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What is the hardest parts of theory?
How to play in key, and the modes I understand.
I'm looking for something ive never heard of.
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12-16-2010 11:08 PM
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How can we know what you've never heard of? I might suggest The Jazz Theory Book by Mark Levine. It is a good overview of all the major topics in jazz theory.
There is already a thread on the Lydian Chromatic Theory, which is pretty advanced:
Lydian Chromatic Concept ?
Pat Martino has some pretty out-there theories. I find them mostly derivative and way more complicated than necessary, but some people swear by them.
But ultimately, I don't like the idea of "theory for the theory's sake." You should be finding ways to be more creative and musical, not more theoretical, IMHO. Theory is just a tool. Until you've learned to make use of the theory you know, I would not move on. You should be looking for theories to organize the way that you're hearing and not just running around trying to collect a bunch of theories so you can put them on your necklace. But that may just be me.
Peace,
Kevin
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Thank you.
And yes it doesn't really make sence to ask about something i've never heard of. How could anyone know that.
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Cool.
Like I said, that Levine is a great overview. It's not a method, but it will hint at most pf the major topics you'll be learning over the next 5-10 years. Even if you only mastered half of what's in there you'd be a great player. It's not about how much theory you know, it's about how well you apply what you do know. I'd rather listen to a player that only know the basics but knows them really well so he can relax and play musically. I'd rather that than a player who only half learned the basics but is struggling to do advanced stuff that is over his head. Unfortunately, there are far too many of those players, especially on guitar.
Be patient, it will come Daniel-san.
Peace,
KevinLast edited by ksjazzguitar; 12-17-2010 at 04:16 AM.
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Tritone!
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I put that **** on everything.
Originally Posted by Krenwin
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Be a man, what's the meaning of ****??
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What are you people talking about?
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Originally Posted by Triadobatrachus
Not exactly Masterpiece Theater, but you get the idea.Triadobatrachus: What is the hardest parts of theory? ...
Krenwin: Tritone!
BigDaddyLoveHandles: I put that **** on everything.
Krenwin: Be a man, what's the meaning of ****??
Dark Star: Shit?
Peace,
Kevin
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Some players are tritone-crazy! That's all. Originally Posted by Triadobatrachus
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Food for thought/fretboard:
Understanding the diminished octatonic system is pretty rough at first. The Melodic minor modes (super locrian, lydian dominant, etc) have some challenges too. They are both very rewarding tonalities to play with. Try those out if you have time.
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Also check out the long thread on the extensions used on secondary dominants! We're all rambling on that one. lol. Fun stuff...
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4 voice counterpoint is pretty freaking hard. Originally Posted by Triadobatrachus
So is arranging for a large ensemble, writing percussion parts, transcribing choral music, making music that sounds not only good, but somewhat interesting... The list goes on, I agree with Kevin though the mark levine jazz theory book is a good place to start for jazz. I also like "the craft of musical composition" by Paul Hindemith for a more general and extremely complex theoretical approach.
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Sure, this sounds like real music
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Are there any 4 part couterpoint tabs available?
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Usually, when we talk about studying "4-part counterpoint" we are talking about the 4-part choral reharms that Bach did. You study a lot of them in school. The vast majority of them are too tightly voiced to be played on guitar. Plus, I think the real value of them comes from studying them, not playing them. I learned a lot about voice leading and how melodies move from these. Most music theory text books will discuss them. Originally Posted by Triadobatrachus
Peace,
Kevin
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Originally Posted by Triadobatrachus
I guess that's the point, theory IMO is really about the reading and the writing of music, not so much the performance of it, so learning theory from tablature is kind of impossible without the knowledge of the letter names, and if you know all of the letter names but don't read music... that would be quite strange, wouldn't it?
so maybe working on reading multiple notes at once, mulitiple rhythms at once, figuring out chords by letter name quickly, writing some music (on paper), these kinds of things may spark your interest and help with your theory, assuming you don't already do those things.
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Nice II-V-I series.
Thanks!!
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There's some pre-Bach modal 4 part counterpoint (think Palestrina) that's kicked my ass pretty hard.
Now I'm into 18th Century Counterpoint so at least I'm in Harmony Land, which is such a great place to be.
That modal stuff is for birds
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Yeah, I hated modal counterpoint. All that species stuff just seemed like a math puzzle to me. I enjoyed the class I guess, but I never felt like I was making music. But tonal CP - that was da bomb (as the kids say.) Maybe we can swap fugues sometimes.
Peace,
Kevin
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