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Music Theory under rated
- Thread starter longfinger
- Start date
Groove Master
Commercial User
- Apr 22, 2011
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- Author of Groove 101, Slap 101 and Technique 101
Well, sure...with the Fux. Because, as I said in an earlier post, Bach was familiar with the Italian style. The Fux Gradus ad Parnassum, "is a treatise on counterpoint, which has become the single most influential book on the Palestrina style of Renaissance polyphony." (Wiki).
(And he took that knowledge and wrote in his style which is now considered the beginnings of the common practice era.)
Thanks for the Mann tip--I'll check it out.
Groove Master said:
How did this augment so much? The suspension is killing me. A small movement turned into a huge scherzo. We should Bach off before it becomes a prelude to someone's lament. I will be Haydn for the next 2/4 hours.
That's great for you but I would rather do like Staindbass and get to the top, make the cash, bank it and then let whatever happens..happen
That's great for you but I would rather do like Staindbass and get to the top, make the cash, bank it and then let whatever happens..happen
Are you saying that you would rather make a point not to learn anything? As if it would spoil the process?
That's great for you but I would rather do like Staindbass and get to the top, make the cash, bank it and then let whatever happens..happen
But I like making music!
I get your 'smiley'! but on a serious note, I know too many people who have been signed to major labels, got soured on music and quit altogether. Much better to slog through life as a professional musician IMO.
Besides, I'd have to play metal to do what Staindbass did!
Groove Master
Commercial User
- Apr 22, 2011
- 1,808
- 1,291
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- Author of Groove 101, Slap 101 and Technique 101
What? Are you saying Staindbass know's nothing? I would of had to of learned plenty to get where he is at or others like him or they would not be on stages playing the world. He and others just didnt do it the way you and others prefer and are not musically educated? Is that what you are saying? If you are saying learn music theory, study? pffft you know where I stand on that.
"I found this cool chord today. Lemme show you."
"Okay, I see, yeah, that's cool. That is a..."
"No, don't tell me, it will ruin it. I'll just stow it away until I want it again."
What kind of logic is that? If that's the way ya want it, ok, but I don't understand.
"Okay, I see, yeah, that's cool. That is a..."
"No, don't tell me, it will ruin it. I'll just stow it away until I want it again."
What kind of logic is that? If that's the way ya want it, ok, but I don't understand.
But I like making music!
I get your 'smiley'! but on a serious note, I know too many people who have been signed to major labels, got soured on music and quit altogether. Much better to slog through life as a professional musician IMO.
Besides, I'd have to play metal to do what Staindbass did!
Metal, country whatever if it makes that much bank..I'm in! Who is to say Staindbass is not into making music and likes it? I would rather do 15 years and bank a roll than chase a few bucks and hang in gritty clubs for 30 years. BTW- I dont consider Staind metal..hard- Indie, rock yes, and they have some great song writing and thoughtfull ballads.
Music Theory is a whole hell of a lot simpler than this thread makes it out to be.
Music theory is nothing more than an explanation of musical convention. You identify patterns in music, and state them, and break them down into the smallest pieces of information available.
It's not a writing tool, although it can be a guideline to understanding your own writing and influences. It's not an explanation for how music works, although it can explain why we prefer certain sounds to others within social groups.
When you apply music theory to your own music, do it as a chef would use their training. When creating a dish, chefs don't sit there with a list of every possible item they could make and just cross them off one by one. They go by taste primarily, and then use their knowledge to explain or improve their choices.
Music Theory isn't overrated or underrated, it's simply improperly viewed. Knowing music theory doesn't make you a better musician. You can, however, become a better musician by learning music theory. It's up to you.
Music theory is nothing more than an explanation of musical convention. You identify patterns in music, and state them, and break them down into the smallest pieces of information available.
It's not a writing tool, although it can be a guideline to understanding your own writing and influences. It's not an explanation for how music works, although it can explain why we prefer certain sounds to others within social groups.
When you apply music theory to your own music, do it as a chef would use their training. When creating a dish, chefs don't sit there with a list of every possible item they could make and just cross them off one by one. They go by taste primarily, and then use their knowledge to explain or improve their choices.
Music Theory isn't overrated or underrated, it's simply improperly viewed. Knowing music theory doesn't make you a better musician. You can, however, become a better musician by learning music theory. It's up to you.
Theory is invaluable if you want to be a gun for hire.
Just did a gig where a group of us learned over 50 tunes in 3 days by writing charts - in real time. A person would bring in a CD, the Musical Director would slap it in the ghetto blaster and by the time the song was finished playing we'd each have a solid chart.
We played all the tunes at a show the third nite.
You gotta know your stuff, was that VI chord a major, minor? What was that key change? It's not that hard, but it requires good ears, and a working knowledge of theory/harmony to get it down on paper in an understandable format.
I find theory helps me remember tunes quickly as you understand the song from different angles - the sound of it but also the structure in a purely harmonic sense.
Another bonus: those gigs pay good!
Just did a gig where a group of us learned over 50 tunes in 3 days by writing charts - in real time. A person would bring in a CD, the Musical Director would slap it in the ghetto blaster and by the time the song was finished playing we'd each have a solid chart.
We played all the tunes at a show the third nite.
You gotta know your stuff, was that VI chord a major, minor? What was that key change? It's not that hard, but it requires good ears, and a working knowledge of theory/harmony to get it down on paper in an understandable format.
I find theory helps me remember tunes quickly as you understand the song from different angles - the sound of it but also the structure in a purely harmonic sense.
Another bonus: those gigs pay good!
It's kind of hard to believe that there are still folks around who actually think that not knowing something will somehow magically make you a better musician.
