Music Theory Lessons!

Music Theory: Where It Shouldn’t Matter

How long has it been? At least too long, I’m sure.

I’ve been recently contemplating how to use theory in an effective manner. Of course, as a musician, this sounds like common sense. I think it requires a deeper look.

When I was just learning my instrument, being self-taught, I gravitated to music theory prematurely. I say prematurely because now, as I look back at my learning strategies, I have found theory pervasive in how I attacked certain things. I’m sure this resonates with a lot of people, which is why I’ve decided to write this post. Now, on to the meat.

Sure, I know how to play scales. All of them.

Just throw me the intervals and I’ll play them for you! On the surface, this makes a lot of sense. Since we all know how scales are constructed, we can look at the numbers or notes and play it perfectly. The problem is, it doesn’t matter. Never, EVER, will that help you become a better musician. The same goes for chords, or even complete songs. So, if none of this matters, what can one do to become a better musician?

Most people are visual learners. When memorizing a lick, scale, anything on your instrument, there is a good chance you achieved the goal by internalizing what the shape looked like, or where your fingers were. I know I did this very heavily. Well, it’s not doing any of us much good.

Great. I’ve wasted a ton of time doing nothing of consequence, according to you. Tell me some good news or I’m unfollowing you.

Don’t worry! It’s not all over! Actually, far from it. As a maturing musician, you have gathered a lot of knowledge, regardless of how you obtained it. I just want to refocus the lens, set the path straight, so we can all improve the most efficiently.

How does one do this? It’s easy—use your ears.

…

Okay, before you decide to bomb me with hate messages, let me expound. Your instrument doesn’t make music. You do. Sheet music is not music until someone plays it. Numbers are just numbers. This is the most vital thing that must be addressed when learning anything musically. It’s the sound. It doesn’t matter what it looks like on a page or what notes are in it! When you are learning a scale, or a chord, or a song, learn how it sounds.

People ask all the time, why, when I sing a solo, it always sounds better than when I play one on my instrument? It’s simple—you haven’t bridged the gap. We can easily speak what we have in our heads. We can sing what is in our heads. Our goal as aspiring musicians is to play what is in our heads. Achieving this most valuable skill can only come with listening.

Sing what you play. Hear in your head what you plan to play. Chick Corea once said, “Only play what you hear. If you don’t hear anything, don’t play anything.” I challenge you to swear by that. Make it your mantra. You want to internalize a scale not just by how it looks, but by how it sounds, and (more spiritually) how it makes you feel.

I know, this is not an easy task. Work on ear training (see my post entitled “Ear Training: The Essentials”). Transcribe songs you like (BY EAR). Sing everything. Make a point to hear everything and anything whenever you are practicing, even before you play it. I promise, this will make an astounding difference.

Thanks again for reading. I hope this helps all of you in your endeavors. And don’t think this means stop using theory!!! I’ll explain what I mean in the next installment, coming soon (I promise). As always, feel free to ask questions, and I’ll see you soon!

littlesonatina asked: AHHHHHHHH I AM SO HAPPY I FOUND YOUR TUMBLR AHHHHHHHH! THANK YOU SO MUCH!!!!!

You are so very welcome! If you’d like me to write about a particular topic, please let me know. I need some new material to tackle!

AH! LIFE!

Sorry everyone, I’ve been extremely busy lately. I have half of the next post written, But it’s going to be a little while longer. I apologize for the wait! Also, feel free to ask more music questions!

katiemarsan asked: So this isn't really a music theory question per se...but I was just wondering:

What do you tell people when they say things like, "I don't like music theory because it takes away everything I love about music...it makes it all technical and mathematical rather than emotionally moving, etc."

I have my own response to this (not that I'm trying to get anyone to be as passionate about music theory as I am). Sometimes people just wondering what it is I like about theory. I have a million answers to that question, but would love one more. I'm asking because I'm assuming since you have the tumblr that you do, you can relate to a theory nerd such as myself.

Thanks!!

What a marvelous question, Katie!

I find that when people say such things, most of the time it is because of misunderstanding. Music theory is quite an overwhelming prospect to those who have not attempted to divulge in the study. When someone says that it removes the feeling, reduces the music to technicalities, they are missing a huge part of music, nay, art: In order for one artist to communicate to another, an alternate language needs to be used. Music theory is music’s language. It gives notes their names, chords their names, embellishments their names, etc. Without music theory, compositions could not be shared, nor transcribed.

