Paul Kennard asked:
While reading Julia Wood’s Relational Communication, I identified with many of the topics discussed, perhaps none more so than the section devoted to attachment theory. The theory provided me with many new insights regarding my self-perception and my relationships with others. Throughout the reading, I find the theory accurately describing my childhood and my emotions.
According to Wood (2000), attachment theory claims that our earliest experiences decisively influence how we view ourselves, others, and relationships. Wood continues by citing studies by Ainsworth, Blehar, Waters, and Wall (1978) that found that the initial bonding between a child and its primary caregiver, usually the mother, is the first and an especially formative influence on individual’s views of relationships. As a child, my stay at home mom primarily raised me. In parenting, my mother definitely displayed characteristics of the secure attachment model as she consistently responded to me in a loving, reassuring, and supportive way.
My early childhood is consistent with Wood’s analysis of influences on the likelihood that the primary caregiver will exhibit loving, nurturing, and attentive behavior. My family is upper middle class as my father as an attorney was able to financially provide for us without my mother working. However, this situation also provided a down side, as my father was constantly busy with work and other social commitments. With my father, I was not able to form the same bond present with my mother. Early memories with my father are reflections of polar opposites as I remember receiving either high praise for a job well done (usually involving school work) or criticism for failing somehow (usually involving undesirable behavior). The lack of interaction and the sharp contrast present in the limited time we spent together led to the formation of an anxious-resistant attachment model.
Using the attachment theory and its models of secure attachment and anxious-resistant attachment as guides I can look back on my previous experiences and see an inner battle between the models. While growing up, I would have periods that typified behavior predicted by the secure attachment model as I exhibited a confident, positive, secure view of myself and those around me and was open to new experiences and people. However, I also entered periods involving high self-criticism and an over-dependence on how others’ view me.
When looking back, I found that my periods of secure and anxious resistant attachments would alternate depending on the amount of support I would feel from my mother. For example, when we moved to another town, I went through a period in which I was extremely self-critical and modeled myself according to what my new friends perceived me to be. During this time, my mother was busy with our home construction and dealing with my new baby brother, which left less time for me. Conversely, when my mom took the position as my high school librarian I went through a period of extreme positive ness and confidence in others and myself as my mother and I now saw each other often throughout the school day. With the death of my mother a year and half ago, I found myself struggling with my self-perception and my relationships with others. I no longer have a primary positive relationship in my life to seek support from, as my father and I still are emotionally distant. Like Glenn’s reflection in Wood (2000), I have again been developing a more confident, positive view of others and myself thanks to a few very special people that refuse to let me be negative.
I found attachment theory and its models to be very enlightening. This theory is one of the first interpersonal theories in which I see myself illustrating. Understanding attachment theory has helped me to better understand myself and my actions towards others. With my new knowledge, I now can continue to work to find friends who work to combat my anxious-resistant side.
Michael Fletcher asked:
Learning guitar chords, guitar scales, music theory, and guitar lessons all come with the territory of becoming a better guitar player. For some, this can become a tedious task. For others, the process of learning the guitar is an adventure. The issue for many, is how to make the journey of learning and practicing the guitar an enjoyable one.
Learning guitar scales is the only way for one to gain knowledge of melodic structure on the guitar fingerboard. Practicing scales develops left and right hand control, picking technique and awareness of factors such as strength and endurance. If one ever expects to engage in long melodic guitar solos, then practicing scales is the only vehicle to that end.
How often and how long should one practice playing guitar scales? It depends. Beginners should practice for at least one half hour to one hour daily. Experienced players should practice their scales at least one or two hours per day. How about the advanced professional players? Believe it or not, some guitarists practice five, six, and even seven hours per day (myself included, when performance is pending).
All of the information referenced above, also applies to learning and practicing guitar chords. New strength and endurance is realized as a result of dedicated practice of guitar chords. The left and right hands use muscles uniquely different from those utilized and developed by practicing and playing guitar scales. This is all part of necessary development as a guitarist. Guitar chords are essential in gaining awareness of harmonic structure on the guitar fingerboard. When melody meets harmony, beautiful music occurs. However, the real trick is the nexus between the two. Enter the dragon; music theory.
As a guitar instructor (35 years), I would approximate that at least 80% of all of my students (intermediates and professional players) become very nervous when they take the plunge into learning music theory. Especially music theory designed exclusively for the guitar. Perhaps they were confused in the past when confronted with the college blackboard. I’ll bet many readers remember sitting in music class and wondering what the professor meant by all of those chalk marks and symbols that were drawn on the blackboard. This for many, was very intimidating. Further, many can not make the transition between the blackboard and the guitar fingerboard. I have great news. It’s really not difficult at all. In fact, theory is simple when presented and taught in a logical, step-by-step manner. Therein lies the problem. There aren’t many guitar lessons or guitar instructors available that have a professional and contemporary approach for someone who desires to advance their guitar skills and knowledge of music theory.
