Seems I have some competition…

Geez, I thought my Led Zeppelin tribute song was reverent.

Even Josh Freese’s drums sound like John Bonham.

Reader Mail – Episode 2: Music Theory vs. Songwriting

Hey kids

I have some hate mail for your viewing pleasure today. My only comments are as follows:

1. Music theory does not equal songwriting or music business success. Success comes from attitude, enthusiasm, and determination. The real talent is in maintaining your composure & motivation in the face of adversity and criticism. Be unapologetic; don’t waste your time apologizing for being who you are. That’s called integrity, and will bring you respect.

2. Don’t live your life in anger or spite. It’s a waste of time and energy. Plus, negativity does nothing but draw more negativity into your life.

I have had the good fortune of meeting tons of talented, creative, knowledgeable, and exceptional musicians, and have also had the pleasure of watching all of them open for my ridiculously popular, untalented band. With that in mind, a concerned reader writes:

Ok – so obviously you don’t know much about music or music theory, which is fine, if you weren’t so arrogant, c.f. “Trust me guys you aren’t helping your case”. Try and learn about something before writing it off. I work with a lot of extremely talented jazz musicians who not only have great technique and great theoretical knowledge but also great ears. You can’t be a good musician without all three. I’m betting you got pretty good ears but not the first two… Nowadays EVERY good session musician in EVERY genre (including pop) knows (jazz) music theory and uses it to make great music (and money).

None of these “math chords” (as you so ignorantly describe them) were just made up – they’re theories used to describe what sounds good. That’s why it’s called music theory not music fact. Check out the history of music theory (jazz and classical) it’s full of people coming up with ways of describing what SOUNDS GOOD. And if you’re smart you can use and build on these “rules” to make good music rather than re-inventing a crappy heavily plagiarised version of the wheel. There was only one guy with Bach’s knowledge of, and ear for, harmony – it ain’t me and it certainly ain’t you. Loads of good music has been written using ‘math’ chords because they sound great when used well and they have a musical function. You can find them in every style pop, jazz, rock, classical – you name it…

Regarding harmonising the melodic minor – people have been using that for hundreds of years. Let me save you some time: Mi(Ma7), b9sus4, Maj7(+5), Dom7(+11), Mi(Ma7)/5th, Hal-Dim(+9) and finally the altered chord – the most beautiful of all. This last one is the most useful and is “the” sound that makes cry me a river so beautiful. All of these chords sound beautiful when used well and dovetail wonderfully with the ‘math’ chords you so foolishly dismiss.

Seriously, just stop being so closed-minded, take a course on music theory and learn that all the music you already love uses these ideas. Even a song as timeless and catchy as Yesterday uses borrowed (i.e. non-diatonic chords) and “jazz” ideas.

Good luck!

P.S. If you don’t take that course, at least look up the definition of “diatonic” you keep using it wrongly

Arena Rock Phase VI: GNR, AC DC, & Wings? [MP3]

So I am really happy with how this one turned out. I think it really shows off my rhythm playing, and how much I’ve learned over the last few months. I also hope that it presents a more challenging listen, as opposed to being too predictable. Uber sloppy, but the ideas are there.

I’m sure you want to know how and where this came from, hmm? Shall we begin?