This is just one answer. Like you, I have several more. But this is the one I usually fall back on. What is your response to such a scenario?

deesusaurusrex asked: Hey! thanks so much for the quick and elaborate response on ear training. I'm definitely going to employ these new methods. I was wondering if you have already posted about modes (phrygian, lydian, etc) If you have I would love to know an estimate on when you posted so I can look through your archive. If not, I'd love to see a post on modes! Thanks again!

Hey, you’re very welcome!

It is my second post, entitled Modes 101. It should be on the second page!

Ear Training: The Essentials

What a marvelous topic. Thank you xdeexmox for the suggestion!

There are those who have perfect pitch. Then, there are those who do not. This is for all the people who aren’t so lucky (myself included).

As many of you know, perfect pitch is the ability to hear a note and know its name. It is a skill that seems perfectly unobtainable. Some people, some schools have tried to give people without perfect pitch the gift. I’m not sure if any of the institutions or teachers work, so we’re going to go the fool-proof way. Relative pitch!

Relative pitch is the ability to know the interval between two notes when hearing one then the other (or the two together!). This skill is undeniably and irrefutably critical for a musician. But building this skill is tedious. You have been warned. This is a compilation of some of the stuff I practice in order to hone my relative pitch. I hope it helps you as well!

1. The Really Obvious One

Alright, get your instrument. If it is too difficult to access, I’m sure you’ll get the idea regardless.This (and the other exercises) is the easiest to do with a piano. I practice with a bass guitar, and that works out fine too, so it isn’t a huge deal. Something you don’t have to blow into, preferably. So, play a note. Sing that note. Easy enough. Now sing its fifth. (if you’re playing/singing a G, then sing a D). Then play the fifth on your instrument. Same note? If so, you WIN! Just kidding. You still need to do it in a bunch of different keys. Then change the interval with the same idea in mind. Singing a C? Then sing its b3. Its b7. Its octave. Its 4. Its tritone. Its b6. Practice a few intervals a day. You’ll notice, some come more easily than others. Just keep trudging, you’ll notice results eventually.

2. The Really Annoying One

This is a great exercise. Once you get the hang of it, you’ll feel really awesome about yourself.

This requires singing once again, so get your keyboard, mandolin, etc, and put your tuba down.

Sing up and down a major scale. Good job! That sounded beautiful. Play a C. Sing a C major scale. Amazing. Now it gets hard. Sing A C major scale while playing a different mode of C major (i.e., E Phrygian, A Aeolian, D Dorian…). Notice how your ear wants to go to the note you’re playing. AVOID SUCH THINGS.Then switch up the key and repeat!

You’ll find this to be pretty easy after a bit. But we don’t stop there. No, now we up the stakes. Sing a major scale while playing a DIFFERENT major scale. If you’re really competent, sing a major scale a semitone (half-step) from the one you are playing. Ooph.You can apply this to other scales (and I encourage it!)

3. The Really Cute One

I don’t know why I call it that. Here’s a website I like. It’s not as useful as the other proposed exercises, but it’s nice when you don’t feel like bugging your roommate.

http://www.good-ear.com/

Go at your own pace! I suggest removing the fixed pitch. You can develop your own exercises from here!

4. The Jazz One

This is for all you improvisers out there. Let’s say you have a 32 bar solo. When practicing soloing on the tune, instead make it 64 bars, doubling the length of each chord. SING something for the first measure. Then play what you just sung on the second measure! Repeat. This is hard, but this will work out your ears like nobody’s business.

For the not-so-interested in soloing/improvising, as well as those who are, play and sing at the same time. Try to play what you sing, not sing what you play. You can see musicians doing this all the time!

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That’s all for now. Have fun with this! Next time, I’ll be answering throughreality’s question about jazz licks (and good uses of chromaticism). Also, how to build your lick repertoire with a tie-in from this post!

See you soon, and thanks for reading as always.

musicalreality asked: I love your blog!

Thank you so much! If you’d like me to talk about anything regarding music (theory), just send me a message!