(Part 2) Best music theory & composition books according to redditors
We found 1,421 Reddit comments discussing the best music theory & composition books. We ranked the 455 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
As a biologist and a musician, I can tell you with certainty that it's fucking magic
Music causes strange things to happen in the brain, there's a number of popular science books on the subject (e.g, Musicophilia). Neurologists don't understand it fully. Playing music is one of the most complicated cooperative behaviors we perform as a single group. We can play a fast piece with a 9/8 time signature in an large ensemble comprised of various instruments with ease (think Celtic or Indian music as well as Western Orchestral). Why music makes sense to us is an even greater mystery.
If you ask me, I think we could sing before we could speak. :-)
There are a lot of courses. Any specific topics you're interested in?
Edit: I'll just list a few anyway that I've used in classes (this may not reflect all professors' choices for the same subjects).
Tonal Harmony: Kostka-Payne - Tonal Harmony
Counterpoint 1: A Berklee book by the late professor Rick Applin. Some also use this Fux translation/adaptation
Counterpoint 2: Bach Inventions & Sinfonias (any edition, really)
"Advanced" Counterpoint: The Well-Tempered Clavier (again, any edition)
Early Twentieth-Century Harmony: Persichetti - Twentieth-Century Harmony
Post-Tonal Theory/Analysis: Straus - Intro to Post-Tonal Theory
Instrumentation/Orchestration: Adler - The Study of Orchestration &
Casella/Mortari - The Technique of Contemporary Orchestration
Western Music History - Burkholder/Paiisca - A History of Western Music (8th or 9th edition)
Conducting 1 - Notion Conducting
Conducting 2 Notion + Stravinsky's Petrushka
Berklee's own (jazz-based) core harmony and ear-training curricula use Berklee textbooks written by professors which, as someone else mentioned, come unbound and shrink-wrapped at the bookstore. You can find older (PDF) versions of the Berklee harmony textbooks here. Of course this list only represents explicit book choices - there are a lot of excerpt-readings, and there's a lot of instruction that isn't found in these books even in the associated courses.
15-20 minutes is going to be pretty ambitious for your first classical composition! It'd be a real treat if you pull it off.
First, find some tutorials on the internet for reading sheet music. There's tons of them and it's not worth getting a textbook for; it's just something that needs constant practice. Once you're reasonably fluent in sheet music, you've won half the battle.
Second, get the fifth edition of Walter Piston's Harmony. It starts out with the very basics - scales and intervals - and proceeds to cover all the important contrapuntal and harmonic practices of the Common Practice era, then gets into some modern stuff at the end. It also has exercises for the reader to work out. However, it assumes you can already read sheet music.
If you have the time, I'd recommend teaching yourself the basics of piano as well, just enough to know your way around a keyboard. It's a terrific visual aid when it comes to classical music and theory. Some famous composers got by without it though (most notably Berlioz).
The Elementary Rudiments of Music. Been around forever. Proven effective. Own a well-worn copy myself.
Link (Canadian amazon) http://www.amazon.ca/Elementary-Rudiments-Music-Barbara-Wharram/dp/1554400112
You should pick up Oliver Sacks' Musicophilia. He describes earworms and similar stories there.
Normally, I would try to (somewhat) annotate stuff I link/mention but I'm tired on all levels of my being so forgive me for making this reply less detailed than I'd like it to be. Keep in mind that I don't know sht and half the time, I'm talking out my ss.
Mostly I hope this, at least, helps you guide your search. Or the things I write here are so horribad that it prompts someone to viciously correct me, thus giving you the real info you need! :p
I might circle back after some time to add notes here and there. Maybe. Also, this first reply will be focused on quartal harmony but I should be able to muster up the spoons to write up a search guide for minimalism later.
First, there are some really neat proto examples of quartal/quintal harmony in Medieval music. The starting search term for this would be organum. There were/are more than a few kinds^A of organum but examples of parallel organum should be most interesting to you.
