Don’t Wait Too Long – Madeleine Peyroux

Below you find the lyrics for Don’t Wait Too Long by Madeleine Peyroux, but what do they mean?

Comment below to let us know what Don’t Wait Too Long lyrics means to you!

Don’t Wait Too Long Lyrics

You can cry a million tears
You can wait a million years
If you think that time will change your ways
Don’t wait to long

When your morning turns to night
Who’ll be loving you by candlelight
If you think that time will change your ways
Don’t wait to long

Maybe I got a lot to learn
Time can slip away
Sometimes you got to lose it all
Before you find your way

Take a chance, play your part
Make romance, it might brake your heart
But if you think that time will change your ways
Don’t wait to long

It may rain, it may shine
Love will age like fine red wine
But if you think that time will change your ways
Don’t wait to long

Maybe you and I got a lot to learn
Don’t waist another day
Maybe you got to lose it all
Before you find your way

Take a chance, play your part
Make romance, it might brake your heart
But if you think that time will change your ways
Don’t wait to long
Don’t wait
Don’t wait

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For those of you who just can’t stop asking yourself: but why?!?, might have looked at the stave in the last couple of music theory lessons and said:

• Why is C on a ledger line?
• What does the clef actually mean?
• Aren’t there other clefs as well?

And you would be right, let’s clear this up as well since the clef determines everything we do on the stave!

The clef we use as guitar players is called a treble clef. When we start drawing this by hand, we start on the second to lowest line of the stave and draw out.

This line is where the note G will be.

In some countries the treble clef is therefore called a “G clef”.

But there are also other clefs, the bass clef for example starts on the second to highest line and that note is an F, but two octaves lower than where the treble clef indicated its G.

This F is on fret 1 on the guitar so there is no point for guitar players to use this clef since almost everything we play would be above that system.

On bass on the other hand, the majority of its range sits perfectly well on the stave using a bass clef or “F clef”, what the bass player reads as an F sits where the D is on guitar!

The Guitars range on the stave

The guitar has a huge range, below you can see how the low E starts several ledger lines below the stave and ends several above.

Not all guitars have the same amount of frets, 24 fret metal guitars for example go all the way up to E, spanning 4 octaves.

Most guitars however have 3 octaves and a bit available.

In the picture below we go from a low E to a high G.

Playing in different octaves

The 8va sign is used to allow us to write on the stave, so it’s easy to read, the 8va sign then tells us to: play this an octave up.

Similarly there is an 8vb tells us: play this an octave down.

The system below further explain this.

How much you end up using the 8va sign and how often you use ledger lines is up to you, most sheet music you’ll end up reading, if you really get into this, will be your own!

-Dan (your guitar guru)

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Angel Eyes – Matt Dennis

Below you find the lyrics for Angel Eyes by Matt Dennis, but what do they mean?

Comment below to let us know what Angel Eyes lyrics means to you!

Angel Eyes Lyrics

Try to think that love’s not around
But it’s uncomfortably near
My old heart ain’t gaining no ground
Because my angel eyes ain’t here

Angel eyes, that old devil sent
They glow unbearably bright
Need I say that my love’s mispent
Mispent with angel eyes tonight

So drink up all you people
Order anything you see
Have fun you happy people
The drinks and the laughs are on me

Pardon me but I got to run
The fact’s uncommonly clear
Got to find who’s now number one
And why my angel eyes ain’t here
Excuse me while I disappear

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Preview Music Theory eBook!

In Music Theory you learn about the history of music and how the first intervals and scales came about. From this perspective we learn:

• How to create chords on the stave
• How to create modes on the stave and the fretboard
• How to build arpeggios on the stave and the fretboard
• How to spot what key we are in
• How to change key
• How to read music on the guitar

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History of music

Starting in ancient Greek the first notes, intervals and modes were discovered.

Thousand of years later we end up with the major scale, the stave and key signatures.

This journey wasn’t without hick-ups, get the whole picture in Music Theory!

See the whole picture

By seeing music on the stave it is not just easier to understand modes, arpeggios and chords, we can also communicate this knowledge with any musician, no matter what language they speak.

Sheet music is a universal language that few guitar players speak, you can become the exception!

Reading music

Most guitar players give up on sight reading because they don’t understand what to focus on.

It really doesn’t have to be that way, reading music is actually not that hard, as long as you know what you are supposed to practice!

Tones and Semitones describe scales!

Instead of seeing all intervals in relation to the root we can take our seven notes and look at the distance from one to the next.

This is described in intervals of Tones and Semitones, or Whole steps and Half steps if you are American, not English.

Describing the major scale in this way we get:

1 (T) 2 (T) 3 (S) 4 (T) 5 (T) 6 (T) 7 (S)

We can see that between the 3rd and the 4th we have a semitone as well as between the 7 and octave.

On the guitar it looks like this around fret 3 and 15 in C major.

