Music Theory

[Gary Shepherd]

I found that taking music theory 20 years ago in college was the best thing to ever happen to my musical endeavors.

For those of you who still play by ear (nothing wrong with that) but have wanted to learn some music theory, I'd like to share this site.

http://www.musictheory.net/

I just found it and haven't had a chance to go through it all but it looks very promising.

Starts with basics like staffs and clefs and goes all the way to advanced analysis. The site has trainers, plays things for you on a keyboard so you can hear what's being discussed.

Hope it helps someone.

[Jim Sliff]

thanks - I've tried so many methods of learning this stuff without being able to retain it that it is absolutely embarrassing. I'll definitely give this a shot - I've been trying for over 40 years to grasp it but am still an ear player...but at least I don't QUIT trying.

[James Collett]

Good eye, Gary- if gone through 4 or 5 of them and I've already learned a lot.

[Harvey Richman]

Hello Gary. Thanks for the heads up on this very cool site. Lots of good information there.
Regards
Harvey Richman

[Mike Perlowin RIP]

Sorry for the hype, but I'd like to remind everybody that I wrote a book on this subject.

http://www.melbay.com/product.asp?Produ ... Compositio

and that I also wrote a special supplement for the steel guitar that I will send for free to anybody who buys the book.

[Steve Norman]

Understanding what a key means,,and how chords and scales work together is key information if your improvising over never before heard music.

[David Doggett]

Any theory a musician can learn can be useful. But people shouldn't expect overnight miracles. Most trained musicians who read music started young and learned over several years of daily practice and use. It's like learning to touch-type. You can't learn it just by reading through a manual. You have to practice it one step at a time, working up from very simple stuff to more complicated stuff. And by the time most trained musicians encounter harmonic theory and composition, they have been reading music for several years, and so already know all the symbols.

I'm not saying this to discourage anyone, just trying to help people have realistic expectations, and understand the need for a lesson plan and practice. It's like reading a math textbook. You can read it all you want, but most people will not know how to use it unless they work the problems, lots of them.

So you can skim through some theory explanations, and maybe learn a thing or two. And that's good. But for most of it to really sink in, you have to dig into it and apply it over an extended period of time, starting with the basics and working up.

[Mike Perlowin RIP]

Most trained musicians who read music started young and learned over several years of daily practice and use. It's like learning to touch-type. You can't learn it just by reading through a manual. You have to practice it one step at a time, working up from very simple stuff to more complicated stuff.

This is true of sight reading, which is looking at a piece of music ad being able to instantly play it.

But that's different from looking at a piece of sheet music and being able to recognize the name of the written note or notes.

To make an analogy, sight reading is like being able to do complicated math problems in your head. That's a lot different from simply being able to read numbers.

You don't need to be able to sight read in order to understand theory, but you do need to be able to look at a written note and say to yourself "That's the note C (or whatever)," just like you can look at this: 4 and say "That's the number four."

Just as numerals are the written symbols of math, those little black dots and circles are the written symbols used to teach music theory.

I don't know why there is so much resistance to learning how to read them. it's not hard. And it won't make you forget what you already know.

[James Collett]

Mike- but books cost MONEY, and besides, the internet's ALWAYS right! Just kidding, I'll have to check out your book.

[Mike Perlowin RIP]

Mike- but books cost MONEY,

True, and I won't lie. I MAKE money every time somebody buys a copy. Almost a whole dollar.

Truth be told though, over the 8 years since its publication, the book has sold over 2,000 copies and I have made a fair amount from it. At present it's selling between 10 and 15 copies a month and my quarterly royalty checks average around $35 or $40.

Not a lot, but every little bit helps.

