Hi KevHi John, good to see you here. One of the early questions was - Does your book stand on it's own, or do we need the earlier one as well. Would be great to get some feedback on that.
I think the name of the blues scales were invented in this way. In real blues you rarely hear a minor or major blues scale in it's entirety. You are more likely to come across it in a 60s guitar tutor or a 60s soundtrack (Henri Mancini ?) than in many earlier blues recordings.Wonder if the New Orleans and the early blues (and quite often later) guys knew that there were blues scales let alone pentatonic? If they didn't, wasn't it intuitive?
There is a possibility, admittedly just a small one, that these chords and scales had to be invented so teachers could offer plausible explanations.
I absolutely agree, although I think it's more of a 3 legged stool: ear, theory and dots.On the topic of playing in different keys (and maybe also the strange way my brain works) I find it much less painful to swap keys on a tune if I've learned that tune by ear as opposed to reading the dots. My theory is that it gets stored in a different part of the brain.
Pete,I'm also sure that with blues scales as they don't really "follow" any harmonic structure usually, there wasn't much need for earlier blues musicians to actually use any name, even if teaching somebody, beyond: "try this set of notes here". We may never know unless some musicologist can dig up letters from Robert Johnson to Blind Lemon Jefferson.
iTunes - never!Hi Kev,
I'll be interested to hear your initial impressions. I'm guessing along with this will be an expanding library of music CDs or tracks from iTunes!
All the best,
Hi ChrisHi Kev,
Oh dear, it sounds like it's way to advanced for me already :crying:
Just off to Amazon to see if there is: "The Beginners Guide to: Jazz Music Theory for Dummies"
Somewhere there has to be a door into this musical world, of course I could already be on the inside looking at the wall not realising all I need to do is turn around!
I'm still tempted to have a look at this book anyway.
Hi ChrisHello John,
My only concern is that you say he, “writes in a way that is aimed at non-players, deliberately avoiding musical terms” But if ‘musical terms’ are the language in which other musicians speak, does this not just lead to further confusion and at a later date having to translate the knowledge/language
Much of it passes me by too, a lot of this stuff is great for dipping in and out of though. Some of it sticks, some goes over your head. Not to worry as plenty of people get by nicely without such advanced theory knowledge.I have four good theory books and though much of it all passes me by, they are good reads/reference and I am definitely seeing some improvement in my understanding.
Not sure if I am reassured or not as you find some of it "passes you by" even with your vast experience. I spoke with Karen about this a lesson or two ago suggesting I have some great improv going on in my head but that it gets lost in translation by the time it reaches my fingersMuch of it passes me by too, a lot of this stuff is great for dipping in and out of though. Some of it sticks, some goes over your head. Not to worry as plenty of people get by nicely without such advanced theory knowledge.