NOTE NOTES So in dealing with the B flat Ionian we can use the sonique spiderweb further by building relative chords found with in the scale. Most chords have a Root, a 3rd (major or minor) and a 5th. A triad of 3 pitches, these pitches can repeat with in a chord to give it a fuller sound. Or …., which also gives the chord a unique flavor. (you can fill in the blank, I learned recently that leaving something to the imagination is pertinent to the readers expectation whilst digesting information and can more actively engage the mind more than spelling everything out! [this is going to happen some more just so you’re aware, this is a teaching effort after all]) Looking at the sonique spiderweb with the B flat Ionian on display we can see on the outer perimeter the Root Major 3rd and Perfect 5th being displayed Bb D F The premier triad. By following that pattern around the sonique spiderweb we next come to C Eb G A root pitch C a minor 3rd Eb and a perfect fifth G Notice how we skip a displayed pitch to get to the 3rd and 5th The outer perimeter of the web does not indicate these intervals, the relationship of intervals remain static. Root > m2nd > M2nd > m3rd etc.. It is how we are using them in this context that their definition changes. Above are a couple of videos demonstrating the chord assembly technique available in the sonique spiderweb as well as fretboard examples. Your mission should you decide to accept it is to follow the pattern all around and ….? See I told you you would have to use your imagination.
speaking of imagination
So I gave my keyboard an erection recently. Yep raised the stand it sits on so that I have to stand to play it or get a taller stool! I find it offers a challenge and a way of focusing my thinking, changing up my position that sitting sometimes does not allow. It is incredibly easy to get caught up in thoughts that are in no way focused on the task at hand, and subsequently distract from said task. In this case, the practice of an instrument I am determined to get better at. So changing my position in an effort to gain some focus is helpful. Also I want to improve my vocals so standing helps with that as well. To stand or sit whilst playing the guitar is also something to consider. There are advantages to each. The closer the guitar is to your chest can make playing certain things easier. But for looking cool, a guitar slung low off the shoulder while standing really sets a mood, (I wanna rock!) But that can make some playing techniques difficult to manage. Take a look at your favorite performers at various points in a performance. Do their instruments proximity change from time to time depending on the song being performed? Even while sitting movement can be detected to enable reaching certain portions of a piece practical. When playing do you watch to pick hand or your fret hand? What can we learn from this? What does it tell us we know or don’t know while looking at our instrument?
Close my eyes during practice. I do this with the keyboard from time to time in hopes of becoming better acquainted with it. Try to get a feel for where my hands need to be. I did this whilst jamming with some friends with the guitar recently, but that was more to focus on the sound we were making. To listen more I shut my eyes to limit sensory input so my brain could process the sound more closely. With the end goal of getting the song we were playing to sound good!
Finally finished A Ionian and the subsequent modes. Took a little over a year, at this rate, it will take 12 + years to go through all the remaining keys and modes. I can do this more efficiently. Keep it simple stupid. Why the need to over sell the basics? It is fairly easy to move the patterns learned in the key of A up one degree, or interval, or fret to arrive at B flat major.
Here is a primer video if you would like to see B Flat Ionian on the fretboard. That is an easy approach. But to get to a deeper comprehension, and greater familiarity with the fret board. Understanding the relationships of alphabetic music concepts is necessary.
INNATE VERSUS INANE
For something to be considered innate it should be natural. That is the goal of learning to play an instrument well. Having whatever it takes to play our instrument and make it sound like we want it to sound feel natural.
We want to know the relevance as well as the location of the notes we want to play as innately as possible. B flat Ionian has an A note directly below it in pitch. This can be used as a leading tone, one that wants to find the next pitch almost as if asking a question, where B flat is the answer. I used this in my song ‘enchanté’ in the segue to the chorus, where B flat chord variations (and they are varied!) are contrasted with an A note sounded at a time (leading to) in just such away as to ‘ask’ for the B flat resolution.