David Fenwick Wilson has a book on Early music called Music in the Middle Ages: Style and Structure. It's admittedly an older book but I mention it specifically because there's a lovely youtube video^B with examples from the related anthology. As always, I'm a sl*t for Norton's music history books^C so check those out as well, imo.
Outside of the realm of "classical" music, most of the quartal harmony you'll encounter will be in the form of quartal voicings^D for otherwise tertian chords. It's a favorite trick for more than a few jazz giants so naturally, there's an absolute glut^E of resources for this.
When we get to classical music though, we start to get some actual spicy stuff, like fully formed quartal harmonic systems and languages. Paul Hindemith was a BIG fan of quartal stuff. You can check out his own writings^F about his musical system in his book on composition. Arnold Schoenberg also devotes a section in his book on harmony^G to the newer quartal sounds cropping up (well "new" when he wrote it at any rate).
From there it's really a matter of doing the grunt work of either analyzing composers you find writing quartal harmony OR researching analyses of said composers. Sure, quartal harmony (and the related term "interval cycle") gets mentioned in more than a few books on 20th century harmony like Vincent Persichetti's^H or Richard Strauss's^I books; both might be good jumping off points on your journey.
Seemingly, every composer and their mother (Hindemith, Schoenberg, Stravinsky, Copland, Cowell, Ives) experimented with quartal writing in the 20th century. So while definitive guides might be hard to track down, specific examples aren't. I'll include an analysis or two that you might find helpful in the list below. Be on the look out for any edits I might sneak in!
Beyond that, perhaps the most concrete way we could help you would be to analyze specific pieces/instances of quartal language you find and walk you through any questions you had about the piece. When I'm not tired, I'm usually down to dig into some cool music. Drop a score, ask something, and let's analyze something together! Still, I hope this helps. Have fun on your compositional journey and take care!
A.) https://sophia.smith.edu/~rsherr/earlypol.htm
B.) https://youtu.be/SgHzH5iDcGQ
C.) https://wwnorton.com/books/9780393929157
D.) https://leadingtone.tumblr.com/post/8203279125/quartal-voicings-in-jazz-here-refers-to-an
E1.) https://www.jazzguitar.be/blog/quartal-chords-harmony-voicings-for-guitar/
E2.) https://www.thejazzpianosite.com/jazz-piano-lessons/jazz-chord-voicings/quartal-voicings/
E3.) http://greglui.com/blog/quartal-voicings/
F.) https://www.amazon.com/Craft-Musical-Composition-Theoretical-Part/dp/0901938300
G.) https://www.amazon.com/Theory-Harmony-ANNIVERSARY-Arnold-Schoenberg/dp/0520266080
H.) https://www.amazon.com/Twentieth-Century-Harmony-Creative-Aspects-Practice/dp/0393095398
I.) https://www.amazon.com/Introduction-Post-Tonal-Theory-Fourth-Joseph/dp/0393938832
J.) Berg's Lyric Suite has plenty of quintal yumminess. Check out Perle's analysis of its interval cycles: https://www.jstor.org/stable/741747?seq=1#page_scan_tab_contents
Look into transformational/Neo-Riemannian theory and musical set theory.
David Lewin - Generalized Musical Intervals and Transformations (GMIT)
Richard Cohn - Audacious Euphony
Guerino Mazzola - The Topos of Music
Guerino Mazzola - Cool Math for Hot Music
David Lewin - Klumpenhouwer Networks and Some Isographies that Involve Them (journal article)
Joseph Straus - Introduction to Post-Tonal Theory
Tymoczko is already spoken for.
I assure you it's not an issue that you just have or don't have. "Talent" is not a fixed issue.
It's almost certainly an issue of you just not approaching it correctly. This is common with self-teaching musicians and it's honestly especially common with musicians who have background or fluency in one instrument and try to take up another.
Both are rooted in the same problem. Both groups want to be too good too fast and when they can't instantly surmount something difficult, they give up. For those with proficiency in another instrument, it's usually because they try to skip the technical fundamentals of a new instrument because "I already know all this stuff... I'm a good musician." Their ego cripples them putting on the training wheels and sounding like a 3 year-old for several weeks.
