If they already know so much, why would they be there? This changes depending on the college, but four-year schools generally require an audition on your instrument regardless of what your major is guitar, composition, music education, etc. This is a stumbling block for rock guitarists, since a frequent requirement is to play three classical guitar pieces, one from each of the romantic, classical, and modern eras.
One way around this is to start at a junior college, where an audition is often not required. With time, your ability to manipulate pitches will soar astronomically as a result. During guitar lessons, you may have to memorize the music phrase by phrase. I did this for a long time and only used sheet music as a reminder of where I was in the piece. Your teacher will not expect you to simply start playing music put in front of you, even after 4 years.
Remember, you are there to learn, not to pretend you already know. No knowledge of music theory or even the genre is assumed, and schools generally teach you from the ground up, from what a major chord is to who Beethoven was and where he fits in history. It can be safely said that the music curriculum neatly divides itself into the first two years and the last two years. One reason for this is that there are typically two years four semesters of music theory and ear training, which are basic courses along with class piano.
You also have your private lesson guitar and large ensemble chorus. The last two years are the more interesting and complicated courses: counterpoint, musical form, conducting, music history, and orchestration guitar and chorus continuing. These are not the same everywhere, so check with the school. Music Theory is a general term that lumps together many subjects but is all the nuts and bolts of notes. It explains and demonstrates key signatures, time signatures, scales and alternate versions called modes , intervals, chords, keys, modulation key changes , music notation, and how to write simple two, three, and four-part harmony.
It starts simple and continuously builds on its own knowledge. In my experience, the second, third, and fourth semesters were more similar to each other, with increasingly complicated chords and key changes. Ear Training and Sight Singing is the most feared course ever invented and goes on for four semesters. This course goes in parallel to music theory partly because as you learn about something in theory, you are now trained to recognize what it sounds like.
What frightens everyone is that you have to demonstrate that you know what a melody on paper sounds like by singing it from your desk while everyone listens. The saving grace here is that everyone is as petrified as you, and this is how freshmen music students bond. Misery loves company. It can be one or two years. If you find this as horrible as I did, you may opt for private piano lessons, which while harder on the hands, is kinder on your soul.
It gets harder and more demanding as you progress. For ten minutes, they can make you play anything off the list. There are other performance requirements, such as a solo junior recital 30 minutes , a solo senior recital 60 minutes , and a small ensemble performance such as a four movements sonata with at least one other performer.
One of the greatest advantages here is that you will learn the notes on the guitar neck, at least below the ninth fret, fluently. Through practice, it is relatively easy to sing even complicated music at the same time as a group.
They know who you are and have some mercy, but they do expect to see you trying and gradually succeeding. Counterpoint is two or more independent melodies and is often two different semesters: vocal or 16th-century counterpoint, which is different from instrumental or 18th-century counterpoint.
You may only have to take the latter, which is more relevant. The four-part writing you did in music theory helped prepare you for this. Example 6. A fifth can collapse inward to a third if the lower note moves up a step and the higher note falls a step.
The reverse works just as well, so a third can expand outward to become a fifth Ex. Here, the low B drops to the open E while the D rises to another E, so a third becomes an octave. We can also add another B on top and leave it there for both chords Ex. This sounds richer. Example 7. If we combine the ideas in this article with the ornamentation ideas of the last article, we arrive at a riff like that in Example 8.
This uses mixed intervals, upper and lower neighbor tones, and parallel, oblique and contrary motion. Notice the last beat of measure 8, where C5 collapses to D3, which then rises in parallel to Em3. Hear the mp3 , where the bass guitar line outlining the G chord.
Example 8. Counterpoint is a simple way to add depth to your parts for a more spacious, richer guitar riffs, especially when combined with mixed intervals. In a previous article, Interval Riff Basics , we looked at and heard examples of using only two notes, or intervals, for rhythm guitar parts. The two main intervals are fifth and thirds, with the latter adding more variety and color to your riffs.
Doing so also introduces other intervals, including seconds, fourths and sixths, but each will be subservient to our core intervals of the third and fifth… at least for now.