In another context the A in the case of B flat in a chord is a Major 7th which offers a completely different set of circumstances to explore sounding off about. Just finger a B flat Major 7th triad can be fun and revelatory! Try these for fun.
Or as inanely.
My french dictionary says this word is equivalent to inept stupid, this is not what I intend. Rather I wish to imply by the use of this word, just letting go of preconceived constraints and seeing what comes of it can be fun. Sitting down at the keyboard or guitar and letting the mind wander for a moment can be an impetus for new music to come.
Trying to remember to forget that which we don’t know is possible!
Is it possible to let go of preconceived concepts about what makes something sound like music to our selves? Due to culture and circumstances beyond our control, and certain music being repeated more often than others, a musical DNA is ingrained, so to speak? Exploring with just the desire to discover what else may come of our musical expression may yield surprising results that have just as much to teach us as comprehension of the basics underlying music theory.
So I was thinking about writing about Locrius who lived in Locria amongst the Locriites during the Locracious period but thought better of it and decided to stay with some of the more technical aspects relating to guitar playing and such!
A very odd sounding scale that can evoke notions of the mysterious or ambivalence. Is interesting because of the proximity of the m2nd right next to the ROOT and the 4th has a diminished or flat 5th rubBing up against it so to speak. Who is the naughty one here!? In relation to the Ionian in A Major, the Locrian has as its root G# / Ab. By beginning the mode with this as the root point, the interval relationships change as they also do in the other modes. No less than 4 minor intervals in this mode. m2nd, m3rd, m6th and m7th. Plus the 5th is diminished, (a type of minor pitch relative to the ROOT) so there is technically 5 minor intervals!
playing in the Locrian mode
So much is off when compared to the relative Major that it practically begs for resolution. That is to say it builds a sonic tension when expressed. You don’t have to begin on the Root of course. But it does show its color when played against a chord based on it the intervals it contains. Fingering such a chord does get the mind involved if we are not familiar employing the intervals in the mode in this way. EXERCISE: Make up a chord with as may of the pitches in the mode as possible without repeating one i.e. an octave. EXERCISE: Play the mode or a portion thereof against the chords suggested from the other intervals. EXERCISE: Using the sonique spiderweb Dial in the intervals to the LOCRIAN MODE. You can reference the actual intervals on the outer perimeter of the SSW ROOT, m2, m3, P4, dim5, m6, m7,
OR; Knowing that the notes of A MAJOR are also the notes used in LOCRIAN G#/Ab find which intervals to display that way. A, B, C#, D, E, F#, G#
Experimentation is involved to get to the usefulness in expressing this mode in our playing. Remember to develop our technique in the various modes by not just playing them forwards and backwards, but crossways and slideways! The creative muscle is strengthened by searching out ways to make it relevant to our musical expression. I discovered whilst generating a fret board diagram of the Locrian / Ionian in the key of A that, across some frets on all strings an associated pitch could be found that is in key . See Diagram. I point this out as an additional exercise that does not demand too much mental effort looking for ‘pitches in key’ to make playing around with the scale an exercise in exploration and finger gymnastics without the associated ‘is that a relative pitch to the scale’ thought process. So in this case the relative pitches are found on all strings at the 2nd 7th and 9th fret.
Did you see what I did there? Combining exercising with ax, a term some people use to describe a guitar, clever no? Not certain when that terminology came into use, or when the riffs musicians played came to be known as chops? But as a species we do like to change things up, to keep it interesting. It was very probably someone trying to be clever that brought about such changes to descriptive analogies amidst the mix of humanities linguistic propensities. I personally don’t think things ever get boring, and this post is about the need to be interested in order to make progress.
About the image
Why is there an interest to share the vicissitudes of my life thusly? I don’t know, but there it is, a mangled morass of my mental ambiguity modified for mass consumption. I multitask to make this. First as a digital journal entry of my scatterbrained thoughts and then, by further manipulating that output I can express my experience of life to the light of day. The thoughts rendered thusly can then be considered processed by me and leave something of interest I feel comfortable sharing. There is also video of the process, to add as a visual backdrop for music I generate. That will be available when the next musical composition is finished.