For the self-teaching, it's similar. They want something to sounds like a song ASAP. They want it to be an awesome song too... not just something simple. No children's songs. They want to sound cool.
And for both groups, once they get good at one type of thing, they abandon anything else. For you, there's a pattern that you're good at... so you stick to it. If it's something else and it's hard, you give up fast and go back to your safe pattern. For so many musicians they stick to the style or (often with pianists) composer they are best at. It makes them look good. It makes them feel good and gives them that sweet dopamine hit.
It's the same reason people are convinced that you either can play by ear or can play by music, but not both. Most people just get good at one and won't work on the other. For them it's too hard (ear to sheets) or it seems like magic (sheets to ear).
>A) am practicing incorrectly, B) not practicing enough, C) started learning to play instruments too later in life or D) my brain just isn't wired correctly for this stuff. It's probably all four, but lately I'm leaning more towards C and D.
I'd wager it's almost certainly A. B is not as relevant as people thing since quality trumps quantity (see A again).
As for C and D, they are just excuses. I started a lot of things late. Sure I went and got a degree in music, but before college I'd only played trumpet... one not at a time. I was pretty terrible at most of the compulsory piano stuff we had to do and abandoned it after scraping by the requirements.
But then I took up piano seriously at 26 and I now make most of my living playing piano. I've taken up guitar. I've taken up accordion. I gig on the 4 mentioned instruments to varying degrees and I dabble in plenty of others.
I don't have great hands for any of it. I have small hands with fat fingers. I have a mild webbing on my left. I struggle to play barre chords on guitar due to the size of my hands and some chords are physically beyond me because my thumb doesn't wrap around enough.
The thing is, I spend most of my time working on whatever I suck at. I never sound impressive because I'm not working on showy pieces or things that make me feel like I'm awesome. I'm zeroing in on anything that I'm bad at and working on it.
I can think of many times working on my left hand on accordion where my brain felt like it was absolutely melting because it was so mentally taxing and beyond me... at the time. And despite playing the piano, I still have plenty of coordination issues that I have to work through on accordion. In some ways it's easier, and in some ways it's harder. The bellows definitely add a wrinkle.
But if you want to get good at something, you just need to slow it down and work on it consistently...not over minutes or hours... but over days and weeks and months. Slow it down so much you barely know what you're playing and make things line up. Sure, it's really frustrating on accordion (bellows make this more of a chore than most instruments), but the concept is the exact same as working on anything hard. Do it slow... so slow you can't even recognize what you're doing. Line it up and speed it up.
Don't go cower into your comfortable waltz patterns. Don't go work exclusively on just your right or your left hand because they individually make you feel better... Practice isn't about sounding good. It's about sounding like shit so that one day you'll sound less like shit.
I'd highly recommend you read this book not only to dispel you're notion that you just don't have it, but also to give you some understanding and strategies for how to practice effectively.
Usually a good idea to include:
For the kids to read:
Accessible primary sources:
You might want to get/read:
If you think you are ready for some heavier academic writing on music theory, here's how you can get into it:
I would also recommend getting familiar with counterpoint and set theory, if you haven't already! My recommended books on counterpoint are by Robert Gauldin, A Practical Approach to 18th-century Counterpoint and the 16th-c. version as well. It's called "a practical approach" because Gauldin does not teach via the species method. (I tend to find species unrelated, anyway—species counterpoint is a good and important exercise, but not exactly the same idea as 16th- or 18th-c. writing.) For set theory, I recommend Joe Straus's Introduction to Post-Tonal Theory. It's expensive for such a small book; unfortunately, this is a fact of life for any book about 20th- and 21st-c. music, since copyright laws make publishing them quite expensive. You might be able to find older editions for cheaper.
As a long-time user and refuge of Sibelius, I begrudgingly recommend Finale. It's actually pretty decent. The most important thing is that when you make your choice to learn everything you can about the software itself. If you can master all of the shortcuts and hotkeys it will make your life much easier.
