Re: [Harp-L] re: was timbre etc, now music theory

[icemanle@xxxxxxx]

Excellent comments, rainbowjimmy.
 
First came music. Then came theory. (Then came Jimmy in a baby carriage - ooops, sorry, got off on a nursery rhyme riff).
 
First came music. Then came "rules" to try to explain why and how the music works. Understanding the "rules" is a great way to put the universe of music into a "smaller solar system" for easier comprehension.
 
Some say "since the rules of music can always be broken, why bother learning them?". To those people, I say "POO". Understanding as many of those rules as you can will give you greater depth in your musical choices. Those that play from 100% emotion, constantly "going for it" may find that, while it works in the short run, there may be many times when you find yourself "over your head" or "running out of ideas once you've run your whole gamut of playing from the gut" in the long run. These players should and do stick to a narrow range of shorter musical situations (for example, OK to jam out on 12 bar bluessimplestandardprogressions, but not OK to solo over "Stormy Monday" changes).
 
The day the harmonica player starts to "see" the note choices (calling them Mixolydian, Major, Minor, Dorian, or whatever reference point they choose) is the day a whole new world can open up, adding a bit of "intellectual" to monitor and help the "emotional" approach.
 
As rainbowjimmy mentions below, knowing that one section is E7 and the next B minor helps figure out where the notes you may want to use live. The next level up may be to examine all the notes you wish to use for E7, all the notes you wish to use for B minor, and discover which common notes exist within both choices. Now we can start to create ideas using these common notes as starting points, never having to move outside these choices if you wish. You now create longer lines that can be played over both changes without feeling you have to switch harps, etc. You can linger a bit longer and create more interesting ideas.
 
It's possible to get to a point of understanding where you stand above, looking down over the chord changes and start to see shifting notes choices through the changes. You begin to put less attention on the changes and more on seeing those choices. Then you simply start playing off the choices. This is an evolution and does take time - the length of time totally dependent on the attitude and commitment of the musician involved in this journey. I will mention that once you move beyond focusing on the changes to choices, you experience an addictive sense of freedom within yourself that allows you to "fly like an eagle" musically.
 
The Iceman
 
-----Original Message-----
From: rainbowjimmy@xxxxxxxxxxxxxxxx


Biscuit Boy wrote: 
 
"I'm just saying that knowing 
theory just doesn't make much of a difference when it comes to ripping lead." 
 
But of course it does. I write songs. My co writer comes out with this awesome riff. The two of us figure out where the notes are--it's in F# minor, then I figure out what position is best (fourth) and I figure out where the notes are--cause I know theory. Can't play a ripping lead until I figure out what to play. 
 
Or we're playing a T Rex Bowie kind of riff and I think I should play a blues riff but it isn't making it, so I switch to major pentatonic and bingo. I know how to play major pentatonic in 2nd because I know theory. 
 
We've got another cool riff that I can't quite get. Seems to want a major scale but there's a note that's wrong. I realize the opening riff is just an E7 chord and figure I need to play Mixolodian. The song modulates to B minor so I can either switch harps (not too likely) or figure out where some B minor notes are. 
 
You don't need to know a lot of theory. Probably want to know what notes are in a scale--probably want to know your major scales, your blues scale, your minor scales, your Dorian, your Mixolodian your minor and major Pentatonic--probably want to know where those notes are on your harp.You can figure that stuff out pretty quick.It's nice if you play with a guitar if you can figure out a little what key they're in--maybe know the barre chords. 
 
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