I know like all the open chords, I know the main shapes people use (at least i think i do), I know the E & A strings very well so I know where to place a the root and what shapes to use, i know the minor pentatonic box in the one position, and i also know the triad shapes on the bottom 3 and 4 strings, I dont really like the way the triads sound on the rooted on the E & A string so I didnt really care to memorize those shapes, I also know music theory pretty well, but one thing i find im lacking is the ability to add little guitar phrases/licks to songs, so I feel like the next thing I should learn is how to play the pentatonic scale in more ways then just box 1 or whatever its called?

If I looked up a the chords to a song and lets say the first chord is a Cmaj7, does that mean every instrument including lead vocals and the entire band is playing some combo of C, E, G & B? every key being pressed, every string being strummed, every vocal harmony is all playing one of those 4 notes?

I noticed that for example a Cmin6/A is enharmonically the same as a Am7b5, I completely understand calling it a Cmin6/A in the context of like descending bassline or line cliche situation, but other than that does a Cmin6 with the 6th in the bass actually exist or should it technically just be called a Am7b5?

I understand notating chords as slash chords when its a simple inversion like C/E, C/G, A/E, etc. And I get using them so its easier to read and peform, but would it be better for me for my own personal learning to notate a F/G as a Gsus9 for example? so I can better understand what the chord is actually doing and how it fits in to the music?

I was listening to a podcast lastnight and they mentioned how in the olympics, teams can dress 7 D, and it made me think, what if the NHL allowed teams to dress 15 fowards & 8 D? If teams had 5 lines and 4 pairs to roll, would that impact the game negatively or positively, assuming of course the salary cap is raised even more to account for 5 extra contracts. What yall think?

I was just sitting here and realized X doesnt actually contribute any unique sound, look at words like Box, Fox or Aux. the X sounds like "Kss". Look at Exist, X sounds like "Ghz". Queen and Quick can all be spelt using a K, Kween, Kwick, Every other letter actually has a pronounciation:

A: Ahh
B: Bee
C: Cuh
D: Duh
E: Eee
F: Fuh
G: Guh
H: Huh
I: ihh
J: Juh
K: Kuh (pretty simular to C though I will say)
L: Luh
M: Muh
N: Nuh
O: Ohh
P: Puh
Q: ??? any word I can think of Id spell with a K
R: Ruh
S: See
T: Tuh
U: Uh
V: Vuh
W: Wuh
X: ? I dont even know what sound X makes
Z: Zee

idk, just thought id share, X makes words look satisfying complete and cool though, so maybe thats one reason to keep it, but it doesnt really add anything new, am i wrong?

In the key of D Major, should a G/E be viewed as a G6 in third inversion or viewed as a Emin7. Because the song I'm looking at has a chord written as G/E? so I wonder why not just write Emin7 sinces it could just be viewed as the ii chord? just curious

I really like to breakdown my favourite songs, figure out the keys and analyze the chord progressions. I have this google document where I do this and each mode has its own colour. I write out the chord progression of a song in roman numerals and depending on what key it is I colour all the diatonic chords in the home key and use the colours of the other modes on chords that are borrowed from them, I also have a colour assigned to Tritone substitutions and Secondary Dominants, sometimes I'm scratching my head at how to label certain chords that dont come from any of the common modes, arent tritone subs or secondary dominants. for example the song im analyzing currently is in C# Minor (i think so at least) and goes bVI-v-bII-i(Amaj7-F#min7-Dmaj7-C#min7) for the most part, I coloured the bVI, v & i red as I do with all Aeolian chords, and I coloured the bII dark blue, the colour I associate with Phrygian mode so I can instantly see where a chord comes from. but then later in the song a Ddim7 pops up which in the context of C# Minor is a bii°7, the context its used in is "bVI-v-bII-i-bii°7" and then it loops back to bVI. right now I just have it labelled as a chromatic passing chord, but I wonder if this is something I should fix and maybe go deeper into theory and include more modes because there is probably some weird diminished scale that a bii°7 diatonically belongs to, or is labelling it as a chromatic passing chord valid?

I am getting kind of annoyed with voice leading, I can re-arrange notes so that each note in a chord moves the smallest distance to the nearest note of the next chord, but I don't get the sound im after. And I wonder if good voice leading is just accepting defeat and changing a chord to a different chord or using a different type of the chord? Attached are screenshots of a G#min9 to C#min11 in basic root position and stacked vertically in order and how I tried to re-arrange the notes below.