On the piano in C major it would look like this:

Every instrument in the world that use the major scale will have a unique twist on how the scale is displayed, how it changes in order to play the same scale, but in a different octave or key etc.

Consequentially, when you learn an instrument, you have to learn how to finger the pattern of the major scale in order to have a frame work to play sheet music from.

It’s important to understand that it is only the piano that has this incredibly clear view of C major when you look at its keys.

Perhaps it is because of this that music theory is often taught with the starting point of “all white keys on a piano is C major”.

But as you know now, music is created from a series of natural intervals, not letters of the alphabet!

It’s the piano that has adjusted to the way music work, not the other way around!

Name the notes

So far we have established that it is not 12 notes between an octave but a series of intervals that after thousands of years of development got specified and named using letters.

This journey wasn’t without hiccups either, for example, in Sweden they used to call the note B H and the note Bb B, some actually still do!

The formal explanation for this was that the note H sounds harder than Bb, which is basically a way to complicate something that was pretty difficult to grasp in the first place…

Anyway, replacing the 1 2 3… with notes of C major we would get this:

C (T) D (T) E (S) F (T) G (T) A (T) B (S)

On the stave it looks like this:

It is from this benchmark that music is written and read as well as how the remaining notes of the 12 note chromatic scale are discovered.

In this series of music theory lessons I will discuss how to change from C major on the stave using sharps and flats but we shall see how the pattern on the guitar remains the same.

On the piano on the other hand, it would look completely new!

All instruments have unique ways to deal with key signature changes in practice, but can with sheet music communicate with each other.

It is because of this that you need to learn how traditional music theory work on the stave as well as on the fretboard.

Without this it will be very difficult to communicate with musicians playing other instruments than guitar.

In the next lesson, we’ll have a look at how the stave and the clef work!

-Dan (your guitar guru)

PS. Do you want all Music Theory lessons in one handy eBook, complete with sight reading exercises?

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Blowin’ In The Wind – Bob Dylan

Below you find the lyrics for Blowin’ In The Wind by Bob Dylan, but what do they mean?

Comment below to let us know what Blowin’ In The Wind’s lyrics means to you!

Blowin’ In The Wind Lyrics

How many roads must a man walk down
Before you call him a man?
Yes and how many seas must a white dove sail
Before she sleeps in the sand?
Yes and how many times must the cannonballs fly
Before they’re forever banned?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

How many years can a mountain exist
Before it’s washed to the sea?
Yes and how many years can some people exist
Before they’re allowed to be free?
Yes and how many times can a man turn his head
Pretending he just doesn’t see?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

How many times must a man look up
Before he can see the sky?
Yes and how many ears must one man have
Before he can hear people cry?
Yes and how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

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Sheet music is based on the Major Scale!

In the last music theory lesson we learned about overtones and how these ended up creating a scale we today call Lydian.

Thousands of years later we ended up with the major scale and it is from here that sheet music enters.

Sheet music itself is based on these 7 notes, it would be impossible to read without knowing it.

The 7 notes we today call Ionian, or “the major scale”, ended up having these intervals:

1 = Root
2 = a tone a way from Root
3 = a major third away from Root
4 = a fourth away from Root
5 = a 5th away form Root
6 = a natural 6th away from Root
7 = a maj7th away from Root, or seen from octave, a semi tone below Root.

The major scale in Sheet Music

This means that the five lines of the stave, without any sharps or flats have a semitone between the first gap (E-F), the middle line and the gap above (B-C) as well as the top gap and the top line (E-F again)

All other lines and gaps on the stave have a tone between them.

Can you see how without this fundamental knowledge of E-F, B-C being only a semitone apart, sheet music wouldn’t make any sense?

Without that piece of information, it would be easy to assume that the distance should be the same from a line to a gap throughout!

Why 5 lines?

You may now be asking yourselves; why 5 lines, that’s why there’s the strange difference, couldn’t this all have been done in a better way, with a different amount of lines on the stave?

Perhaps, but the reason there are only 5 lines on the stave is because of how notation started out, the choir leader would use his hand and 5 fingers to point out what note he wanted his choir members to sing!

-Dan (your guitar guru)

PS. Do you want all Music Theory lessons in one handy eBook, complete with sight reading exercises?

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Roxanne – The Police

Below you find the lyrics for Roxanne by The Police, but what do they mean?

Comment below to let us know what Roxanne’s lyrics means to you!

