Improving my theory

[Ross Gibson]

So I retire in a few years and I really want to improve my theory for a bunch of reasons.
I'll get to the point now, and then provide some background if you're at all interested or may help contextualise your responses.
The point of the post:- what kind of regimen should I adopt, and what kind of timeframe should I expect to be able to improvise with ease.
Why do I want it? Well, YouTube is a hell of thing. Adam Neely and Charles B just make me want to sell my gear. But Scott Devine and plenty of others makes me believe that I can play all of Graham Maby's basslines on Joe Jackson's Jumpin' Jive album if I focus my efforts (love that guy...).
To be clear, I don't want to be a jazz player. I want to be able to play jazz if necessary and to better understand why I am playing what I do/have been.
Background, I have been in bands for 40+ years. I have never been sacked for not stepping up (although my slapping is pretty terrible). I do OK, playing pretty much everything that is given me. Major, minor and 7ths are no problem, but my walking tales a lot more consideration than I am happy with... revealing the unintended jazz note.
I respect my fellow band members and any audience by learning my stuff, staying sober, and I have reliable pro gear (possibly too much gear...). I would like to be in a position where learning the stuff takes a lot less effort. And I want to be in a position where I can compose (not decompose) relatively quickly when I retire.
I can't really read. I can look at a chart, take a while to understand it, learn it, and then play without referring to the chart.
So go for it. All well-mannered and well meaning advice is accepted - even if it is 'don't get too hung up on it'.
Cheers

 

[dreamadream99]

While theoretical knowledge is always a worthwhile pursuit, don’t equate theory mastery with improvisational talent. Theory can definitely improve improvisation, but it doesn’t guarantee it. It’s not the only key to that lock. There are, I believe, three:

1. An advanced ear. By advanced, I mean the ability to instantaneously translate what you hear to your instrument.
2. A melodic sensibility. A great ear won’t help if all you hear sound like root-based walking lines. You have to craft melodies the way a songwriter or solo instrumentalist does.
3. Certain components of music theory. Especially chord spelling, and approach notes. Of course, to master chord spelling, you first have to be grounded in key signatures, keys, scales, chord qualities, extensions, and alterations.

Now how to get there. Theory. If you have access to college music theory and aural skills classes, this is the most efficient and comprehensive method of study. Two years, and you’ve mastered #1 and #3. Number two is much harder, and frankly more subjective. Sing along with good songs. Listen and play good sax solos. Take piano lessons. One of the best ideas I ever heard, was take improv lessons from a trumpet or sax player.

I think for most, good improv is a combination of theory (awareness of the framework of rules that govern note choice), and a good ear (tapping into, and letting fly that song in your soul, and the passion in your heart).

 

[Malcolm35]

IMO you have to start theory at the beginning and then fill in the gaps that you have left open. You mentioned where you are on your theory road, however, I really don't know what you missed, so offer the following. Speed read this paper until you have to slow down.

http://www.lifesmith.com/VHS Web/Music Theory - Basic Level.pdf

There is a second level and then a third which deals with modes. There is a reason modes are covered in the last section. I waisted a lot of study time on modes that could have been used for other more important things.

Modes are good to know about, so you can talk with the guitar guys, but, I seldom use them in my bass lines. Why? Modes are modal and we are asked to play tonal most of the time.

Happy trails.

 

[BrotherMister]

A few things you've touched on that are worth addressing.

"what kind of regimen should I adopt, and what kind of timeframe should I expect to be able to improvise with ease" - How long is a piece of string? Some people grasp this sooner than others. All that matters is that you are consistent about the time you devote to it. Good knowledge of theory doesn't equal great improvising. Great knowledge of theory doesn't equal improvising in anyway. Theory gives you the understanding of how music is built and how it works so you are able to use the tools to your disposal a lot more when learning to improvise.

"And I want to be in a position where I can compose (not decompose) relatively quickly" - Decomposing is a vital part of the process in learning to understand how things work and are built. You are then able to draw upon that knowledge when it comes to composing. A common argument by people not learning theory is that it will make them sound mechanical or they'll think too much about it. This isn't really true, you don't think about the grammar, syntax and all the theory of language while you are talking. A writer may draw on that knowledge when they want something be more effective or for the statement to have more power in it.