Are guitar lessons essential? Once again, it depends. We’ve all heard the stories of certain guitar players who rose to the top of the charts without ever taking a guitar lesson earlier in life. This is my favorite type of success story. Why? Because whenever an individual listens and follows his/her inner calling, it’s always a good thing. Many would call it faith (myself included). Others would call it luck (myself included). Some would insist that it is a result of education (myself included). Further, there are those that would call it hard work (myself included). One thing is for sure; there is no magic wand involved here. Mastering any instrument requires a burning desire and an absolute commitment to achieve a desired result.
It really doesn’t matter what your level of musicianship is. What matters is defining your goals as a guitarist. Is your desire, as a guitarist, to be able to play a few songs around the campfire(or wherever)? If so, any local music store will provide you with a guitar instructor who can help you attain that goal. Do you envision yourself playing for thousands of fans in a major concert arena? If so, then seek out the type of educational resources that will help you to achieve that particular level of musicianship and knowledge of music theory. Be very accurate with your goals and desires. Don’t waste time. Life is short. Live it.
No matter what your goal as a guitarist, it all starts with the practice of guitar chords and guitar scales. Remember, a good foundation is essential. Become strong as a player. Educate yourself. Believe me, your audience will appreciate your hard work.
©2008 Michael E. Fletcher.
Desi Serna asked:
General music theory is the study of music - how it’s written, notated, discussed, thought of and played. Guitar Theory is the study of how music theory specifically applies to the guitar fretboard and usually focuses on how all the different components of songs, such as scales, chords and progressions, fit together. It’s a topic best suited for intermediate and advanced guitar players who already know the basics of playing such as chords and easy songs and want to take their knowledge to the next level and navigate the fretboard like the pros. These things are required if you want to be able to improvise, compose, or just understand the music you play better.
The Benefits of Guitar Theory
Many players who don’t understand the inter-workings of music are limited in their ability to apply what they know. For example, a student might learn a new scale pattern from a scale book or a new chord shape from a chord chart but have no idea where it fits into songs. Without knowledge of how something functions it’s pretty much useless.
What Does Guitar Theory Do?
Guitar theory will explain what musical elements are and what they do. For example, a new chord shape might be seen as an extension of a common barre chord. Wherever this common barre chord is played the new shape can be substituted for a new sound. A scale pattern might fit together with a specific chord progression. Each time this progression is used the scale tones can add melody and harmony. In music, knowing how the pieces fit together makes all the difference.
What Music Theory Topics Should Be Studied First?
Music can be approached and studied from many different angels. Guitar players can study notation, technique, rhythms, scales, chord construction and so on. While all musical topics are interesting and have their benefits - mapping out scales, chords and progressions on the fretboard is what ultimately has to be done. If you’re interested in developing this type of working knowledge of guitar theory, then follow the outline below.
1. Guitar Scales
99% of guitar scale work in popular music is based on either pentatonic or major scale patterns. Focus on learning and memorizing these patterns. The pentatonic scale patterns are simpler and easier to apply, so they make a perfect place to start.
2. Guitar Chords
There are literally thousands of different types of chord shapes that can be played on the fretboard but most of them can be traced back to just 5 common open forms. These forms are C, A, G, E, and D. Together they make up what’s called the “CAGED chord system,” which includes arpeggio patterns, inversions, fingerings and voicings.
3. Guitar Chord Progressions
Understanding chord progressions on the guitar and playing by numbers will help you chart and learn songs better. You’ll also better understand the construction of the songs you play and remember more. Chord progressions are also foundational to many other music theory topics including applying scales and playing music scale modes. Progressions stem from major scale patterns. Learn how to build triads and chords using the major scale. When you do this, a major/minor number sequence emerges that is quite possibly the most important foundational concept in all of music. Have you ever heard someone refer to a song by numbers such as 1, 4, 5? The system is all based on major scale degrees.
Conclusion
Hopefully now you have an idea of what guitar theory is, why it’s so beneficial to learn, what it includes and how to get started. With music theory each concept builds on the one before it. Learn things in the right order and everything will fit into place both mentally and physically on the fretboard. Be sure to take your time and allow yourself to fully absorb and apply each subject (this should include learning lots of actual song examples). As you go, light bulbs will turn on in your head and you’ll surely achieve more success and experience more enjoyment as a musician.
Desi Serna asked:
Guitar Chord Shapes
There are thousands of different kinds of chords and chord shapes that guitarists use, but nearly all of them can be traced back to just five basic forms. In the open position, the five basic forms are C, A, G, E, and D. This spells “Caged” and creates the so-called CAGED System. With the proper Theory, each one of the CAGED forms can be turned into a barre chord and moved up the neck. Each barre can be played as an arpeggio pattern which includes even more notes. These arpeggio patterns can then be broken up into all sorts of unique shapes, voicings and inversions.
Guitar Arpeggios
Each major chord in the CAGED system is made up of three notes. With each chord, notes can be repeated, stacked in any order, and played anywhere on the fretboard. Just like learning guitar scales, guitarists must learn how to map out chord-tones on the neck. These patterns of chord-tones are called “arpeggios.” Arpeggios are an important piece to the theory puzzle, specifically learning the guitar caged system.