Also, I recommend buying a book on instrumentation and orchestration. Alfred Blatter's book (link below) in particular was the one I used throughout college and even now. Good luck!
http://www.amazon.com/Instrumentation-Orchestration-Alfred-Blatter/dp/0534251870
Hi there,
I would start with learning an instrument and music theory.
I started by learning the piano with really basic books - perhaps this could be of use to you: https://www.amazon.co.uk/How-Play-Piano-Complete-Beginners/dp/190870716X/ref=sr_1_1?ie=UTF8&qid=1484745976&sr=8-1&keywords=beginners+piano+book
I then started my understanding of Music Theory a short while after that, with the ABSRM Music Theory in Practice Grade 1 book: https://www.amazon.co.uk/Music-Theory-Practice-Grade-ABRSM/dp/1860969429/ref=sr_1_1?ie=UTF8&qid=1484746064&sr=8-1&keywords=music+theory+in+practice+grade+1
After doing some beginners' piano books, I progressed to the ABSRM Grade 1 exam. There are 8 Grades in total, by the way. I just did mine when I was told I could by my teacher, but if you practice for 30 minutes per day you could probably learn all the stuff from nothing to Grade 1 in a term.
There are other requirements, such as knowing how to play scales and arpeggios, sing, and sight read (so you get to look at a piece for 30 seconds and then just have to play it - my most hated part of the exam!) - you may need books for them, too.
I would say when you have done the exam for Grade 5 Piano AND Grade 5 Theory, you will be ready to start composing. The best way to do that would be to take the exams themselves, as they are a very professional exam board.
Hope this helps! =)
P.S. The reason you've probably been downvoted is because it's quite insulting when someone just says "I have no knowledge and want to make music for video games". People understand you want to, but they put 10, 20, 30 years into the craft, and you come in looking for a quick and easy result. :P
P.P.S. If you look in the FAQ section of this subreddit located on the right-hand side, it should send you to the relevant places. Also check out the Game Audio and Game Dev subreddits eventually, but not now.
If you want to learn piano, go to amazon and get these 4 books:
1.The Musician’s Way
2.First Lessons in Bach
3. Two and Three Part Inventions
And finally
4. The Well-Tempered Clavier
These books will teach you all you need to know about music. This is how I personally started playing piano. Work through the books in order, as each one builds on top of the other. Once you can play counterpoint excellently you can play pretty much anything else.
In the words of Brahms: “Study Bach. There you will find everything.”
As far as a keyboard goes, I have a Yamaha P-60 and it gets the job done. Just make sure you have weighted keys and 88 and you’re good. Bach’s music doesn’t require a pedal, so you don’t even really need that.
Good luck on your musical journey! To work through all these books will take a life time.
Books, books and more books
http://www.amazon.com/Musicians-Way-Practice-Performance-Wellness/dp/0195343131/ref=sr_1_7?s=books&ie=UTF8&qid=1418943223&sr=1-7&keywords=music+theory
http://www.amazon.com/Chord-Wheel-Ultimate-Tool-Musicians/dp/0634021427/ref=sr_1_14?s=books&ie=UTF8&qid=1418943269&sr=1-14&keywords=music+theory
http://www.amazon.com/Study-Counterpoint-Johann-Joseph-Parnassum/dp/0393002772/ref=sr_1_15?s=books&ie=UTF8&qid=1418943285&sr=1-15&keywords=music+theory
Cool... alongside the technical stuff (which you'll obviously need) I would definitely spend some time learning some theory to help with the composing.
If you want to do that the "slow and hard way" (but actually quicker and easier than messing around on the internet) I suggest getting a basic harmony textbook and working your way through it. Do all the exercises in a MIDI sequencer so you can hear the results. The book I used back in the day was Piston, but almost any harmony book will probably do. Then get a counterpoint book and do the same thing. Those are strong foundations, and it's stuff you can do away from the guitar. If you get the book and find you're not ready for it, work through the beginner resources in the sidebar of /r/musictheory and then try again.
Aside from that:
A month is a good unit of time to learn something. If you sit down and make a month-by-month plan for the next two years mixing up these elements you should make very solid progress.
