IMPROVISATION: Music Theory Vs. Musical Sound

www.creativeguitarstudio.com Search Andrew Wasson.com for FREE lesson Handouts. This Video: May 17, 2011 | Search Videos by Title/Date. GO TO: www.andrewwasson.com Andrew Wasson of Creative Guitar Studio answers a viewers question… Q: My method of songwriting is one that really comes from the ear first, but my problem is analysis. I know that this will be eventually solved once I can become better at music theory, modes and intervals on the neck. However, my immediate problem is matching notes to the jazz chord changes that I like to write. I’ve included an example chord progression for you. It is; || DMa7 /// | Emi7/A /// | EbMa9 / / / | Ab13 / / / || My question is, using my writing technique of, “by the ear only,” could I write melodies over an example progression like this without actually using music theory? I do know my basic major and minor scales, but I’m still working on all of the modes and arpeggios. Hope you’ll respond. Thanks for the great YouTube channel and for your websites! Hartley — Madera, California A: Playing over progressions by ear will certainly eliminate all of those difficult names and complex theoretical ideas. I’ve definitely noticed over the years of teaching guitar that players can get really slowed-down on the theory, the chord names, and on the symbols in music. Now, we should all be able to agree that sounds came first in the world of music and the names came later. So, it stands to reason that if we pretended perhaps, that all of that

Author: creativeguitarstudio
Duration: 649
Published: 2011-05-17 12:09:49
IMPROVISATION: Music Theory Vs. Musical Sound

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    Once we begin a song, our minds begin to formulate where to go next and most of the time we get exited. Throughout the excitement, we can make good mistakes. We hit the wrong key, and all of a sudden, our mind is opened to a new avenue. Mistakes can be good things, because it is an unexpected thing. The best music sounds familiar enough to know where it is going, but unpredictable enough to avoid musical clichŽs.

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