Chord Inversions and Voicings
Guitar arpeggio patterns show you where all the chord notes are located in each position on the neck. By visualizing all the notes of a chord in a position, a guitar player can then can grab the notes in a variety of ways creating unique shapes and fingerings, inversions and voicings. An inversion, in practical music theory terms, is simply a re-arrangement of the notes from one shape to another. For example, a C major includes the notes C-E-G. These notes are available in this order but only in some spots. In other areas you might find them stacked E-G-C or G-C-E. Each combination produces a slightly different sound or “voicing.”
CAGED Guitar System
When players map out all the notes of a chord across the entire fretboard they end up with a big pattern of notes that covers five positions. This giant pattern runs the whole length of the guitar neck and is very hard to follow. But when this pattern is played one position at a time, practical arpeggio patterns emerge. Reduced to a fundamental chord shape, each arpeggio pattern becomes a common open form. One position resembles an open C chord, the next an open A chord, followed by G, E and D. Hence, the CAGED Template Chord System. So, a little bit of good theory really helps to unravel the mystery to building and playing chords on the guitar neck.
Rhythm Guitar Techniques
Great rhythm guitar players don’t necessarily use strange chords, they just spice up common progressions with unique shapes and voicings. Consider the song “Jack and Diane” by John Mellencamp for example. Each section of this tune sounds different but all sections are variations of the same three chords (A, D and E). By applying a little theory, changing up the inversions and progression, each section has a fresh sound. Understanding this theory and the guitar caged system enables players to learn chords across the whole neck and squeeze new life out of old shapes.
Leigh Burke asked:
Laying out a magazine can me more of a hassle then writing the content for it. One great way to massively cut down on the time it takes to lay out your magazine is by using an InDesign magazine template. Once you learn how to use an InDesign template you will be able to spend less time laying out the pages of your magazine and be able to spend more time writing content for it as well as promoting it. Since time is money both of those things can in turn lead to more profits, so this is a very worthwhile investment.
There are many websites online that sell InDesign magazine templates so it should not be a problem finding one that meets your needs. If you feel that you can not find a template that fits your specific needs then you might consider hiring a freelancer to design the template for you. This is a once off expense that will save you countless time in the future. InDesign templates are simple to use and will absolutely help you save time that you would have spent laying out your copy. Using these templates are fast and simple. You just layout your content as you want it to look in the template.
When you consider how much time and effort you save by using an InDesign magazine template you soon realize what a worthwhile investment they are. By just using a simple layout you are also maximizing how much you are able to fit on each page. If you do not already use InDesign magazine templates and you are looking for a way to save time and money the acquire one today!
Ace Lee asked:
You have to understand two most essential theories in the lottery games if you want to win more in the lottery. The first theory is what I name the frequency theory. The frequency theory is a tried and tested theory that the numbers that have been the most common in the past results are also going to most likely be the numbers that will potentially hit in the next drawings. Now, this is not just some theory that someone made up out of the blue. But it is a theory that has been tried by real data based on the lottery results of the past.
A lot of individuals may be surprised by the idea of the frequency theory because they think that all numbers have the same chances of making in the lottery game. But in reality, reports have consistently shown that certain numbers have better success than other numbers. That’s why you need to lean towards choosing the so called hot numbers instead of selecting the cold numbers.
The hot numbers are the numbers that have been the most frequent in the past results. The cold numbers are the numbers that have been the least common in the previous results. So there are two categories of lottery systems. Some methods encourage you to focus on picking the hot numbers because those schemes follow the frequency theory.
The frequency theory basically means to go out there and select the hottest numbers because those hot numbers are most likely going to win in the future. That has been well tested and a lot of lottery experts have discovered through realistic lottery results, that picking hot numbers does work better than selecting any random numbers.
The second area of thought in the lottery methods is the theory that you should choose the cold numbers. This concept is based on the law of averages theory. Reports have also shown that the law of averages does in fact prove to be true as well.
So it is efficient to select numbers that have been the least common in order to have success in picking the winning lottery numbers. Studies have revealed that choosing either hot numbers or cold numbers is better than picking any random numbers. That is why it is so important to consider the winning numbers of the past and based on those numbers, choose your own lottery numbers.
If you go by the frequency theory, you need to select the numbers that have been the most frequent recognized as the hot numbers. If you want to go by the law of averages theory, you wish to select the cold numbers.
Both schemes work. But my study has shown that it is even better to implement both theories into action. That means you need to choose your lottery numbers from both the hot numbers and the cold numbers to achieve maximum success in the lottery. Therefore, instead of just going for one type of numbers, implement both hot and cold numbers. I have seen many people use this concept to have much more success than choosing from one type of number.
In fact, I have used this same method to get 4 out of 6 numbers. So if you wish to have great success in the lottery, start selecting the hot numbers and the cold numbers starting now. Then, you will see that your results in the future for the lotto will improve dramatically. Good luck and I wish you great success!