If you like this digital distortion of my thoughts and would like to see it in full, without the ‘Sonique Spiderweb Title’ obscuring the image, email me and I will send a .jpeg.
In the mean time here is another strand from the Sonique Spiderweb.
So I have been demonstrating the Sonique Spiderweb within the framework of the Ionian in the key of A. I have went through all the basic modes thus far now leading to the Aeolian in F# a natural minor scale.
So once again as with all modes Ionian, we have all the notes in A major but F# is the root making the A note the minor 3rd in the sequence.
The natural minor is remarkably fun to play in, and offers so much to use in any number of corresponding chord sequences, in whatever key we are playing in of course.
This is a fundamental skill that can best be appreciated by applying it within our practice.
The point of learning to use the scale to develop improvisational skill is demonstrated here in this short video about the mode.
FINDing THE WILL TO MAKE PROGRESS.
What is of interest when we imagine reaching our musical goals?
Performing a song perfectly, proficiently, painterly? That term ‘painterly’ I mean as a painter paints, the brush strokes they use to express a tree or mountain for example, may not look like that at all, before the picture is complete. The same with playing a song, we may not hit every note exactly but we have sufficient grasp of the piece to convey it satisfyingly!
this could also be interesting.
Being on stage performing, playing in a band Your music being streamed online and you’re banking some bucks. Conveying a deep emotion to a significant other. In a recording studio, comping some riffs for another musician you admire. Writing music to inspire, to incite insight, to invigorate innovation.
options require CHOICES be made
Regardless of our level of interest though, the consistency of pursuit remains the determining factor in a sense of accomplishment. What are we willing to do so that we can be the musician we want to be? There is a lot of advice available to encourage action in accord with our aspirations, but such motivation can be short lived. I know this to be true, as my blog posting schedule seems to suggest. That is, I don’t really have one!?
Thus in anything we want to do, it helps if the thing that interests us is also compelling enough for our best effort to be engaged. Consistent, constant, constructive, instructive, these are all words that are part of a vocabulary of attempting successful accomplishment. But wait there is so much to…
We CAN DO ANYTHING (+/-) we CANT DO EVERYTHING.
It is problematic to want to do everything. The wanting is possible, the doing is not. There is always something else to pursue or is perhaps easier or more fun to do. Distractions likewise abound and confound, challenging us to try to continue to make any real meaningful progress. If we focus on why we want what we want then we can put in the effort needed to attain the level of success desired. To be a musician this effort will take many forms, practice, study, listening, recording, to name a few. So if we cant do one, another is available. Or we can distract ourselves and do such things later.
What matters and why? To me its all about being interested and involved, and that can have many degrees of intensity and attention. Given time we will become the musician, artist, idealistic aspirant we want to be!
So whatever the goal or task at hand then, please, prudently and patiently pursue the process of making proactive progress possible that are pertinent to your proclivities!
I like alliteration for some reason. Perhaps it offers a supposed semblance of cleverness. I do imagine myself clever though there is limited feedback on that front, so my assumption that I am clever remains intact.
Making the best of what is available to present said cleverness to the world is challenging. Just keeping track of it all is a job. The blog posts, the videos, the related social media accounts, the desire to proffer more of what is me and what I produce. To what end I do not know. I see others with thousands of followers and imagine I would not know how to interact with an audience of that magnitude!? So there is…
Time and the learning process
I read that in order to slow down time learn something new. That thought comes from the author Michael Easter who wrote a book titled, ‘The Comfort Crisis’. The idea resonates with me. A lot of what makes for the passing of time gets ignored because it is so seemingly ordinary. But when learning something new, the time spent can have an impact and be meaningful. And, depending on our level of presence, be involving. But that can be true of the ordinary and mundane as well.
This effort is that for me, I am learning something new. Current technology is new to me, as far as employing it goes to get my imagineerings out into the world in some useful fashion.