Roxanne Lyrics

Roxanne
You don’t have to put on the red light
Those days are over
You don’t have to sell your body to the night

Roxanne
You don’t have to wear that dress tonight
Walk the streets for money
You don’t care if it’s wrong or if it’s right

Roxanne
You don’t have to put on the red light
Roxanne
You don’t have to put on the red light

II: Roxanne, put on the red light :II x5

I loved you since I knew you
I wouldn’t talk down to you
I have to tell you just how I feel
I won’t share you with another boy

I know my mind is made up
So put away your makeup
Told you once I won’t tell you again
It’s a bad way

Roxanne
You don’t have to put on the red light
Roxanne
You don’t have to put on the red light

You don’t have to put on the red light
II: Roxanne, put on the red light :II x9

You don’t have to put on the red light
Roxanne, put on the red light
You don’t have to put on the red light
II: Roxanne, put on the red light :II x3

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Every note has Overtones

Every note created by a string (as discussed in the last music theory lesson) not only has the note you hear, it also has harmonic overtones.

These natural overtones of a note are the 3rd and 5th of that original note.

This means that, should you have three strings playing:

1. First string play the root
2. Second string 5/4 in length, playing the 3rd
3. A third string at 2/3 in length, playing a 5th

Then these notes share the same overtones and when played at the same time, a most pleasant harmonic sound appear: a major triad.

The Major and Minor clash

Should you change the third to a minor third, or 6/5 rather than 5/4 in length you would get a minor chord, however, the major 3rd is still present in the overtones of the Root.

This means that you get a clash between the natural overtone of the Root (a major third) and the minor third. This clash makes us experience the interval as “sad”, whereas when the 3rd was major, and it’s overtones perfectly repeated, we heard a “happy sound”.

The 3rd is as common in major and minor through out the chords we form when harmonizing a scale (more on this later).

Using the formula of repeating the natural overtones and then building new triads off those notes, we wouldn’t actually form a major scale, instead we have these notes created from that first major chord, and from now on I’m gonna use the note C a my starting point:

C Major Triad: C – E – G
E Major triad: E – G# – B
G Major Triad: G – B – D

Add them all up and we get this peculiar scale:

C D E ? G G#/Ab B

So there is no 4th and the A is flattened if we compare it with the standard major scale:

C D E F G A B

Two debates grew out of this:

Should the missing F be F or F#?
There’s a tone and a half gap between Ab and B, all other intervals are either a tone or a semitone away from each other.

So in ancient Greek times they simply raised the Ab to an A and decided to use an F#.

This gave us this basic scale:

C D E F# G A B, what we today call Lydian, a major scale with a #4.

Lydian as home

Lydian, to the Greeks was like major (Ionian) is to us today, it was seen as the home scale from which everything else was built.

This actually made complete sense since if you build all modes from this, the Lydian scale would feel the brightest, being the only scale with a # interval in relation to Root.

Putting Lydian first, we could describe the modes as going from sounding bright to sounding dark:

• Lydian, one sharp, the #4
• Ionian, no sharps or flats
• Mixolydian, one flat, the b7
• Dorian, two flats, b7 and m3
• Aeolian, three flats, b7, m3, b6
• Phrygian, four flats, b7, m3, b6, b2
• Locrian, five flats, b7, m3, b6, b2, b5

However, after a few more thousand years of debate, a switch was made and music composed in Ionian as our home was what we all accepted as sounding most natural, at least in the west!

Sheet music has since this change been based around the underlying rule of the major scale in C major being our home.

For the modern guitar player this evolution of scales and sheet music means:

Without understanding that it is the Ionian mode that sheet music is built around it would be impossible to read and write music on the stave.

Without being able to play the Ionian mode in all positions on the guitar neck it would be impossible to read music.

-Dan (your guitar guru)

PS. Do you want all Music Theory lessons in one handy eBook, complete with sight reading exercises?

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Hey There Delilah – Plain White T’s

Below you find the lyrics for Hey There Delilah by Plain White T’s, but what do they mean?

Comment below to let us know what Hey There Delilah’s lyrics means to you!

Hey There Delilah Lyrics

Hey there Delilah what’s it like in New York City
I’m a thousand miles away
But girl tonight you look so pretty, yes you do
Times Square can’t shine as bright as you, I swear it’s true

Hey there Delilah don’t you worry about the distance
I’m right there if you get lonely give this song another listen, close your eyes
Listen to my voice it’s my disguise, I’m by your side

Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me
What you do to me

Hey there Delilah, I know times are getting hard
But just believe me girl, someday
I’ll pay the bills with this guitar
We’ll have it good, we’ll have the life we knew we would
My word is good

Hey there Delilah, I’ve got so much left to say
If every simple song I wrote to you
Would take your breath away, I’d write it all
Even more in love with me you’d fall, we’d have it all

Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me

A thousand miles seems pretty far
But they’ve got planes and trains and cars
I’d walk to you if I had no other way

Our friends would all make fun of us
And we’ll just laugh along because
We know that none of them have felt this way

Delilah I can promise you
That by the time that we get through
The world will never ever be the same
And you’re to blame

Hey there Delilah you be good and don’t you miss me
Two more years and you’ll be done with school
And I’ll be making history like I do
You’ll know it’s all because of you
We can do whatever we want to
Hey there Delilah here’s to you, this one’s for you

Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me
Oh it’s what you do to me
What you do to me

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