Quote:
Originally Posted by mattbn73
If you've played for a very long time, it's difficult to see things as a beginner would. You miss things and assume things , thinking that they're obvious. You don't realize which things need to be explained more until you have someone in front of you asking the question maybe. I always have to rewrite things when confusing points are pointed out by someone other than me.
That's the value of having a teacher live and in person by the way. I think that the above example would be explained very easily and casually if you had the author in front of you. I don't think it's something to fret over . When things get put down on paper there's a tendency to over analyze or assume that it's somehow in some perfect form, or to try to attach "meaning" to each note. I think authors would do well to work things through in workshops or lessons for a little while before publishing or whatever, but for your part, it's helpful to remember that this stuff is not holy scripture.
I would chalk it up to the awkwardness inherent in taking specific musical practices and trying to boil them down to a very basic concept. Things don't necessarily work that way. You compromise one thing or another. The "rules " you're assuming in these beginning lessons aren't rules at all. They're simply artificial limitations to make your understanding easier. It's ironic, because limitations to "simplify" cause OTHER problems apparently.
I really don't think this is something to obsess over. Skip to the next lesson or try playing out the way you think it should be. I think you're going to find that the alternate bass version you're wanting to see won't sound as good.
The first two rules of music theory are:
1. "Does this sound good?" and
2. "Does it sound good?"
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I agree with all that. Having the "Break instructor out of glass in the case of an emergency!" would have helped. Instead, I stopped at that lesson and tried to figure it out before moving on.
I'll try it the way I thought it should be and see how it sounds.