But time is a concept seemingly unique to humankind as far as watching it is concerned. Animals seem to not give a wit what time it is. Maybe they do. But they do not mark time in a fashion that resembles observing a clock or calendar on a wall, as near as I can tell.
If my pets are any indicator of how to best spend time it seems it would be to enjoy it. Be curious, find something interesting to do, or rest. They rest a lot!
That’s the thing about time, and wanting to enjoy it. Enjoyment requires a commitment of some sort. A pursuit of happiness, and what that is will be unique to everyone, but we can and should try to help each other along the way.
inciting insight invigorating innovation
Well as far as this musical educational effort is concerned here is a video link comprising my take on the Mixolydian Scale. A Mixing up the Mixolydian tablature of some ideas to pursue in advancing guitar technique, as well as a quick tip video on identifying sharp (#) key signatures with relative ease. Hope it is helpful.
How does the word languish factor into a musical scale, other than the alliterative letter ‘L’ beginning both words? Well there is the time I spent putting this together. Hoping for a useful result.
So I imagined a person alone lying on on a guitar fret board somewhere with an arm outstretched to a stormy sky yearning for…
Some traction in gaining some useful working knowledge of the guitar.
I imagine many experience a struggle in that effort. That might feel like one is toiling and not making much if any progress.
Even after many years of playing I have sometimes felt that way.
Results might not even be seen or seem relevant to the end one imagines the effort should be leading to.
Nevertheless lessons continue to present themselves.
Lydian wants to exclaim “learn about me, I am interesting and worth knowing”
But wait there’s more !?
But we might rather right now be, watching TV, trying to get to sleep, looking at alternative art on Pinterest, reading comic books, drawing, rearranging the furniture, anything but advancing guitar playing ability, the audacity!
However to get to another level as a musician we have to approach our efforts dilligently.
A claim of being this or that, of going to do this or that, will make no difference until the this or that is actually done!
Despite compulsions, the weather, various obligations all around. We can usually choose to do what we want, we just might need to focus our intention into attention.
That seems simple enough, so how can we stimulate momentum in the direction of our goals?
Answers but the questions still remain
Some questions might help.
(Why) am I working at this? ( I put why in parenthesis because, I think most times it is not needed to ask a question.
And ‘am I ?’ suggests that we have more control or capability in the equation than we give ourselves credit for)
So my answer to ‘am I working at this?’ is: Here is an opportunity to grow as a musician, to further develop skills that I want to share. I want to take music seriously and to share my enjoyment of the creative process.
Which in my case, is a perpetual work in progress.
Is it enough to be creative without any reward or recognition?
YES. I would still be and am creative sans reward or recognition. I have to be to survive this existence. AND. To create something and attempt to share it, with so many options available to do so these days. NO. Recognition and reward are not my tasks as a creative.
That is someone else’s task to recognize or ignore, reward or refute. Though as I think of recognition and reward now, I realize that in fact:
the mind never stops making connections
re = again; cognition = to learn; is happening within and,
re= again; ward = to watch over (of germanic origin); it is rewarding in and of itself to produce something even if the only one enjoying the result is the one making the effort. But that is rarely the case. I believe we cannot undertake a creative task with out having the effort affect us and subsequently those with whom we interact in some particular way, regardless if the result produced is put on display or not.
However I didn’t get to this point in my existence without input from and acknowledging the efforts of others
SO. Creative output can and should be shared as best one can for any of the above to have an effect.
inciting insight invigorating innovation
What do I hope is going to come from this effort? A blog post that incites insight and invigorates innovation.
An outlook, an approach, a take on life and the making of music that keeps it real and at the forefront of my life
What I offer to benefit myself and any one else that might find this then, is another video demonstrating how to use the sonique spiderweb with an emphasis on the Lydian mode as found within the Ionian in the key of A major. Languishing in the Lydian video link
While the obvious forward and across the fret board approach is all that is needed for a cursory understanding of the scale.