You've said you know major and minor chords and their 7ths? That's great and you've got a wealth of material at your disposal. Now learn how chords relate to the keys modes and all that fun stuff. Then you have to learn how chords function by which points charts will start to make more sense. The chord/scale theory is one thing but functional harmony is another thing altogether. It sounds a lot more difficult than it is but once you get into the habit it becomes second nature fairly quickly.

And learn to read! Reading notation makes learning music theory significantly easier because you have a visual representation of sound and how things are related to each other.

Some great theory resources I recommend to get you off the ground are:

Harmony & Theory by Keith Wyatt & Carl Schroder (This is great book and really gets the student starting from the basics of how to draw a treble clef and moves right up to covering just about every aspect of theory is practically necessary)

Harmony In Practise by Anna Butterworth (This book is super dry and based entirely in the classical canon but you'll learn so much from the very start and takes you up to the earlier years of university level stuff)

Harmony & Theory is the one I recommend to most of my students starting out. There are a whole other ton of books but I'd say from what you want they are all a bit out the grasp at the moment. No doubt someone will recommend the jazz theory book, and it is great for teaching the chord/scale theory but I personally find it very limited outside of that.

 

[BrotherMister]

Here's what you can expect from the Harmony & Theory book.

 

[Ross Gibson]

A huge thank you folks. Not only have you all given some sage advice in all of your replies, you have had the respect to understand my position. What you have provided gives the right motivation to commence the next step. i.e. you made it sound eminently do-able provided the work ethic is there - something I'm not short of.
@dreamadream99 - Whilst I can't necessarily instantaneously jump to every note I hear, I still do relatively well, and once I know what key I'm playing, the unintended jazz note is pretty rare. You second point, my partner, a trained musician who reads (although she does play bagpipes... ) says I do have a great sense of melody anyway, and, getting to one f @BrotherMister points, she is concerned if I know too much, I will lose my 'natural groove' (her words), so I will have faith in your words. Strange she says that, because she is trained and she plays Amazing Grace, Westering Home , Scotland the Brave (even the Long Way to the Top solo) beautifully, often bringing tears to the eyes of anyone nearby. So no lack of feel on her part.
@BrotherMister - finally, the decompose part was actually a joke about me sitting around doing nothing in my retirement rather than any musical reference. I apologise for missing what is important.
Cheers

 

[La Faro]

 

[garp]

Take piano lessons

+1. Or at least, get yourself an inexpensive electronic piano that allows you to learn basic theory principles via keyboard. A professional jazz musician whose main instrument is tenor sax once advised me: "With the piano, it's all right there in front of you." I didn't appreciate that concept until I started studying in earnest on piano.

The video posted above by @La Faro is a great overview – albeit at lightspeed – of basic theory. However, I'm one of those people who needs to learn things in context. Everyone learns differently. In retrospect, I think one of the primary reasons I struggled with calculus in college is because it wasn't taught in context: "Why am I solving for 'X' again? Show me how how solving for 'X' is meaningful with a real-life application."

I have no aspirations to become a professional jazz musician, but learning basic theory on piano has definitely changed the way I approach bass playing. I'm currently working through a spiral-bound edition of Mark Levine's The Jazz Piano Book (1989, Sher Publishing) gifted to me by the above-referenced sax player. Don't let anyone convince you that an old dog can't learn new tricks. It might take a little more effort at our age, but you might be surprised how your knowledge can expand once you dedicate yourself to it and set goals.

 

[La Faro]

As well as the Walk That Bass video I posted, the rest of his video are worth watching. Clear and concise. That video makes a great starting point. I am also getting a keyboard, to help my theory, and will connect it via my looper so I can lay down basic progressions, and play bass over them. I say I will be getting, ít cleared customs 2 days ago, so will be here soon.

Check out the Yamaha Reface CP. It's a Rhodes, Clav and Wurlie, with a hidden traditional piano. Small enough to sit on you lap as you learn, mini keys, so left hand tenths isn't a strain, and sounds great

 

[La Faro]

Here's a classical pianist warming up on hers pre concert. She seems to enjoy the hell out of the little thing.

 

[La Faro]

Coffee
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2 hours
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Hungry and Happy LaFaro