s'all good I can fully subscribe to your point of opposing anybody telling anyone else to NOT learn. Learning is progression and a false premise of "accomplishment" is stagnation.
on a sidenote: i am trained as a classical guitarist (nylons etc.), but I'm only playing steel string. tell you why: because you will never be able to play a classical piece "perfect". Due to the steel and the narrow necks, there will always be a little screetch, a little noise, a little buzz. It's a neverending task of learning to overcome what cannot be overcome ... and that's what I love: always leaves me hungry for more.

 

Beautiful,Klaus!

 

Nooooooo...

Think 39 year old MALE virgins!!

 

That would be catholic priests then givin advice about sex life ... which they actually do ... d'oh!

 

I play nylon and got into flamenco 5 years ago. It's a fun ride studying and executing (ie. failing at) Vicente Amigo's music.

 

I don't know the technicalities but I think you're not a virgin even if you only bang children.

 

theory is just for applying interval understanding after composition is written (what key, movement, etc) it really doesn't matter for creation, theory is also good for memorizing interval positions, anyway try applied dynamics (aka play what you feel and write it out later then sit around in circles at a coffee shop or whatever - talking about the interval relation steps of your compositions hoy-tee'toy-tee Lol anyway, any key you are in, you can apply any note and steps you want, it doesn't have to follow rules, it doesn't matter about rules it's all about the applied dynamics of the movement of the notes you apply

 

Using theory I can do a rough take for a pop song verse & chorus in +- 2 minutes, so there are material advantages as far as I am concerned.

 

yeah rough takes fast takes to remember ideas is good

 

The main thing is they are structurally solid, as I have prechosen the progression, key and melody scale. Some may squirm, but as an added workflow enhancement I transpose the keyboard to C = Tonic, and I think in relative terms, i.e. C is 1, G is 5. I find this way of working very effective. Once an idea is formed, I start over again from the beginning and use a more normal approach.

 

Does it stop being a blues when you know what I IV V means?

Will it lose the feeling if I give a name to the collection of pitches I played at somepoint in a solo?

If you name a structure with words like "verse - chorus - bridge", does that mean that your song instantly becomes "heady" and rule driven?

 

when I get an idea I just record it down, 'prechosen' to say is a little to stiff for me, not roomy to express my feeling, anyway years ago I use to go like hey I'll make a song in the key of E (from a small progression idea I had from a warm up that sounded good), now what notes will come with that I would say to myself, it was like trying to make a' dot-to-dot' thing (mapping using only rules) it took the fun out of it, instead of just playing what I felt, interval values are good to learn that way you know the exact position of any interval wherever your fingers are, aned like 'kouros' said it kinda takes the fun out of it when you get to detailed about it.. tonic, perfect, root and unison 4 words to describe the same note but unison is actually better known as octave, but it's the same name by note name value blah blah blah Lol .. I think as long as a person understands the interval rules of perfect maj maj perfect perfect maj maj perfect is great, what a interval becomes when flattened by value or augmented, or double flattened or augmented, and how it relates, and learning interval positions is great too for memorizing the fretboard or keyboard, but playing freely is the best then later if one wants to analyze and all that they can, but once when someone learns the interval positions and the rules that apply to those positions then it's a cakewalk from there whenever you play, the true gold is just playing what you feel, what feels good, what feels right to you, what sounds good, not what someone tells you "did you apply the rule etc"

 

I should of maybe explained more detail about the actually meaning of each of those terms (tonic, perfect, root) because there is a little more to the explanation for each term but I was basically trying to convey the idea

 

Jordan Rudess is an example of a musician that is lost in theory.
On the other hand Kevin Moore is not a piano maestro,though he can write songs not showing off with XY scales.
School time is over,now is time to show what you`ve learned.

 

quite the contrary, good Sir! I like your example and what's coming up is not in any way disagreeing with what you have posted.

Your Picasso example is valid and good (love the Picasso; looks like me when I'm hung over) - but merely as a point of discussion:
Isn't the modern Picasso a deconstruction of the "classic" Picasso? And if the "classical" was a representation of classical theory, isn't the modern Picasso - in his attempt to find new forms of expression - the deconstruction of classical theory?

 

I would rather record a sound/feeling in my mind as "b9 note in the melody over V7" than "that note I played on the high string that sounded good with that one funny chord".. and then you change instrument or key (or try to compose in your head without instrument) and it's like reinventing the wheel.

You're the enlightened one. Show us your scaleless/chordless/rhythmless music and teach us how to achieve such greatness.

edit: Oh, right... you can't really teach because that wouldn't be "feeling " anymore and become some sort of theory the moment you conceptualized it... well, let's keep it mystical then.

 

It's not stiff at all because you are absolutely certain about those chords. All you describe has been done previously. I keep a notebook where I record observations about guitar noodles, keyboard jams, ChordPulse meanderings, video tutorials, tabs, sheet music, etc. Don't forget it is a two-step process, there is plenty of room for further iteration, refinement and improvisation later in process. In fact, I often don't contribute to the second step, as it is open to collaboration. The aim of the initial stage is to to marry together chords with melodies. All that gets carried over to the second stage are those chords and melodies. All color and style is added later. It is formal yet also very loose.

 

Last edited: Mar 2, 2016

How come some people feel that garnering an understanding of music theory will hinder your creativity abilities? Never understood that logic. More options and knowledge influence creativity in my opinion. Then you have the communications aspect. Theory is like a language. Could you imagine what the math world would be like without the order of operations? Now apply that logic to music theory.

 

Seriously, i dont know what the fuck you are trying to prove,you sound very illogical.
You are having a hard time reading what people type here and usually coming up with a different version of what someone is trying to say.
You fuck or walk,you close or you hit the bricks.
Oh....have i got your attention now?
The good news is youre fired and you`ve got one day to get your act together and perhaps even win a set of stake knives.

 

Last edited by a moderator: Mar 2, 2016