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B & F are NOT open chords and in standard tuning its incredibly difficult to make them open chords. Resolving generally means a perfect cadence(V-I) or a plagal cadence(VI-I) in the case of B and F that means F#-B(V-I),E-B(IV-I), C-F(V-I), Bb-F(IV-I) in the key of B and F respectively. The truth about how open chords is that the birds you can make with it are C,A,G,E and D so CAGED. Every single chord that falls outside these can’t be played as an open chord in standard tuning. This also means that the only chords that these chords are the only chords that resolve(perfect cadence, plagal cadence) when only using open chords. Sorry for the small harmony lesson there but I just wanted to make sure you understand what resolving actually means. Basically perfect and plagal cadences resolve and all the others create tension. When you write a song you mostly play around with creating tension and how/when you resolve it.
I’m not sure what you mean with the pattern btw but I hoped this answered it.
I’m not sure what you mean with the pattern btw but I hoped this answered it.
The amount of notes that fit into one bar has nothing to do with which notes you can play. You can play whichever note you want in quarter notes. And you are right 2/3 can’t equal 1/2 unless you add 1/6 to 1/2. But please don’t think about it this mathematically that confuses you more than it should. https://en.m.wikipedia.org/wiki/Note_value this is all you really have to know as far as math is concerned and this counts for B and F too.
Yes. With your help, I’ve come to understand (academically) the fractions between the bars. And I can play any tone in half, quarter, eighth or 256th were I able to. While staring at the circle of fifths I realized that my strings are perfect fourth to B. I couldn’t see where B fit. Except that B is perfect fifth when E is root. After B perfect fourth back to E. You said that B is there to make our lives easier because it makes open chords easier (Em11). I think I’m with you so far.
First of Vii refers to the Vii chord not really scale. In a scale it is just 7th note of the scale no fancy Roman numerals. Roman numerals are used to show harmony. And yes the Vii chord is not a way to resolve. That the perfect cadence or plagal cadence in the harmony. If the 7th note is on the V or VI chord you can resolve with it since it works over the VI or V chord(in a major scale the 7th note is the major 3rd of the V chord so it works. Let’s take chord progression G|C|Em|D when you repeat it there’s a perfect cadence D-G if you play the F#(which is the 7th note of the G major scale) over the D it works and the harmony still resolves(also F# is the major 7th of G but let’s not get into that).
If you play a scale all the way through without any context you are right. If you use it in music over a chord progression not so much. This has something to do with the harmony. You can get away with playing the seventh note in a scale as an ending note depending on what you are playing over.
I would urge you to think in harmony and not in scales. This is mostly because if you think in scales form start to end you might just do that In Your solos which is not very interesting to listen to.
I would urge you to think in harmony and not in scales. This is mostly because if you think in scales form start to end you might just do that In Your solos which is not very interesting to listen to.
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