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     It seems that scholars from long ago dropped the torch on theory exploration, We have lots of theorys of our own that have been developed with the use of our dynamic worksheets. When you study a chord on the piano it forms a single string graph, On the guitar you have a six string graph... We have come to alot of conclusions which would probably disappoint music scholars, We do however truly beleive that we are picking up the torch...

Dominant Chords - Our theory is that they are chords based entirely on shape, These are the result of combining keys - Any major or minor chord will be found in three different keys...

Minor Scales - We could prove in a congressional hearing that the term 'minor scale' is a redundant reference, Minor scales are in fact modes and should be refered to as such (We strongly feel that teaching it as a 'scale' is confusing - The 'A minor scale' is a mode within the 'C major scale')

Suspended Chords - 'Suspended' chords are closely tied to power chords - Well it turns out that its always the 3rd that is missing which is why we come to this conclusion... In practical sense you just strip the 3rd from an extended chord to make a suspended chord of some sort, the name implies that the chords' extension is 'suspended' when thats not the case...

9th - Add9 Chords - We strongly beleive that WHOEVER started the naming of '9th' and 'Add9' chords got the two mixed up. There are chords that have six or seven tones, One such chord would be "C major 13" which would be all seven tones of the Key of C - You might be able to pull something like that off on a grand piano but proves somewhat difficult on the guitar. Even pentatonic 'scales' have only five tones, Theres a fine line between a chord and a scale.

In 'common' theory the C add9 would be "Take a C major and add a 9" and the C 9th would be "Take a C major and add a 7, then add a 9" - So the add'X' chord has 1 add instruction and the 'X' chord has 2 add instructions....

Harmonic Minor - Well well, Once again we have shown that whats been passed around for decades (common theory) may not be all it is cracked up to be. Our octaves worksheet has helped us crack one more theory, The melodic minor isn't all that mysterious either (coming soon)...

Inversions - The term 'depends on whats in the bass' is a slap in the face to inversions, Alot of complex chords can be simplified and should be. This is mainly when it comes to anything past the basic triad, An 'A minor 7th' should never be confused with a 'C major 13th' - If a chord resolves to a more basic chord, Then do it...