I want to fill in the gaps in my knowledge of theory and harmony.
I've played jazz guitar for a while, and I know how to play over changes, but I don't why the changes are the way they are in many situations. Some of my favorite music is actually old video game music. I was playing Super Mario 3 today and there were so many cool cadences in there and I want understand exactly what they are. A lot of that old game music is both harmonically and rnythmically exciting. Mega Man 2 is a prime example.
Anyway I know I can learn his stuff on my own. I was just wondering if any one could reccomend some workbooks maybe? Something interactive that will help me learn through doing. A major bonus for me right now is that I moved into a place that has a piano in it! wooohoo
thanks in advance
help me form a plan to self-educate on theory.
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- KVRian
- 805 posts since 18 Apr, 2011
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JumpingJackFlash JumpingJackFlash https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=44005
- KVRian
- 1227 posts since 10 Oct, 2004
The following may be of some use:stillshaded wrote:I want to fill in the gaps in my knowledge of theory and harmony.
An Introduction to Music Theory
Scales, Modes and Chords
An introduction to music notation -How to read & write music
An introduction to cadences
For more detailed knowledge on harmony, I thoroughly recommend this, which you can get half-price if you agree you won't photocopy it.
Unfamiliar words can be looked up in my Glossary of musical terms.
Also check out my Introduction to Music Theory.
Also check out my Introduction to Music Theory.
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- KVRist
- 102 posts since 6 Jun, 2012 from USA
i still find the best book that has pretty much everything starting from scratch is aldwell and schacter's harmony and voice leading. Also comes with a workbook. I think i must have about 20 or so on the topic but if i had to suggest one, that would be it.
I also think it is important to be able to hear these things in practice so keyboard harmony is a good thing to do at the same time as they coincide. The book mentioned usually provides choral style paradigms you can play on a keyboard.
The rest really about going thru music and trying to create some sort of mental framework so that you understand it. Which includes listening to music as well and attempt to analyze it by listening.
Basically, until you have a connection to the notes and names and how it actually sounds, it is just meaningless letters.
I also think it is important to be able to hear these things in practice so keyboard harmony is a good thing to do at the same time as they coincide. The book mentioned usually provides choral style paradigms you can play on a keyboard.
The rest really about going thru music and trying to create some sort of mental framework so that you understand it. Which includes listening to music as well and attempt to analyze it by listening.
Basically, until you have a connection to the notes and names and how it actually sounds, it is just meaningless letters.
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- KVRer
- 20 posts since 4 Jul, 2012
The Complete Idiot's Guide to Music Theory followed by The Complete Idiot's Guide to Songwriting will help you out greatly. Anyone can understand it.
For your ear training, I HIGHLY recommend the Android app called "Perfect Ear." It's well worth the extra $3 for the realistic piano plugin and the full range of lessons.
(My $.02)
For your ear training, I HIGHLY recommend the Android app called "Perfect Ear." It's well worth the extra $3 for the realistic piano plugin and the full range of lessons.
(My $.02)
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
you should lose the idea that you can get it all in isolation, if that's where you're coming from at all. talk to people, get out in the world and test your thinking in real time on people that have more knowledge.
[although the OP doesn't ask for this, it has been brought up] train the ear in the fullness of musical context. one could be headed towards a quite atomistic approach when the reality of music is holistic.
[although the OP doesn't ask for this, it has been brought up] train the ear in the fullness of musical context. one could be headed towards a quite atomistic approach when the reality of music is holistic.
Last edited by jancivil on Mon Jul 16, 2012 4:08 pm, edited 2 times in total.
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- KVRAF
- 7904 posts since 20 Jan, 2008
Well I don't know.
If you can already improvise over standards you've covered a great deal of ground. I'm surpised you missed an important step. Writing the changes you play over. Many a tin pan alley writer will start with an established progression make a few modifications and then build a melody on top.
What I find amazing is that both world renown performers actually state exactly what they are doing, why they are doing it and people will sit watch listen and then not apply or apply only for the sake of practice rather then educate themselves by applying what they've learned.
Can you take a simple melody and generate a chord progression from it? How many progressions can you create based on the melody line? It's not that hard to connect a melody with a harmony nor is it hard to connect a progression to a melody. The important thing is not to get too off track. Singers know the importance of repetition and variation. Non singers seem to forget this too easily. It doesn't matter whether you sing or write vocal music. Repetition makes things sound familar and variation makes it less boring.
If you can already improvise over standards you've covered a great deal of ground. I'm surpised you missed an important step. Writing the changes you play over. Many a tin pan alley writer will start with an established progression make a few modifications and then build a melody on top.
What I find amazing is that both world renown performers actually state exactly what they are doing, why they are doing it and people will sit watch listen and then not apply or apply only for the sake of practice rather then educate themselves by applying what they've learned.
Can you take a simple melody and generate a chord progression from it? How many progressions can you create based on the melody line? It's not that hard to connect a melody with a harmony nor is it hard to connect a progression to a melody. The important thing is not to get too off track. Singers know the importance of repetition and variation. Non singers seem to forget this too easily. It doesn't matter whether you sing or write vocal music. Repetition makes things sound familar and variation makes it less boring.
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRist
- 81 posts since 31 Mar, 2009
I Found a magazine at Barns&Nobl for $6 or $7 that had all the same info it took me 2 years to aquire at music college. I think it was called; "How to play Guitar" issue name;"everything you need to know about music theory". Also; a great book by producer;Phil Ramone called;"Making Records". It's not a music theory book, but has great practicle info that cuts through the theoretical bs that sometimes can be an inhibiter.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
It's hard to know what you missed. One would think that to 'know' what to play one understands the changes. Some people learn 'this scale fits with this chord' and it's automatic... seems like skimming the surface.stillshaded wrote:I want to fill in the gaps in my knowledge of theory and harmony.
I've played jazz guitar for a while, and I know how to play over changes, but I don't why the changes are the way they are in many situations.
The changes are goal-oriented in jazz harmony, they anticipate goals and push it a bit, as compared to the popular song origins for instance.
Any chord can be 'pushed to' by figuring the <ii-V of that chord as if I> as a goal, as if a temporary modulation.
But, who knows. The best jazz guitarist in my home town couldn't talk in these terms at all and didn't need to.