Should one be so inclined to develop it to another level I offer my take on the subject.
There are many ways to play scales on the guitar that are unique and instructive.
Which can advance ones musical vocabulary significantly.
These that I offer can of course be applied to other scales and modes, as knowledge of the fret board becomes increasingly innate or 2nd nature.
The options available to have scale study impart a unique aspect to ones musical vocabulary can thus always be improved upon.
There is truly a wealth of possibilities available in the so called ‘basics’ if one can make some time to for it!
There is a Turning the Lydian inside out.pdfof some of the scale studies I’m advocating, available here as I’ve recently got some new software that helps me to produce that. Hope it proves useful!
This is because all the notes in these modes are found in the A Major Scale!
Go ahead and try to do that
So what to do with this knowledge? Parse the other modes in the A major by referencing the notes and finding them on your instrument.
I also recommend playing the scale in a variety of ways so as to improve working knowledge of your instrument and provide technical proficiency through shifting ones view of the possibility that scales can be a rather interesting provocation to inspire music making.
One question that comes up is how can we employ these various modes.
What options does this knowledge afford us to add interest to our musical expression?
What do I mean by ‘The Zone’? It is that mental space that allows for serious motivated attention in which to pursue an interest. Seeing how the ‘Russian Method’ or at least a portion thereof, worked on the keyboard in finding that space when practicing to develop skill further. I decided to try and find it on the guitar using my invention, ‘The Sonique Spiderweb’ as an aid.
This way of playing scales is of course possible, however the guitar is unique in that some notes that sound identical can be fingered quite differently, that being said the principle is the same.
The idea is to move from a root pitch 3 octaves apart through the sequence of notes/intervals making up the scale. Instead of playing all the notes in a scale an octave apart simultaneously as is common on the piano keyboard, (now that I think about it, that would be a challenge on the guitar! which will be explored soon, thank you very much mind of mine). Back to topic. We move away from the root pitch by both ascending and descending through the intervals. An example in the A major scale can be seen here.
Here are the specifics in writing
So we begin 3 octaves apart with the A pitch.
Then moving away from the root up in pitch to the major 2nd a B note and down in pitch to the major 7th G#/Ab,
(it is possible to goin either direction with the intervals, higher or lower in pitch, current example shows one way)
Next we move up to the major 3rd C#/Db and down to the major 6th F#/Gb
Then up to the perfect 4th D and down to the perfect 5th E
Then up to the perfect 5th E and down to the perfect 4th D
(same notes different octaves!
as will be the case as we continue)
Now we move up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Aband down to the major 2nd B
once again at an octave A note or pitch
Then inverting again we move down to a major 7th G#/Ab and up to a major 2nd B
Down to a major 6th F#/Gb and up to a major 3rd C#/Db
Then down to a perfect 5th E and up to a perfect 4th D
Followed by its opposite up to a perfect 5th Eand down to a perfect 4th D
Then up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Ab and down to a major 2nd B
And voila we are back to the root A note and none the less worse for wear.
So we can see two ways to reference and relate to the scale, one by the note names, but also as importantly by the intervals or distances from the root. I have found a kind of mnemonic device to remember this. Octaves are obvious, 2nd and 7th begin with the same 2 letters, the 3rd and 6th intervals are divisible by 2, and 4th and 5ths are right next to each other.
So, while this can be a challenge if we haven’t done this before and that is kind of the point here. This can be a useful method for getting into the zone or put another way, a more involved mind set for practicing other concepts we would like to make progress with.
Here it is for any to use. I am doing what I can as I am able, to show its utility as a musical instruction device but it can do more than just teach. Which if you decide to track my trajectory of haphazard blog posts and video demonstrations will eventually become evident. So a little more about making one.
As it is rather a bit much to assemble and offer for sale, I am making it available at no charge, as a .pdf (See top of page for PDF link) for you to print and use. Here is a video of how to make one should you be so inclined. So if you want one and do not want to purchase it, here it is for the low cost of your time, effort and careful attention to detail.
