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My own question is, was the Camel that great, or was it simply Snoopy’s aircraft?Like many aircraft during the “Great War,” the Camel was a development from earlier designs. But it wasn’t just a development from the Pup which was a good fighter for its time in 1916. One of its best features was its synchro system which allowed its single gun to fire through the propeller. The previous year the Fokker E-1 introduced the concept and effectively won control of the air because of it.Though they were introduced the same year of the war, the Nieuport 11 is generally given credit for taking back the skies from the E-1 in 1916. Both planes (Pup and 11) introduced single gun synchro for the allies. But then came the Albatross D-1 with twin machineguns and the situation turned again. The Allied plane makers went back to the drawing board and even more designs came forward. One of the best, but still limited, was the Sopwith Triplane.The Triplane was highly maneuverable, so much so that the Germans ordered a copy in the form of the Fokker Dr-1. No German plane could beat it in a dog fight, its only limitation was the synchro system then available still only allowed one gun. So though highly maneuverable and easy to fly the Sopwith Triplane was destine for replacement when the Camel, and its twin guns, came out in 1917. And yes, in that one year it shot down some 1, 294 Enemy Aircraft compared to the earlier Pup, triplane and numerous other allied fighters.But by 1918 it was completely obsolete. The Fokker D7 chewed Camels up for breakfast and the D8 was even worse. In just five months of service the Fokker D7 shot down 565 allied fighters, Camels included. Allied hopes at the end of the war rested on the Spad XIII, SE-5A and the Sopwith Dolphin. The Sopwith Snipe, the true successor to the Camel not reaching the front until the Armistice in November.Again, is the Camel remembered because it was the best allied fighter at the end of the war? or is it because such planes as the Spad XIII, SE5, etc have no media presence in movies or literature. Do people even remember that the Armistice required the Germans to surrender every Fokker D7, by name. No we remember the Fokker Triplane DR-1, the plane the Red Barron was killed in while pursing a, thats right, a Sopwith Camel. Most of the Barron’s kills were flying Albatross fighters.

Try putting them together to play an actual song. Make sure you keep a constant rhythm, makes sure every note in every chord rings cleanly, and make the changes between chords clean.Speaking in general, learning to play guitar is a “journey”. . .they are a lot of things to be learned, more than any individual can ever learn in a lifetime. . .and they don’t necessarily have to be learned in a particular order.If you’re looking for technical things to work on, here is a PARTIAL list of things to consider to move forward:-You say you know open chords? How well? Learn EVERY one of the following and be able to smoothly play each and switch between them on demandA, Am, Asus2, Asus4, A7, B7, C, C7, C9, C/G, D, Dm, D7, Dsus2, Dsus4, E, Em, E7, F, Fmaj7, G (using 2–1–3 AND 3–2–4 fingerings) G7.BTW, these are all pretty “basic” chords. There are harder and/or more esoteric ones.-Work on learning to read standard music notation. Yes. . . I know you don’t “want” to”. . .do it any way, and thank me later in 10 years.-Learn to play a C major scale in first position, using open strings.-Learn to play a C major scale in THIRD position (no open strings), using ALTERNATE PICKING.-Learn to play an A minor scale in fifth position.-Learn to execute slurs (pulloffs and “hammer ons”). Make sure you do this with EVERY finger on the left hand, using the index finger to slur open strings.-Learn barre chords.-Learn to bend notes, blues style.-Learn to play simple arpeggio patterns with a pick. . .or better yet, your fingers. If you’re even semi-serious, go check out the Giuliani arpeggio etudes.These things ought to keep you busy for a little while. . .After you’ve mastered ALL of above, you’re ready to start to learn to play guitar ;-).

Because a majority of music relies on functional harmony, determining the mode of a scale is easiest to figure out by looking at harmony. A majority of songs will end on the chord with tonic function, so that is probably the quickest way but not reliable all the time especially once we’re looking at more complex music. The best way is to take a complete musical phrase, and look at the harmony throughout it. Most pop songs use three and four chord progressions so for an example I’ll use that. Take this progression. G-C-Em-D7. This is about as cut and dry as it gets. We have G major as our first chord with tonic function. C has predominant or subdominant function, moving as away from our tonic, Em is tonic function but less at rest than our G is this context, adds color. D7 has dominant function meaning it feels uneasy and wants to resolve, and it resolves down to G to repeat. Often it gets more complex when you start using secondary dominants and ii-Vs in general, but this is a good thing to look at. This progression is modally ambiguousEm-C-G-D7Same chords, but in this order they feel oddly minor. This is the notorious I-V-Vi-IV progression, but instead we start on Vi, so what our key center is entirely based around context elsewhere in the song.For bonus fun:Cmaj7#11-F#dim7-Gmaj7Same scale, but a colorfully unsatisfying lydian progression.In a majority of songs it will be not too difficult to figure out what tonality you are in.