[Don Drummer]

I've been teaching guitar for over twenty years and would like to point something out concerning the major differences between the guitar and other types of instruments. The guitar has immidiate physical hurdles from the get-go. Just playing a C note on the fifth string clearly can be daunting when compared to say, middle C. on piano. That said, it is understandable that guitarists learn from the stand point of conquering the inherent phisical challenges of the instrument first. As they progress and become competent they mentally construct visual relationships about which string, which fret, what key, (usually the first chord of the song), what scale (finger pattern), etc. After some time these components reveal themselves as an understanding of music. I call it the Mechanics of music as a substitute for the term Music Theory. After a student is on their way and comfortable with their acheivments I introduce Music Theory concepts using one string, then two adjacent string, then three note chords, which they already know, and have conversations about why they produce the sounds they hear. I've had high school band students who were great players on their band instrument not be able to identify the two half steps in a major scale. That makes sense when you consider they cant see it like you can on one string of a guitar. Even the piano has the E-F, B-C, both half steps,the same distance physicaly, as F-G, C-D, both whole steps. To those who find understanding theory a pain try just thinking about what you already know and ask yourselves why it works that way. Example: What note changes when you play A major then A minor? Why is the resulting note important in relation to the scale you would most likely play over the minor. The cool thing about this approach is you can indulge in this mental exercise while driving to the gig. Takes your mind off gas prices. Don D.

[Delvin Morgan]

I think music theory is important. I read notation, not sight read, and I know a little about scales and modes. And having said that, I know more people that play by ear than by note. Unfortunately I am not one of them. I wish there were as many books to help me with ear training and improvising as there are for note reading and general theory. The internet is a big help, and I am grateful for it. Just wish it were here 40 years ago. Ear training might have been easier then

[Steve Norman]

knowing how an engine works makes it easier to fix,,same logic applies with music. Knowing the scant bit I know lets me sit in with bands I have never heard and play along successfully. I have done recordings for people on a pay-me-per-song basis,and knowing the theory behind their songs allowed me to record parts fast and accurate, allowing me to squeeze in a few more songs in the time allotted, and therefore make more money. A year of hard dry boring work now saves time in the future!

Unfortunately most material out there is very dry, even for trained people looking for review material. I have seen Jim's book,though I dont own it, I think its what most people need to get up and running. Having the steel supplement and being able to ask him questions here makes it a great reference opportunity.

[Charles Davidson]

I've never thought the old saying was very smart.When I was a kid[around twelve] I really wanted to play guitar,no teachers around,lived way out in the country,I ordered the US SCHOOL OF MUSIC course for guitar,they had courses for all instruments.In my opinion these were the BEST music courses ever put,I wanted to learn so much I spent 12 to 14 hours a day bleeding fingers and every thing that went with it.That summer I taught myself to sight read on guitar the correct way,At the time had no idea how that would pay off years later,I got jobs later playing floor shows [not t and a bars]but show girls that always had their own music they danced to,and you HAD to be able to play it the way it was written,no ad libs,if I had'nt spent that time learning when I was a kid would not got a lot of work over the years,Every thing I have played over the last 30 plus has been 100 percent ear playing,but I could do both if I HAD to,Every little bit of theory helps.DYKBC.

[Richard Sinkler]

I think the minimum theory a player should know would be how to construct a scale (on paper), obviously how to play those scales, harmony theory and chord construction (formulas). I know this stuff fairly well and I can actually sit at a piano and learn basic songs without ever having a lesson or being able to read music. Of course, I am learning the piano at a late time in my life and find that I just learn stuff in a few keys and hit the transpose button on the keyboard. I know this is not right, but I don't have the discipline on the piano to learn how to play in every key. I seldom play keyboards live. I would rather spend the time on steel. I can figure out the notes in sheet music, but it is a challenge (meaning very slow and time consuming) for me. I should learn to do it better though.

As stated in another post, the more theory you learn, the more tools you have to work with and the better player you will become (presumably - you must obviously possess the talent to be able to play music).

[Rick Winfield]

Hi Mike.
PM sent
Rick

[Steve Norman]

I ment Mikes book,,,sorry dainbramage