Thank you, Mr. G! I always wished that I could take a music theory class, and you are giving us a good start on this. I appreciate you putting the cookies on the bottom shelf for us, and as I work through the beginner path, I’m looking forward to learning more along the way.
Discuss the lesson: Intro to Music Theory Part 11- Major Scale Studies
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I cannot thank you enough the way this series is explained is brilliant . I finally understand music theory the concept anyhow . this whole series has explained so much that seamed so complicated . that is infact not so difficult to understand
Thanks
Bryon
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I am a complete music and banjo novice. I cannot thank you enough for these simple building blocks. I cannot profess to "get it " completely yet, but wow! I so “get” a great deal of it and some things I never understood I now understand. It has helped my playing enormously!
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I apologize if this is an inappropriate question. I just joined, and when I try to get to community guidelines it just spins. I have watched all the theory videos, and perhaps missed this, but I was wondering—if the banjo is primarily in G, and the major chords are G, C, and D, why is there a B string instead of a C string?
You’re question is fine!
“Standard” tuning for the banjo is in the key of G.
The major triad for G chord ( 1, 3, & 5) is G, B, D.
When you play all strings open you are playing a G chord.
If you had a string tuned to C it would not play the desired chord when strummed.
Does this help explain it?
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Welcome @detracy1!
Please, keep the questions coming because that is how we all learn collectively. Also, those that explain the answers get practice on HOW to answer most effectively - so everyone wins!
Post often, my friend!
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Great videos, but I am confused on one thing: Mr. G states that the chords are made up of the 1st, 4th and 5th semitones, but chords are built off of the 1st, 3rd and 5th root notes. Can anyone clarify this? I must be missing something. Thanks.
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Hey @neoatheos11, welcome to the forum! The chords themselves aren’t made up of the 1st, 4th, and 5th tones; however, the 1, 4, and 5 chords are the main chords of a major key. The major chords themselves are made up of the 1st, 3rd, and 5th notes. For example, the Amaj chord is made up of the notes A (1st), C# (3rd) and E (5th) notes, but the most common chords in the key of Amaj are A (1, or tonic), D (4th) and E (5th). Each of these chords has different notes that make them up- Amaj is made up of A (root), C# (#3rd), and E (5th), Dmaj is made up of D (root), F# (3rd), and A (5th), and Emaj is made up of E (root), G# (3rd), and B (5th). However, if you were to play a song using the 1, 4, and 5 major chords in each of these keys, you would use the major chords corresponding to the 1st, 4th and 5th notes of the major scale of that key. Hope that answers your question!
-Michael
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This helps, thank you. So I understand, the key of C consists of major chords C, F and G according to the 1,4,5 method, correct?
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Yes, C, F, and G are the 1, 4, and 5 chords in the key of C. 
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Just adding in that C, F, and G are the 1, 4, and 5 natural Major chords in the Key of C Major.
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i just want to know what is the minor scale formula: WHWWHWW ? also, does the “1,4,5 is major and everything else is minor (with the diminished little 7)” still apply? or does it change? im slowly getting more comfortable with the theory as i make my way through the lessons and watch them over and over. and ive made it to the minor chord study lesson in mandolin and it made me think of this question. if u help me answer this please simplify it best u can, if possible haha(i realize its not that easy sometimes). for now i just want:
- the minor chord formula
- which notes will be major/minor (if the dead monk rule is still applicable)
Well, there is only one “type” of major scale but several minor scales, which determines what the 4 and 5’s are 
Check out this article: https://www.aboutmusictheory.com/minor-scales.html
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great article and resource! just what i was looking for. appreciate the help 
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I’m a new member as of this week and just starting the series of lessons. This one on Music Theory was excellent.
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I started last week and I really liked the chord and key theory. I was trying to figure out whether I could recognize the tones om my guitar for the various chords, following the 1-3-5 rule. Surprise surprise, of course it was spot on. Great!
Now I wanted to understand the Logic of the 7chords, like D 7 and G 7. It seems that the 7 refers to the 7th tone in the chord that comes into play, however I keep on bumping into the fact that reality does not seem to follow this logic completely. E.g. In a D7 chord I would expect a C sharp (following the wwhwwwh theory), however in reality you play a C natural. In G7 chord I would expect a F Sharp, but in reality you play F natural. Can you help me out with the logic on 7 chords? Thanks a lot!
In a 7th chord the 7th tone is flatted
In a Major 7th chord you would play the Major seventh (not flatted)
this help?
Dave
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To add to what Dave said… that is why 7 chords make you want to resolve them… That minor 7 note doesn’t sound peaceful. It sounds a bit dissonant. Make the 5 chord a 7 chord and my ear really wants to resolve to the root.
I sometimes use this fact when I changing keys between songs. Let’s say I finished a song in C and I am switching to G. Instead of going straight to the G chord progression after playing the final chord of the song in C, I’ll play a D7 and let it ring, and then my ear easily changes to G,
This may have already been covered, but if you squint a V7 can also be looked at as the diminished chord of the vii played over the root of the 5. You mentioned a G7. Lets say we are in the key of C, The G note would be the five chord root. The vii (dimished chord) of the key of C is B D F. Play that over the V root (G) and it really wants to come home to the root key of C.
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And to add, a 7 chord (not including a major 7), is often referred to as a dominant 7.
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You all helped me out!
Thanks!
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