Q. I'm currently a sophomore in high school and I've been thinking about majoring in Music Theory in college. Next year I will be taking AP Music Theory in high school. I've been playing music since I was in kindergarten. I played piano for 6 years, clarinet for 1, flute for 4, and I taught myself a bit of guitar. I am also a professional singer and a dancer. I love music and I was just wondering what sort of classes that are required for Music Theory majors, what is expected of them, how hard it is and if this is a good idea for me. Feel free to ask any questions. Thanks
A. Hey,
I study in the a Music Degree in the UK so it may be slightly different, but here are some of the 'theoretical' aspects of my course.
Advanced Music Theory - This class focuses on all things theoretical - Jazz Harmony, Voice Leading, Scales & Modes, Chords (extensions, inversions etc.) and Compositional Aspects.
Aural/Ear Training - This class focuses on the implementation of theory - Identification of Chords (Major/Minor, Extensions, Inversions) Rhythmic Identification, Scale Identification, Metronome Practice, Interval Identification, Time Signature Recognition.
Composition - This class is, essentially, the study of Harmony in practice and helps you learn how and when to use these theoretical concepts and most importantly of all, what EMOTIONAL RESPONSES you can evoke by using them. After all that's what Music is all about isn't it? :)
Improvisation - This ties all of the above aspects together and allows you to develop through applying all you have learned in a creative environment.
Just remember that the key principal is practice, maintenance and most importantly to enjoy it. It is technical and demanding at times but you sound to me like you are ready to study it, and you obviously love it. So I say go for it!
I hope this helps.
Are there any guidelines in making a blues version of any song?
Q. i know that it really needs experience in playing blues. but are there any standard guidelines or rules you need to observe. one example is this blues version of the Amazing Grace(http://www.playpianotoday.com/links/b12/).
The original song revolves around G, C, Em, Am, and D. I want to know when would you know what chord extension or bass line should go ok with it.
A. The first couple minutes to this video shows Rory Gallagher playing Amazing Grace in a blues fashion with a slide on acoustic.
http://www.youtube.com/watch?v=Bf6RRASIU7A
Followed by a nice Robert Johnson tune redone and an Elvis tune.
Then there's this piano gospel/blues version.
http://www.youtube.com/watch?v=jX5htlOLeFs
I don't know how to explain the technical terms to describe what or how its done but mybe you've got enough of an ear where the videos will be all you need to give you what your looking for.
Can someone help me understand tritones on the piano?
Q. I know you use tritones or fill in chords in between the original chord progression but how do you know which tritone or fill in chord to use in that key or chord progression? And how do I play the right tritone for a passing chord or any chord for that matter?
A. if you're looking to add more passing chords between the original changes of a piece, there are lots of ways of going about it. adding a secondary dominant chord or a secondary II V are popular method.
let's say the original progression is a bar each of Cmaj7 Fmaj7 G7, for extra passing chords, one could add secondary dominant chords (Cmaj7 C7 Fmaj7 D7 G7) or secondary II V progressions (Cmaj7 Gmi7 C7 Fmaj7 Ami7 D7 G7) but the real dictating factor in what you can get away with is whether the melody works over the new chords though, one can add extensions/augmentations to chords to help the melody fit. A tritone substitution is another popular way to alter progressions. wherever there is a dominant chord a tritone substition can be made, assuming the melody can be accomodated. the most important two notes in a dominant chord (aka the V chord) are the 3rd and 7th (in G7, B and F) because they move by semitone (considered a strong resolution) to the 3rd and 1st of the Key Centre. if you use the dominant chord a tritone away, you maintain those strong semitone resolutions, except the bass movement is now also a semitone resolution. In C Major, the V chord (G7) can be substituted with Db7, because it also has F and B as it's 3rd and 7th and the Db resolving to C adds and extra bit of chromatic resolution which can be tasty in the right circumstances. The Berklee Press Makes some great books about this stuff, there is really an endless amount of ways to reharmonize in, it's an exciting topic to delve into and to hear well executed.
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Title : What is expected from Music Theory majors in college?
Description : Q. I'm currently a sophomore in high school and I've been thinking about majoring in Music Theory in college. Next year I will be t...