[Harp-L] Theory and Practice

[Will Vogtman <will_vogtman@xxxxxxxxx>]

I've been struggleing with this for some time.
   
  For example, If Horward Levy played a great single-note lick in C# on a C harp, I'd be amazed.  However, If I played the same lick on an F# harp in parallel octaves, the average listener might think that I was playing something more difficult than Mr. Levy.  In fact, we on this list know that what I was playing would be quite inferior to us.
   
  I had a few great professors in college in logic, optics, mathematical modeling, and jazz.  At one point in time, they all told me that theory and application feed on each other.  Additionally, they have told me that when theory no longer serves the application, challenge the theory.   If the theory is right, you will see the error in your ways.  If the theory is wrong, publish it and retire.  
   
  Theory has NEVER subtracted from my appreciation of any art.  Take blues for example.  In theory, it is very simple.  However, the intangible emotion that a player can play a line with and still lay within the simple theory reveals genius. It seems that the more simple a musical structure happens to be in terms of theory, the more rules apply to enforce the constraints.  Working naturally within these constraints reveals how creative we really are at the given time.  
   
  So here's my problem.
   
  As I learn more, I learn more things that I cannot do in my current set of limitting theory.  So, do I expand the theory, or do I increase the emotion?  How do I do both?
   
  Answering these questions for myself will drive my growth for years to come.
   
  We the time comes to perform, I put all the theory away and try to tap straight into my soul.  Whatever theory has lodged itself there must be the right thing for me.
   
   

 
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