Bloviating briefly in b flat major

Seems pertinent to the title

video LINKS to B flat major scale on the guitar

Some video’s displaying ‘the sonique spiderweb’ and its utility.

B flat major scale demonstrated at various positions on the fretboard

B flat major chord built from the triad of Root, Major 3rd and Perfect 5th.

C minor chord built from with in the B flat major scale.

bref

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

PERFORMANCE NOTES

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!

Merci

axercising the aeolian

2021 11 28 j’ART Original Digital Art by BEL

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!

merci

Mixolydian mix up

Title card from the instructional video

Mixing up the mixolydian

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.

merci

Languishing in the lydian

Lydia Languishing

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.pdf of 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!

MERCI