If you would like to show appreciation for the effort involved in producing this and the associated material, blog posts, videos, and music that are a part of this enterprise, Donate below.
So there you go. Hope that is not too much pressure, and it is not required but appreciated if offered. As is simply being interested in my invention!
If you watch the video you will see what a challenge it is to manufacture. While the video shows how to make it, it is not demonstrative of how long it takes to produce despite being some 20 plus minutes long. And that is after I cut some material that while, not irrelevant to the process of producing it, it is perhaps not absolutely necessary to show.
All that being said I do feel it has a lot to offer and believe it will be of use to persons wanting to understand notational relationships in music theory displayed simply and alphabetically.
Hopefully the sonique spiderweb will be of value to those who endeavor to increase their musical proficiency and find new and innovative ways to understand musical concepts as a result. What follows is a rather detailed but far from comprehensive explanation of the sonique spiderwebs capabilities. As well as options to purchase an assembled functional sonique spiderweb.
as mentioned previously
So here it is at long last I am letting it out into the wild! Finally filed for the patent, that was my benchmark to letting go.
I can no longer use that as an excuse not to share it! There is a lot to unpack here and I plan to do just that as time permits. I intend that it is helpful to anyone desirous of learning certain music theory concepts. It has a lot to offer in this regard. In particular, the relationships of notes and how those can be utilized to work together in harmonious expression. I have some videos posted of how to use it on my youtube channel. Some basics to get started.
What is this thing we are looking at? Who has devised such a mechanism for capturing the attention of musically inclined persons to satiate their thirst for notational music theory? How does it impart its wealth of information so practical to the study of music? When can it be used to further musical aspirations? Where can I get one? Welcome to the Sonique Spiderweb.
This machination of musical mystery and perchance mastery has been developed over many years and has taken many forms to reach this present iteration!
I have personally put my own hands to work at the task of making this device as useful and easy to employ as possible. I call myself guitarbeau!
With in its dodecagonique shape lies an amazing ability to clearly display in alphabetic form the names of musical pitches found in a mode scale or chord and transpose that information in a snap with a twist or a turn!
This will become evident as we delve deep into its angular lines and tangental appearance to discover pragmatically proffered, perfectly possible potentialities and prudently practical purposes.
The Sonique Spider Web has been constructed in just such away as to not require alternative energy sources to operate, it can be put to use at a moments notice. No wait time, no boot time, no file search, no extension cord needed.
Obtaining it can be as easy or as complicated as you might prefer. Order one from guitarbeau.com As it is hand made and requires some time to assemble it is priced exorbitantly see the website for that information. Or make one yourself with a printable pdf on display at the top of this article that contains just the musical data available for display but with out all the particularly spectacular tantalizing features that make the Sonique Spider Web such a fascinating choice to explore! Though you could develop your own perspective on those features, I’ll share my technique should you want to go that route. Visit the video on how to make the sonique spiderweb.
With out further ado let’s spin this thing and see how dizzy we get!?
THE SONIQUE SPIDERWEB
So there is an abundance of information available here on this 8.5 by 11 inch cardboard invention.
Starting with the outer perimeter.
We have surrounding the sonique spiderweb 12 intervals or scale degrees designated at 12 equal distant sections making a dodecagon or 12 sided shape.
These interval designations are:
the ROOT, a minor 2nd, a Major 2nd / 9th, a minor 3rd, a Major 3rd, a Perfect 4th / 11th, an augmented 4th or diminished 5th, a perfect 5th, a minor 6th, a Major 6th / 13th, a minor 7th, and a Major 7th.
These are the 12 intervals or scale degrees used to define the spaces between musical notes from a root note.
Moving from an interval to another interval can be described as moving in steps.
Either a half step to an interval right next to it.
Or a whole step, to an interval separated by another interval or scale degree. This is a teaching paradigm that I don’t use very much.
inside of the outer perimeter
The next segment of the sonique spiderweb has 7 common modes or scales indicated with in it at specific intervals.
