Re: [Harp-L] Re: music theory

[Mark Russillo <jruss433@xxxxxxxxxxxxx>]

Yes, the Circle of Fifths is good information, but in jazz (in particular) it is enough information to be dangerous - the tip of the iceberg, so to speak.
   
  There is a whole language of theory that one can pick up from a pre-tune discussion among jazz musicians getting ready to improvise a tune.  Fourths, modes, intervals, quick explanations of why the key changes in the bridge on a particular tune and where it resolves - all tidbits of information that get explained to you as you work in a single tune.
   
  Then, when you do get to a theory class and someone offers a scientific version of the particular principle at work, one thinks:  "Oh yeah, that's what that cat meant..." 
   
  On the stage, I seldom hear the word "Theory" spoken, yet I hear theory spoken all the time.  I think that's what Michael Rubin was getting at.  
   
  The more one listens, the less gets over one's head.
   
  Mark Russillo
  a.k.a The Rhode Island Kid
  

Jonathan Metts <jonathan@xxxxxxxxxxxxxxxxxxxxxxx> wrote:
  "How many harp players have you met with a cheat sheet list of cross harp 
keys that they got from a book or harp-l?"

I have one. It's called the Circle of Fifths. I keep one printout in my 
harp case and another up on the wall in my apartment. If a harmonica player 
is going to learn just one bit of music theory in his or her entire life, it 
should be the Circle of Fifths. This thing is so intimately tied with our 
instrument that I seem to use it and understand it more than many of my 
non-harp musician friends who otherwise know much more theory than I do.

Jonathan Metts 

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