There are two types of notes in music: chord tones and non-chord tones. A neighbor tone is next to a current chord tone, and is approached and left in opposite directions. For example, if holding an E minor third the notes E and G , and the upper note, G, drop down to F , and then back up to G, the F is a neighbor tone. See Example 1a. In this case, the F is a lower neighbor. There is also an upper neighbor, which would be A.
See Example 1b. Listen to this example of thirds ornamented with lower neighbor tones. Within the example are major thirds, a minor third, and major seconds, as shown in Example 2.
Notice how there is a constant eighth-note pulse on the 5th string throughout this example, and that an interval of one kind or another is only sounded at certain accents, when both notes are sounded. At that moment, the muting from the right hand is lifted so the chord can be heard.
This brief moment is one reason the relatively dissonant interval of a major second E and F works. If you were to sound the major second and let it ring longer, it sounds much more dissonant. Example 3 and its accompanying mp3 use both lower and upper neighbors to create a more active line. Of special note is the last measure, where an F was used because it is in the key.
With the C below it, it creates an augmented fourth, which usually sounds like it should resolve upward by step to the fifth, which is the case here. The F is also a passing tone, not a neighbor tone, and such a motion is discussed below.
Just like thirds, fifths have both a lower and upper neighbor. The lower neighbor is usually a perfect fourth, while the upper one can be either a minor or major sixth, depending on where you are in the key. See Example 4. In most of Example 5, the perfect fourth is used, but listen again for the augmented fourth the F above the C, as expected by the key of E minor.
It is possible to use the perfect fourth above C and introduce an F natural. To connect a third with a fifth above the same root, such as E, another kind of non-chord tone is used: the passing tone; in this case, a fourth.
A passing tone is approached and left in the same direction. For example, with E on the bottom continuously, G can pass through A on its way to B, moving from the interval of a minor third, through a fourth, to a fifth. The opposite direction works equally well. See Example 6. This final mp3 illustrates a riff connecting thirds and fifths as in Example 7.
In Part Three , we introduce counterpoint. The riffs are in the upper left guitar part onscreen. How many adventures has he gone on? What has he learned from doing it before?
Has he been trained in any special techniques? By who? Did he finish that training or skip out for some reason? Will that come back to haunt him?
Did he rescue anyone? Free a village? Kill an evil wizard? Find treasure? Recover something valuable and did he keep it or return it? What missions has he done and how did they go disaster, success, lots of friends died, welcomed as hero after?
Was he paid for them? A volunteer? Who went with him? Was that his fault? What does he have and how did he come by them? Did he steal, buy, or find them?
Were they a gift? Are they weapons, armor, or something else? Where did he receive his training and from whom? What kind was it? What weapons or defenses? Does he employ these?
Has he mastered what he was taught or does he get rusty? Can he perform magic? How well? How did he learn? Was their schooling or a mentor? How well does he control this? Does this character avoid supernatural places or become curious? Where has he visited or plan to? This is the second in a series on creating fictional characters. Part 1 covered an overview.
You can download the full template as a Word doc or a PDF. This includes place of birth, parents and siblings, quality of home life, general family status wealth, position of power, reputation , and family jobs is there a family business? How far did they get and what did they study? What kind of student honor roll, flunking stuff, misfit, class clown, skipping classes, a drop out?
Did they continue beyond mandatory schooling like college and why? Press Release Pricing. Press Releases. Like this: Like Loading Leave a Reply Cancel reply. Get FREE mp3s from every album! Get Free Mp3s Now! Serenade 2. Rapid Fire 3. The Thrill of it All 4. Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Post to Cancel. Post was not sent - check your email addresses! Sorry, your blog cannot share posts by email.
The Firebard will be mixed and mastered later this year. Now Weaponized!Randy Ellefson – Instrumental Guitar. My video for “Keeping Pace” from NOW WEAPONIZED! The release is a concept album dealing with cyberbullying, social media, suicide, child molestation, and our isolation in a world where we tell ourselves we’re so well connected. A few ballads, including a duet, mix with the energetic, melodic.