach Fugues... but you'll be able to if you want to. It was written for the 99% of musicians who are NOT music majors by a incorrigible honky-tonk guitar player who plays by ear ... but understands the relevant vocabulary and what's sensible and useful for MOST players. "Garage Band Theory is a must for any musician." Rodney Crowell "Don't be put off by this giant book - Duke's got the secrets of the universe in here. Quite simply, this is the most comprehensive book on music theory I've ever seen." Bill Payne (Little Feat) "Something for every musician at any level. Especially helpful is the musical notation and tablature for a variety of instruments. This book inspires me to learn and practice more." Sam Bush "Garage Band Theory is a veritable encyclopedia of useful tools and tips.This book lifts the lid off the "black box" of music theory and let's the light shine in - and in a fun, practical way. This is a book which should be left handily lying around the living room, bedside, studio, classroom, (restroom?) - ready to be dipped into at any time for reference purposes or just to improve or refresh one's fluency in the language of music. A great resource for musicians young and old no matter what your training. For the price of a one-hour lesson, GBT offers a lifetime of learning." Alasdair Fraser "Garage Band Theory let me know how little I know... but in a good way. It's a great book!" Sterling C Ball CEO, Ernie Ball Inc. "This book is written in the people's key." Kostas "Garage Band Theory offers you everything you need to know to understand, play and make your own music. Because he is both an accomplished musician and teacher, Sharp's Garage Band Theory is an excellent guide for beginners and more advanced players alike." Sam Barry, author, musician No matter which instrument you want to play, the down-to-earth tips in this book will help you get to your goal. Garage Band Theory demystifies music theory.
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