These modes are based on a Major scale and each begin from a subsequent interval of the major scale.
These are designated as:
Ionian: A major Scale begins from a root note
Dorian: A natural minor scale with the 6th interval or scale degree 1 half step or interval higher. Begins from the major 2nd interval of the ionian major scale.
Phrygian: A natural minor scale with the 2nd interval 1 half step lower. Begins from the major 3rd interval of the ionian major scale.
Lydian: A major scale with the 4th interval 1 half step higher. Begins from the perfect 4th of the ionian major scale.
Myxolydian: A major scale with the 7th interval scale degree 1 half step lower. Begins from the perfect 5th of the ionian major scale.
Aeolian: A natural minor scale. Begins from the major 6th of a the ionian major scale.
Locrian: A natural minor scale with the 2nd and the 5th intervals both 1 half step lower. Begins from the major 7th of the ionian major scale.
at the heart of the sonique spiderweb
The inner section of the sonique spider web has the musical alphabet indicated on it in sequential order.
Also indicated are key signs that correspond to the note or notes named in this version these are in the treble or “G” clef.
The note name section of the sonique spiderweb can be rotated to allow for transposing a scale or chord into another key.
sliders hiders blinders deciders
This feature really gives the sonique spiderweb its splendiferous capacity!
Just underneath and at the edge of the sonique spiderweb are movable sliders that can be used to hide or allow the display of the note names of the musical alphabet.
For example: to display an Ionian major scale use the sliders to hide note name data on the inner section:
at the minor 2nd, minor 3rd, augmented 4th/diminished 5th, minor 6th and minor 7th intervals,
and display note name data at the Root, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, and major 7th intervals and voila the notes to any major scale
For example with a C note displayed or dialed in at the root we have C,D,E,F,G,A,B.
A C major scale. if you’re an astute observer you will also see the various other modes are like wise displayed along with the major scale.
This is because these other modes are found with in the Ionian major mode or scale!
With a simple turn of the inner web we can dial in any major scale in any key.
but wait theres more!
But that’s not the only scales we can display!
Using the sliders we can display a variety of other scales. All we need to know is which intervals are used in a given scale.
For example to display the notes of a major pentatonic scale.
Utilize the sliders to allow the display of a root, major 2nd, major 3rd, perfect 5th, and major 6th.
And hide all of the other intervals with their associated sliders sliders and voila! A major pentatonic.
Choose what key to play in by turning note name segment so that the desired pitch appears at the root position.
can you display chords? yes you can!
Chords are possible too!
Want to work on major triads. Display a root, a major 3rd, and a perfect 5th, hide all other intervals and dial in the root note you want to work with.
Want to add a minor 7th reveal the note under that slider and add it to the chord voila!
Want the major 7th instead a simple swap of slider position at the corresponding intervals, et encore voila!
What about something esoteric like a F#diminished 7th chord I discovered whilst playing we are the champions by queen.
This neat chord can be played from any interval and look like itself on the guitar fretboard and use the same notes albeit in different positions.
At least that’s how it occurs to me.
the intervals involved are: a root, minor 3rd, dim 5th, major 6th.
Look how it appears on the sonique spider web, we have root interval open going clockwise 2 intervals hidden, another the minor third open, continuing
clockwise 2 more intervals closed, then the diminished 5th is open, then 2 more intervals closed, the major 6th open, then 2 last intervals likewise closed.
A step and a half betwixt each pitch evenly positioned yet sonically amazing can you believe it.
there will be more to come
So those are the basics basically. Moving forward there will be more opportunities to study and put the sonique spiderweb to use that should provide a lot of fun.
I have made an adjustment in the manufacture of my device to make it more economical.
normal cost $20.00 til 8/14 $16.00
the sonique spiderweb
a music theory teaching aid to display alphabetic note name data and intervallic relationships betwixt that data. shipping is included.