I learn theory pretty often, I memorize it and I practice it. But I don't know how to apply this in music, and i play the same sounding stuff over any track. How do you apply theory and what is the importance of it? I don't want to just play chord tones in my music, I want to be able to add a little bit of tastefulness and flair if you know what I mean. Please help me!
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How to apply Music Theory
- Thread starter Justin Urry
- Start date
Analyze what someone else does. Describe it using theory, then try and replicate the idea in another context.
Theory is just English describing what we hear.
Theory is just English describing what we hear.
Reverse your process. Play anything you want that sounds right to your ear, then break down the theory. Theory is there to explain why and how things work, not how they should work. A bass line is not limited to the chord tones. You can add darn near any note to a bass line under a chord. It can work as a passing note, a momentary tension note, or what not. Use your imagination and don't worry about the theory. If it sounds good, it works.
I do encourage that you continue to study theory. Eventually you will have a broad enough understanding of it that you'll be able to discern why what you hear works.
I do encourage that you continue to study theory. Eventually you will have a broad enough understanding of it that you'll be able to discern why what you hear works.
DiabolusInMusic
Functionless Art is Merely Tolerated Vandalism
What theory are you memorizing and practicing that you are having trouble applying? Modes? Rhythm? Chords?
Modes are moods of a scale. Used in melody if you are not playing melody you do not need to get off into modes. I see little value for modes in accompaniment bass. The melodic guys/gals see otherwise. Since you asked let's get modes out of the way I know you will just keep asking because the guitar guy/gals have told you about them saying things like; "Man you gotta know your modes." So hang on.....
Two ways to play modes; 1) Relative where the mode notes stay the same and you walk the key. C Ionian is the same as the C major scale. D Dorian is the C major scale started on the D note and played D to D. Phrygian is the same C major scale but this time started on the E played E to E. Etc. Then there is the second way and this is called Parallel modes. Here the key stays the same and the notes change. Both get you to the same spot, you've just taken different roads getting there. Relative is easy to teach, however, I find it hard in the middle of something remembering if I need D to D or E to E.. So I go the Parallel way. For example:
* C Ionian is the C major scale. C-D-E-F-G-A-B
* C Lydian is the C major scale with the 4th degree sharped. C-D-E-F#-G-A-B and we normally notate this in scale degree numbers R-2-3-#4-5-6-7. Makes it easier to use on the fly in a song or whatever. If you want the sound of Lydian sharp the 4. Yes it's that simple.
* C Mixolydian is the C major scale with the 7th degree flatted. R-2-3-4-5-6-b7. That is the major modes of the C major scale.
The minor modes are:
* C Aeolian is the same notes as the C major scale with the 3, 6 & 7 flatted, i.e. which is the same as the C natural minor scale. R-2-b3-4-5-b6-b7.
* C Dorian is the same notes as the C natural minor scale with the b6 sharped to a natural 6. R-2-b3-4-5-6-b7.
* C Phrygian is the C natural minor scale with a flatted 2. R-b2-b3-4-5-b6-b7.
* C Locrian is the C natural minor with the 2 and 5 flatted. R-2-b3-4-b5-b6-b7.
How to use them - each has a mood. If you want an up-beat sound use Ionian. If you want a major day dreamy sound use Lydian. If you want a Latin or Blues sound use Mixolydian. The Chord vamp you play over helps give it the sound you are looking for. Aeolian is said to be sad, Dorian is an attractive jazz sound, Phrygian gives a Middle Eastern sound and Locrian will give a dark and tense sound. So if you need one of these sounds help yourself to that mode. Google modal vamps for the rest of the story. Modal Harmony
Word of caution; some have you play Ionian over the I chord, Dorian over a minor chord and Mixolydian over the V7 chord. When playing a mode over a chord progression you are going to hear the tonal center of the progression, the modal sound has a hard time cutting through that V-I tonal sound. Plus with a chord progression of I-IV-V7 the modal mood of the song has changed three times, I doubt any song changing it's mood three times and certainly not in one verse. Solution to this is to pick one mode and play your mode over a one or two chord modal vamp. Here is a video of modal vamps. Ionian from 0 to 2:11 then it changes to Dorian - listen for the modal vamp change for Dorian (a minor mode) and then at 4:03 for Phrygian and I think this will begin to make since. Play Ionian over the Ionian vamp, Dorian over the Dorian vamp, etc.
Chords. Chords do two things; one deals with movement; I (rest), IV (tension), V (climax) and the second deals with harmonization. The songwriter will place a chord at specific spots in a song to harmonize the melody. If the melody and the chord share like notes harmonization happens. So it's a balancing act between movement and harmony.
Chords are made from the scale being used. Normally this is every other note in the scale, i.e. the 1-3-5-7 in this paper I will not go above the 7th note. For example:
Basic Chords R stands for the root or 1st note in the chord.
- Major Triad = R-3-5 aka C
- Minor Triad = R-b3-5 aka Cm
- Diminished Chord = R-b3-b5 aka Cdim
7th Chords
- Maj7 = R-3-5-7 aka Cmaj7
- Minor 7 = R-b3-5-b7 aka Cm7
- Dominant 7 = R-3-5-b7 aka C7
- ½ diminished = R-b3-b5-b7 aka Cm7b5
- Full diminished = R-b3-b5-bb7 aka Co
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Could be used to write down the riff you just found, it could be used to find the next chord or try a new chord to spice thing up and since you know your basic theory you can find it pretty fast instead of trying different thing for an hour.
Could be used to write music without hearing first, it may not be what you wanted exacly but it will work.
Could be used to write music without hearing first, it may not be what you wanted exacly but it will work.
this.
alternately, learn bass lines by your favorites and analyze.
some questions to ask when learning a piece:
- What are the chords?
- how does this line move from root note to root note?
- what chord tones are being used?
- passing tones? chromatic tones?
- what does the rhythm sound like if I just clap or tap it out?
- how would I play this in a different key?
When you begin analyzing you favorite bass lines, y
ou might be surprised out how many "vanilla" note choices are made.
How often it's simply the root note and some passing tones.
The lesson there is that note choice is not is the primary influence on your tastefulness/flair.
the notes are only 1 of 10 elements of groove
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When you learn a new theory idea, create some music to demonstrate that idea.
Theory is a good way to predict musical outcomes that have accepted responses. It will also help you NOT re-invent the wheel every time you compose music.
NEVER think of music theory as 'rules', just suggestions. Sometimes a good suggestion leads to a good piece of music, some times a new idea is what you need.
Theory is a good way to predict musical outcomes that have accepted responses. It will also help you NOT re-invent the wheel every time you compose music.
NEVER think of music theory as 'rules', just suggestions. Sometimes a good suggestion leads to a good piece of music, some times a new idea is what you need.