This is the BEFORE, both chords in root position with the extensions stacked vertically in order (R,3,5,7,etc.) I left out the 9th in the second chord to keep both chords containing the same ammount of notes, so maybe that was my first mistake?

This is one option, probably not a very good one, 2 common tones but arranged like this it would be harder to play because instead of the B staying put, the B would have to jump up a 2nd to C# and the G# would jump a 3rd to B

This is probably the best way I could arrange the notes, 3 common tones, the D# jumping up a halfstep to E and the A# going up a 3rd to C#, but it still sounded weird to me

Actually I think this was the best sounding one I could come up with, but I feel like a Major 3rd is considered too big of a jump?

I don't know why, but I must be doing something wrong, this is just one example but often I find it difficult to make certain chords sound smooth going from one to another, maybe I need to utilize passing chords more to help bridge the gap between chords? or maybe I need to change the quality of chords to make voiceleading better, someone please help save me from this.

What are some of your favourite ways to voice a chord/spread out a chord voicing out over 2 hands. If you were to sit at a keyboard and play a chord in a way that sounds so lush and professional that it would get your creative juices flowing instantly and inspire you. I'm still pretty new to playing keyboard but I mostly just play the 1st chord as a root position and what I believe people call a tertian stack and then play the following chords in whichever inversion gives me the smoothest voice leading, but I'd like to know some other ways people start a song and play a chord

I like to rest my thumb at the top of the neck so I can mute the E and A strings easily for chords that require them muted, but the only problem is that obviously means my fingers cant come down at a steeper angle and my finger pads can mute or dull the string below. So how do I navigate this? should I practice strumming more accuratley so I can swap between strumming and only hitting the bottom 4 or 5 strings without hitting the E or A strings, I cant always reliably/consistently use the tip of my finger to mute a string like muting the E string with my index tip because the most important thought I have in the miliseconds of time you have between chord changes is just fretting the note. before worrying about anything else

I'm going to try not to ramble too much and put it simply. I have this song I was working on, I have a really good sounding mix from a year or so ago, only problem is we decided to add more elements recently, so I figured it would be as simple as reworking in a few small changes into the session, to fill in areas of the frequency spectrum that had not much going on anyway, only problem is I guess we went back into the session after that one bounce and made some changes, I believe they were level changes because the vocals sound too loud, the music sounds too quiet. etc. unless there is a way in Pro Tools to return to the state of a session for every bounce which probably doesnt exist because im not that lucky, whats the best way to get as close as possible? i was thinking to take the good mix, use ai stem seperation to get the main stems and just measure the lufs or rms of each stem and try to match the levels in the session? or just try and get as close as I can with metric AB. any other ways to go about this? and also any advice on how to avoid this happening again? should I be making a copy of sessions for each bounce?

Is it better when playing piano to keep the ammount of notes being played the same, for example if you had a rhodes adding sustained chords and the first chord you play you have 2 notes in the left hand and 3 in the right hand, is it best to stick to that same ammount of notes throughout the rest of the chords? so not go from 2 and 3 to 2 and 4 on the nexr chord? especially for clean smooth professional sounding voice leading?

All I can see is the option to label all notes, root notes or no notes, but can I change the labels of the keys to be specific to the Key im in?

This should be out man...

I have a song that I love the Mix of, but its sitting at -10.3 LUFS, when I listen to the mix it sounds great to me, but ideally I'd want it to be maybe around at least low 8s high 7s. It's an older song and I'm more of a tracking engineer but I really like the mix I did, it sounds good. but having said that I probably didnt do the things a lot of loudness minded modern mixers do like compressing every single element even if its just by a db. I'm essentially asking if anyone can give me some quick tips/advice to get the mix a bit louder ideally between -7.7 to -8.5 LUFS. I just like how the song feels like its breaths right now so I dont want to kill the transients or ruin the dynamics, but I want it to be just a little louder. I should mention its also -10.3 LUFS assuming I keep the god particle limiter engaged. I also want to say that I know that its perfectly okay to put out a song at -10.3 LUFS, but I just want to see how a slightly louder verision might feel and sound, if it really doesnt help, ill probably just stick with the current mix. Thanks

Wondering if anyone has had a sunspot (solar lentingo/pigmentation spot) successfully removed in the GTA?
If so:

Where did you go?
What was the process?
Was it successful?
How much did it end up costing?

Thanks