#16
|
|||
|
|||
Quote:
I'm having a ball with theory now, but then I'm a fairly technical sort of person and learning the whys and wherefores appeals to me. |
#17
|
||||
|
||||
For me theory tells me the probability of what comes next in a tune. I'm a structure guy. If I understand the structure of a tune it frees me up to embellish and give the tune life. When creating tunes I know what the most likely options are. Though my knowledge is minimal what I chose to have learned serves me well. Learning by rote is not for me.
__________________
Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#18
|
|||
|
|||
if your playing scales right now you playing will get much better once you learn what notes not to hit. That comes with learning theory .
|
#19
|
|||
|
|||
Hi,
I've been playing guitar since, I suppose, the mid '60s. In learning to play guitar, then Dobro, then mandolin - I did everything "wrongly". I just "picked it up" - couldn't even get on with taking guitar lessons - as one teacher sagely said - "you are one of those people who can't be taught , but you will learn". That has proven to be true, but I'm sure it was the long way round - and the problem it has left me with is the way that musical information has penetrated my think skull - I simply don't perceive music as tadpoles on telegraph lines, or even tablature. For me both systems need at least a double action translation, like speaking German via English, to French, to Latin to etc. However, if I close my eyes whilst playing I "kind of" see the music in my head - I can't explain this better. I have learnt some aspects of theory which was explained to me in a very different way - - in a mathematical way: The most revelatory thing was to learn (by working it out on spreadsheets!) Harmonising the scales, and by thinking more about scales using the numbering system rather than the notes. I am currently struggling with a way to leanr the phrygian scales because I love the way it can be overlaid on ordinary western/country playing. Having lost my singing voice due to cancer treatment, I've been thinking that maybe I should learn all those old bluegrass/fiddle tunes that I've studiously avoided for so many years, but most are learnt either by one to one teaching and/or by using tablature, but it is agony for me. Sometimes gong to bed thinking about a tune or song works .......
__________________
Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#20
|
|||
|
|||
Quote:
One really important, foundational (and not the simplest) theory idea we all learned in the 1st grade or so is the do-re-mi major scale. Most people can reproduce it vocally and instrumental beginners can often pick it out very early on their instruments. The sound is music, knowing how to make it and what to call it is theory. Substitue 1,2,3 for do-re-mi and you've got one of the big keys to the kingdom! Most folks who've been playing for a bit have already acquired a chunk of knowledge in terms of sounds they know - chords, chord changes, minor vs major, 7th; note length, harmony (e.g. vocal or other), etc. That's the music part. The theory is just knowing what all that stuff is called and why. |
#21
|
||||
|
||||
Quote:
So you are learning theory in a random, and convenient (to you) manner. I found Music Theory in college (my major was music education) a 4 year dedicated path to learn a lot more than most musicians want to know about music. The benefit is I can read notes, scores, chord charts, Jazz charts, TAB, Nashville numbering, and figured bass. I can improvise, compose, and know chord theory, scale theory etc. Each is a language that sometimes ties into and overlaps with another. The result is I can quickly fit into about any ensemble situation, because I probably speak their language (which is what theory brings to the table) and we can make music together more quickly. If your needs are not that great, then your method is probably fine. If you ever decide to do more than dabble in theory I suggest you take a basic piano course (if you don't already play piano) and then a basic theory class from a community college in your area. Theory is so much simpler to understand on keyboards than on guitar necks. |
#22
|
||||
|
||||
A lot of what is being called "theory" is actually rote memorization. Perhaps thinking of it that way is more realistic and useful when working on such as scale patterns. Theory comes in at a deeper level when you start to consider alternatives in playing something - why, in your opinion, you choose to play in this or that way.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#23
|
||||
|
||||
I agree music theory can rack your brain. I think it is useful though to know some of the basics and I agree that it also depends on what your goals are.
Some good stuff in this post. Just comes down to what you want to achieve and where you want to go. That is the beauty of music, you make it what you want and get out what you need form it. |
#24
|
|||
|
|||
I guess I am somethinf a music geek. Now, I'm sure no theory expert, but I have managed to learn quite a bit, and as well as being helpful, I really find it interesting. I am interested in understanding how music works, why some things sound good and some don't, what makes a diminished chord a diminished chord, etc. Just how my brain works.
__________________
"Life is what happens when you're busy making other plans."-John Lennon 2015 Taylor 512ce 12 fret early 80's Ovation Ultra 1517 2011 Seagull Entourage Rustic 2011 Taylor Limited NS214ce 2010 Taylor 512c 2016 Ibanez AG75 2014 Taylor GS Mini Koa e 2018 Loar LH 301t 1998 Breedlove Fall Limited # 10 of 20 Redwood/Walnut Last edited by jeanray1113; 10-20-2017 at 10:02 PM. Reason: Found mistakes |
#25
|
|||
|
|||
We don't need no educaition!
__________________
"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon |
#26
|
|||
|
|||
In my mind there's "practical theory" ... those things we use all the time in performance and composition. Then there's "academic theory" ... the arcane stuff that music pedants have heated discussions about, and use as clubs to hold back those who have only mastered the former.
|
#27
|
||||
|
||||
Quote:
Thoughtful listening and ear development are primary. Being able to grasp the generalities from the specifics will be faster with concurrent attention paid to the system of conventions being used (occidental music our case).
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#28
|
|||
|
|||
When I was young, I decided to avoid music theory as much as possible. Through the decades I did OK on guitar without the ability to read music, making a living at clubs etc. I'm now retired, and play in a Church band. As the amount of free time increases for me, I find myself more and more fascinated by not just guitar and performance, but by music itself. The result is that
|
#29
|
|||
|
|||
Just considering the half-steps and whole steps is a great way to train your ears... and it certainly IS theory of a sort... even haphazardly.
After stringently avoiding any theory or harmony for nearly 3 decades, I finally was "baptized" into the Berklee School of Music approach, now some 40 years ago... One thing: I think a lot of folks "mystify" harmony and theory... it isn't all THAT difficult. After all (as one reply stated), almost all of us already know the do-re-mi sequence (which is a diatonic major scale, by the way...). Using a Roman numeral template expands that do-re-mi to cover EVERY key in Western Music. (... and I'm not a rocket scientist... BUT I AM the son of a rocket scientist!) You can take it as deep as you want (or need)... but the basic building blocks are that "do-re-mi" stuff... After finally learning a bunch of advanced harmony and theory - the stuff that jazz brings to the table - I came to realize that learning theory and harmony is very much like learning to speak French, WHEN YOU LIVE IN FRANCE! VERY useful when relating to other musicians and learning/writing songs... Biggest thing, of course, is that you are happy playing the music you play... that is paramount! Enjoy!
__________________
"He's one of those who knows that life is just a leap of faith. Spread your arms and hold your breath, always trust your cape..." "The Cape" (Guy Clark/Jim Janowsky/Susanna Clark) |
#30
|
|||
|
|||
Quote:
|