I'm sure others will have more genre-specific advice, though!
The Musicians Way.
Goes in depth about how to practice, memorize, improve, create practice routines, how to stay healthy. And a lot more.
All good to follow a book and learn. But, only you, and maybe your instructor, know your weakness. Good know how to spot them, and create a practice schedule around that.
Edit: http://www.amazon.com/gp/aw/d/0195343131/ref=pd_aw_fbt_b_img_2?refRID=0M5P4Y51J8CNC5JBCSGB
Dont know how to do the fancy link stuff on mobile
You can read the first few pages online on Amazon (try this link), and there's also a Wikipedia page about the Immersion Composition Society, which this book seems to be based on.
Musicophilia by Oliver Sacks is another great read on this subject
>It's perhaps the least romantic gift ever
Hahahahaha! I would definitely agree, though—I think the CHWMT would be an excellent book. If she goes through any sort of History of Theory course (which most PhD programs do), I can't imagine she wouldn't use this book. Even if she didn't have such a course, this book is a collection of (with perhaps one exception) excellent essays written by top scholars on almost every major theoretical approach or issue in the history of Western music.
I won't speak for other sub-disciplines—vornska's suggestions are definitely some of the central books in present theoretical studies—but let me make some suggestions for books more oriented towards Schenkerian analysis.
Schenker's Free Composition — this is Schenker's magnum opus in which he lays out his mature theory. For any Schenkerian, this is definitely a Bible of sorts, and a must-have. Just be sure, if you end up purchasing this, to get both volumes; one volume is the text and the second is the examples. You can also find the hardcover first English edition, sometimes even for less than the price of the two paperbacks.
Cadwallader and Gagné's Analysis of Tonal Music: A Schenkerian Approach — this has become the standard textbook for teaching Schenkerian analysis, and I still find myself referring to it after years of Schenkerian studies. A somewhat dry but very clear and beneficial book.
Schachter's Unfoldings: Essays in Schenkerian Theory and Analysis — Carl Schachter is one of the greatest Schenkerians; nearly everybody who's anybody in the world of Schenkerian analysis studied with him. This book is a wonderful collection of some of his greatest essays. His writing style is exceptional and his analysis are some of the best I've seen.
Music composition in medieval and early renaissance, and classical period can be analysed as pattern based.
Some good books - https://www.amazon.com/Music-Theory-Problems-Practices-Renaissance/dp/0816669481
https://www.amazon.com/Music-Galant-Style-Robert-Gjerdingen/dp/0195313712
https://www.amazon.com/Cambridge-History-Western-Music-Theory/dp/0521686989
The same can be said for many traditional/ethnic music styles. (Get any good book on X folk/pop/ethnic style depending on your interests,)
The Berklee guide to Jazz Harmony https://www.amazon.com/Berklee-Book-Jazz-Harmony/dp/0876391420 was fantastic. Pick it up from the library if you can.
Blatter's 'Instrumentation and Orchestration'.
Quality is much more important than quantity. You can play a ton of guitar without really learning very much. Conversely, you can get a huge amount of benefit from fairly short practice sessions.
You'll also want to stare at this diagram for a while. Look for patterns. Each interval has a different pattern. Start by learning octaves, then perfect fifths (power chords), perfect fourths, and major and minor thirds.
http://www.guitar-guide-easy.com/images/stories/fretboard.jpg
Did you know the guitar is tuned in perfect fourths, except for the G to B string which is a major third? Fourths is a kind of interval, btw. The guitar is tuned EADGBE and E to A is a perfect fourth, A to D is a perfect fourth, D to G is a perfect fourth, G to B is a MAJOR THIRD, and B to E is a perfect fourth.
Intervals are the distance between two notes. Each interval creates a different sound. Intervals can be harmonic (played at the same time), or melodic (one note played after the other). Major third is typically considered "happy," minor third "sad."
Did you know that unlike a piano the guitar contains unisons? That means there are multiples of the same exact note on the fretboard. This is not the same thing as an octave.
