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Wow, old thread. The References tab in Word has a lot of good tools for making bibliographies, including options for different styles (MLA, Chicacgo, Turadbian, APA, and so on).

www.musictheory.net is where I would start.

That's for the 'special' ending!

Richard Hoffman’s got a good one. https://www.amazon.com/dp/0983728704/

Neck Diagrams. http://www.neckdiagrams.com/

I teach how to hold the instrument, how to hold the pick, and how to do a rest stroke for starters. Show that there is a difference between picking individual strings and strumming all/some of the strings. Get her in the habit of practicing the 1-2-3-4 exercise up all the strings (as in...

Let me be clear that I don't know anything about Ligeti's music. However, I have a little bit of general music background and therefore can notice a few things: "Hungarian Rock" is marked as a chaconne, which is a variation form with ancient origins. Chaconnes are based on a repeating chord...

Some insight into the style OP is looking to do would be helpful. There is a lot of metal that is just shifting power chords up and down the fretboard chromatically. Hell, there's a lot of jazz that practically does that. Take the intro of Steely Dan's "Deacon Blues." I put all chromatic...

A lot of the links in my set theory thread are broken due to Photobucket's BS, but I feel that you can apply some concepts from that corner of theory. Find a set you like the sound of and transpose it around, see what kind of combinations you can make. A trichord like (016) or (014) is a good...

Better question: what ever happened to the tiny shorts?

I just created a relevant thread: http://sevenstring.org/threads/hexatonic-and-octatonic-cycles.325391/ Those cycles are a little more formulaic, but you might find a way to use them in your octatonic writing.

I was watching this video and found something some of you might think is cool. Summary of Neo-Riemannian Operations (NROs) P = Parallel (Same root, different quality. ex. C to Cm, or Cm to C) L = Leading tone exchange (If starting at a major chord, the root goes down a half step to become...

TuxGuitar. Musescore also opens GP files, but TuxGuitar's GUI is closer to GP. iPad, I don't know. You can always export to PDF so you at least have the tab.

Just listened to the track. Single note riff stuff, and pretty good at that. I'm not sure that it makes compositional sense to bust out a chord progression, though I can imagine a few possibilities. One thing I would do is pay attention to form.

I can't listen to your work right now, sorry. I'll check it out later. The half/whole mode is closer to the standard tonal harmonic system than whole/half, so i will proceed from there. Let's do this from C. C D♭ E♭ E F# G A B♭ I use those specific spellings to emphasize certain harmonic...

Your method sounds good. In school, we would do all that plus melodic, harmonic, and rhythmic dictation. Of course, performance was also a part of it. Solfège singing, singing rhythms with Kodály and takadimi syllables, some keyboard exercises, that kind of thing.

@prlgmnr, I'm responding to your first reply for the benefit of other readers. You made plenty of good points that I want to comment upon. Beyond that, there is also a distinction to be made between a theory and a method. A theory can either be descriptive (accounts for existing conventions in...

I recently found the Journal of Music Theory Pedagogy and have been reading through the content. I wanted to share Keith Salley's 2007 article, Beyond Chord-Scale Theory - Realizing a Species Approach to Jazz Improvisation, because it articulates many of the points that I like to make about the...

He's looking at chords that contain ♭6 (iv, ii°, and ♭VI) that are not vii°7 or V7(♭9). The "subdominant" label is somewhat arbitrary. Jazz players tend to think of harmonic function in terms of categories: everything is either ii, V, I, or a substitute for one of those chords. IV is seen as a...