Top 5-10 Music Theory

[jnevi9nr]

list top 5-10 things you should learn in music theory to play bass. such as scales, pentatonics, arpeggios, triads, etc.

[JimmyM]

1. how to make all this theory sound like music and not just notes and scales.

2. how to relate keys and chords to possible basslines you could play.

3. identifying chords and intervals by ear when given a starter pitch.

4. knowing when you should follow the "rules" of theory and when you should ignore them.

5. how to make all this theory sound like music and not just notes and scales.

that one was worth repeating.

[Andrew Jones]

Well top one is what it takes to communicate with your fellow musicians. You to them and them to you.

That said


spelling chords is very important...

Knowing the Chords scale is a result of number of things like key center and chords function ect.... So I'll say that.

Being able to understand,communicate rhythms so you can explain,understand that kind of talk....


That's about it.


Aj

[stratovani]

1. Know the fretboard.
2. Know the fretboard.
3. Know the fretboard.
4. Know the fretboard.
5. Know the fretboard.
6. to 10. - All of the above.

[jarrhead]

1. Know the fretboard
2. Shapes of Scales and Modes
3. When and how to use them
4. When and how not to use them
5. When to shutup
6. When to keep going
7. Making it sound good.

[JimmyM]

Originally Posted by stratovani

1. Know the fretboard.
2. Know the fretboard.
3. Know the fretboard.
4. Know the fretboard.
5. Know the fretboard.
6. to 10. - All of the above.

still have to know what to do with it once you know it, bro. but it's a solid suggestion and something you should get out of theory.

[Hoover]

Originally Posted by JimmyM

1. how to make all this theory sound like music and not just notes and scales.

2. see #1, above

3. see #1, above

4. see #1, above

5. see #1, above

[chimpbass]

I'm not sure the idea of "top music theory to learn" makes much sense to me, but here are a few things I think every musician should grok, though most don't:

1. the harmonic series, and what it means

2. Schenkerian analysis - not the bible BTW, but a fantastically meta method of hearing music.

3. the Hindemith system

[oboylebass]

Originally Posted by JimmyM

1. how to make all this theory sound like music and not just notes and scales.

2. how to relate keys and chords to possible basslines you could play.

3. identifying chords and intervals by ear when given a starter pitch.

4. knowing when you should follow the "rules" of theory and when you should ignore them.

5. how to make all this theory sound like music and not just notes and scales.

that one was worth repeating.

Exactly true. And once you have all this down, completely internalize it so when you express yourself on your instrument, it's like talking; you don't even think about what you say-it's just flows from your lips like poetry...

[Hoover]

Originally Posted by chimpbass

I'm not sure the idea of "top music theory to learn" makes much sense to me, but here are a few things I think every musician should grok, though most don't:

1. the harmonic series, and what it means

2. Schenkerian analysis - not the bible BTW, but a fantastically meta method of hearing music.

3. the Hindemith system

If you're going to put that much emphasis on Schenker and Hindemith's approaches, I think #1 would be "learn the integer model for pitch"

...though I think understanding the harmonic series is way more important than those other three.

[chimpbass]

Originally Posted by Hoover

If you're going to put that much emphasis on Schenker and Hindemith's approaches, I think #1 would be "learn the integer model for pitch"

...though I think understanding the harmonic series is way more important than those other three.

Schenker deals exclusively with a broader and deeper understanding of tonality and functional movement in music. Roman numerals will work fine for that.

With the Hindemith system, the basis for his entire method of determining dissonance and consonance is the actual physics of the way the waveforms interact...basically, the harmonic series.

Generally speaking, I find the integer model of pitch to be a red herring thrown at modern composition students. It tempts you to ignore the reality and physics of the way sound works. There is a real, physical reason for triads. You cannot wish that away, no matter how many matrices or tone rows you construct.

Just intonation, on the other hand....mwahahaha....

[St Drogo]

Originally Posted by chimpbass

(...)

2. Schenkerian analysis (...)

3. the Hindemith system

You can't just make up words, dude!