Wow foster again with this?

 

I really find the ignorance and intolerance on this topic tiring and disappointing. It takes years for the basics of classical theory to stick, and become second nature. To a noob who knocks it, either listen, go to school, or just move on to another subject that deals with production, perhaps. Also, AudioSex is one of the last places that I would look/ask for advice regarding fundamentals of music theory or harmony etc

 

One more thread full of bullying. Moderators should stop this attacking and personal insults. If you don't like someones ideas, by all means criticize the idea. But stop your immature heckling, bullying and personal insulting behaviour in other peoples threads.

 

Yep tend to agree with what's written. My own personal knowledge of theory is limited to a degree.

I wish I had studied it a little more in depth earlier. However I've been playing for a long time and mostly the theory just tends to make everything you have picked up along the way make a little more sense and give names to things you already know.

I'm not here to "Diss" anyone. Simple facts are that Foster can do as he pleases & who knows such an approach may work for him personally. If u don't like what he writes, then I guess refrain from reading it and getting angry about it. Although I can appreciate why it could make some of the "theory aficionados" a little irate

However I would state that possibly it might serve himself and others by picking up an instrument whilst learning the theory and formulating ideas.

The order seems a little illogical as you can learn all the theory written but when you get round to picking an instrument up and applying it then that's when the real hard work begins. Theory doesn't make music but formulating ideas and using that acquired knowledge to compliment and shape those ideas does tend to work in most cases. Sometimes it has the opposite effect.

Again there is no right or wrong and as written above tolerance is the key. Without tolerance and a desire to learn as individuals we become a little ignorant and closed minded I guess

Not everybody thinks the same way and what works for one doesn't happen at all for another.

The only thing I would point out I guess is that it isn't overly sensible to teach the basics wrongly to beginners as this will set them back years.

It could also have the opposite effect in a minority of cases but they are in the main the exception to the general rule.

Anyway each to their own and who knows maybe Foster just wants to come up with a few ideas and different methods that work for him and that's cool with me personally.

However like stated it tends to make much more sense if you play alongside your study but who knows maybe he does.

All just my simple own opinion
Everyone have a cool weekend

 

@Foster Your math calculation is really a nice find that I've never thought about before. The number 12 is very interesting, it has a circularity about it that makes it common in our everyday lives and history. Months in a year and the clock, for instance. You should be proud of your find and be applauded for it, not heckled. The immature bullying squad here probably did not read it all, or they likely don't even understand it.

Their knowledge about piano theory seem very limited indeed. Nothing, no idea, is taking anything away from anything else when it comes to learning to play the piano. The more ways you look at piano theory, the more productive and imaginative you can be when playing. I bet noone of the bullying squad in this thread can play the piano very well. Learning to play the piano is an humbleing endeverour and being humble is a feat and emotion they obviously lack.

Keep the ideas coming. I'll find a way to get Saint to see what this squad is doing to his otherwise great place.

 

By mastering this method, naming at least scale tone triads would be so easy.


For example:
In the key of E, if you know the E Major scale tones (E, F#, G#, A, B, C#, D#) already, creating tone triads would be on the fly. Everyone knows the triads' sequence in the Major scale:

M m m M M m dim (or I ii iii IV V vi vii°)


But in applying it to the scale tones, novice people would have problem because they can not remember the scale tones easily. If you try to memorize the tones of any key, applying above formula would be so fun like this:

E Maj, F# min, G# min, A Maj, B Maj, C# min, D# dim



I am a formula expander.

Formulas are so good for ear training (when we mostly deal with the quality not the exact pitches) but in the music creation they need to be expanded.








We have 2 choices:

1- Visualizing the chromatic or any other circle in the head every time we need something and applying any formula.



2- Memorizing the most practical ones we always need to know.

First one for you and second one for me.

 

Last edited by a moderator: Apr 2, 2016

Tell that to Vangelis who self-admittedly can't read notation...