How important is knowing music theory to being a good guitar player?

[Stringbean]

The only issue I have with modern, music theory is it's accessibility. Long before I was effectively out of music's cradle, theory has taken me in way over my head.

All those published, beautiful theories. Detailed analysis, of all my favorite sounds, only a page turn away. Slipped me deep into the subs and changes, scale phrigs and chromas, turnarounds and bebops. When, really all I wanted was, to conjure up a cadence, musically.

Can music theory let the deaf hear?

[Lambosoa]

I totally suck at theory, there’s a part of me that regrets it and another one that’s resisting hard to fix the problem; and the latter has always won so far. Why? Because I don’t have a sense that knowing more theory will improve my playing tremendously, while I’m pretty sure that more technique would.

On the other hand, nobody can play solidly without a solid theoretical baggage, even though it’s not an academically formulated knowledge, it’s a form of internalized theory that allows the performer to get the best usage of his/her intuition to play good, creative stuff on the fly.

I think theory tells us what NOT to play but won’t tell what's best to play.

[Bloomworks]

Interesting debate. My experience has been that I was not the most natural player at the beginning of learning jazz. That was my last year in high school but I had been playing folk songs, early 70's pop/rock and classical guitar prior to that (1977).

For me, learning theory was always a revelation because it enable me to play the jazz standards in the Real Book, and later on, to transcribe correct versions of these same standards from the original recordings. I would fix my Real Books after that. Also, after learning jazz theory (and classical theory), I was able to understand what the great jazz horn players were playing in their improvisations. Miles, Coltrane, Sonny Rollins, Clifford Brown, etc. etc.

The other thing, for me, is that I was always able to sort of "turn off" the theory when I was playing a gig or any other type of performance. I always thought that theoretical study was for when you were at home practicing or studying some aspect of the music. Chords, modes, scales, learning a famous solo, etc. Once I was playing, I would make a balance between energy playing and, if I got in a tight spot, use theory to get out of it.

It always took time, for me anyway, for something I had learned through theory to come out naturally in my playing. Sometimes it was frustrating how long it took, but it would always happen eventually. Over the years this has been the pattern for me. I can't speak for anyone else, but I learned about playing from a place of spiritual energy from Reggie Workman. He plays from that space but he also would encourage all students to learn whatever they can to help them get to that place.

I always enjoyed theory, but I do understand the many people that do not enjoy it or hate it. And for blues, rock, pop, etc. it may not be necessary. However, I have played with some excellent rock/pop musicians and they could read music and knew what they were doing.

As usual, this is one of those debates that can go on forever. All I can do is tell you what worked for me.

Hope my 2 cents helps.

[anth202]

heres my take on it at this point in time...

if im writing a solo or another part to a song, i spend half the time on the guitar and half the time without the guitar. Without the guitar, im singing melodies by ear without thinking (theory) about anything and therefore its a seamless connection. With the guitar, I can use theory to play something that I'm not hearing in my head or have never heard. Both are valid approaches. When improvising, I'll generally don't look at the fretboard and try play whats in my head rather than thinking about it and being boxed into common positions and cliches. But knowing theory can get stuff out of my head (without having a great ear) what im hearing because i can relate the theory patterns to the sound. People who venture on without theory will probably come up with the same frameworks that people with theory use but they will be free of thinking and probably have a better ear coz they would have been tranposing heaps of stuff and actually listening more deeply. They still hear the colours they just dont know what to call them or have other names for them.

[Reg]

It's not one or the other... you need both. Your ears are only as good as what they can hear and if you can't hear the theory what good is it. And learn to read well... Good musicians have great ears, understand what there playing and can read what's put in front of them with out memorizing it...Reg

[Bloomworks]

Originally Posted by Reg

It's not one or the other... you need both. Your ears are only as good as what they can hear and if you can't hear the theory what good is it. And learn to read well... Good musicians have great ears, understand what there playing and can read what's put in front of them with out memorizing it...Reg

That sums it up nicely!!

[Ollie]

Originally Posted by \m/ Mad Metal Mage \m/

Anyway, I just want to know--does my studying of music theory, in both classical and jazz musics, really make a difference to my guitar playing?
."

Absofuckinloutley.

[zappafan99]

Ask yourself this question: Would I be a better player if I took away the theory I've learned? How someone else answers the question has nothing to do with your playing. The people that don't have the understanding of theory (outside of intuitive ear training) can't really respond to a question they have no experience with. Their own playing could grow by leaps and bounds if they learned some theory or it might not change at all. I personally wouldn't want to sit around wondering if I might have a deeper understanding of anything in life if the info was free for the taking. I teach guitar, write compositions for instruments other than my own and work in a recording studio......I wouldn't be getting paid for this had I not learned to read notation and be able to communicate to other musicians about music in a non musical format. (Hence all these words we are using instead of musical examples.)

[Ollie]

In short, theory gives us the means to be far more creative. Even something really simple like harmonic intervals. Once you know how they all sound, you can identify which are you're favourite sounding ones instead of stumbling upon them every now and again. I think it helps you to be able to play what you hear in your head. As for the actual playing, that's all practice yeah, but I practiced more when I learned some new ideas.

[bass2man]

I have played with a lot of guitarists over the years...some did not know any theory and some knew it cold...cant say that those that know theory played any better or worse than those that didnt know...I dont think there is a strong link between being creative and knowing theory.

What I do know it that it was 1000 times easier to COMMUNICATE a musical idea/progression/melody to those that know "theory"..

I agree with Derek's point about being a guitarist vesus a musician..Barney Kessel used to say he was a musician first and the guitar was just his chosen tool to express his music...

Tedesco, Carlton, Graydon,etc certainly didn't lack creativity in the studio because they knew their theory...

I dont think you can learn jazz without at least some knowledge of jazz theory...IMHO

[S_R_S5]

I agree with gravitas. with knowledge comes freedom. Yes a good ear helps you sound better, but you wont actually know what you are doing. You wont have the ability to talk about music with other musicians.

To be a good amature theres not much need for alot of theory, but if you ever want to have a chance in the music biz, you better know music theory.