So for example, if you look at the diagram, on the 24th Fret on the low e string, there is a yellow "e" note. That same exact note is found at the 19 fret on the A string, 14th fret on the D string, 9th fret on the G string, 5th fret on the B, and it's the note sounded by playing the open high e string.
EDIT: you might also want to buy a book on music theory. There's a lot of info on the internet, but sometimes it's easier just finding it all in one place. This book is pretty good.
http://www.amazon.com/Everything-Music-Theory-Book-understanding/dp/1440511829
EDIT 2: A 24 fret guitar (most guitars aren't 24 fret, but for convenience sake I'm going with it) has a range of four octaves (E2 to E6).
To see what that would mean on a piano, see this:
http://sanfranciscoaudiophilesociety.com/wp-content/uploads/2012/02/piano-keys-hor2.jpg
Also, to know how many octaves there are on a piano, you take the number of keys (88) and divide by 12 (12 notes per octave). You get a little over seven octaves.
So that might lead you to believe that on a guitar you take the number of strings (6) times the number of frets (24), which gives you 144 notes, which you then divide by 12 (12 notes in an octave), giving you 12 octaves on the guitar. But as I said earlier, it doesn't work like that. Because unlike the piano the guitar has multiples of the same note.
http://www.amazon.com/Berklee-Music-Theory-Book-Edition/dp/0876391102
sonata #1 sounds like a psuedo Beethoven/Liszt
sonata #2 sounds like a young psuedo Mozart. It sort of feels like you are trying to stuff the music into the form, like trying to stuff a genii into a bottle. The Genii doesn't always cooperate.
:-)
sonata #3 sounds like a psuedo Mozart, but is much more masterful than your earlier efforts. it is the more accomplished, and seems much more listenable and enjoyable. It sounds like you are starting to put in additional layers so that everything isn't obvious on the first go around. This is a very good thing to do. It sounds like you are starting to have fun with the form. It has a good flow.
Keep this up, and we won't have to shoot the critics.
Recommended reading: Charles Rosen: Sonata Forms
Intelligent Music Teaching: Essays on the Core Principles of Effective Instruction https://www.amazon.com/dp/0977113906/ref=cm_sw_r_cp_api_i_5DuwDbRFE2F4B
Great thoughts of the fundamental concepts of successful teaching.
do yourself a favor, before you talk out of your ass again
Check this out:
http://www.amazon.com/Electronic-Music-Systems-Techniques-Controls/dp/0697036022
Unfortunately it's out of print so it's a small fortune to buy the physical copy, but if you contact the publisher they sell the pdf for $15.
A collection of thoughts
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As has been said
> Don’t be afraid to build up a giant stack of half formed ideas on top of your piano.
Beethoven is notorious for his sketch books, and for playing with and developing ideas for years and years and years after the initial thought.
The original ideas for the 5th symphony are junk, for example. but he kept playing with it
get this book for more on this
https://www.amazon.com/Beethovens-Sketches-Analysis-Style-Sketch-Books/dp/0486230422/
part of music is the actual musical architecture and structure of the music. This is covered in the subject of "musical form" but this goes deeper
see this short video by whitacre on the subject
"Discovering the Golden Brick"
https://www.youtube.com/watch?v=fwjqptQ5R-w
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for more general instruction on the basics and the bigger issues of music composition, see this YT channel by Alan Belkin
https://www.youtube.com/channel/UCUQ0TcIbY_VEk_KC406pRpg
for a more popular music perspective, see Rick Beato and related channels
https://www.youtube.com/user/pegzch
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One of the longest traditions in music education is the making of arrangements and transcriptions of other people's music. This seems to far more effective if you do it by hand, and copy out all the parts yourself (again by hand)
Bach arranged Vivaldi, Mozart arranged Bach, Beethoven arranged Handel, etc.
If these masters did this as part of their own musical studies, maybe you could so this for your own education, using the music you admire most.
Even if it is arranging the music to a new key or mode (major to minor, etc)
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As a general thing I recommend books by Charles Rosen for music of the Classical era
https://www.amazon.com/Sonata-Forms-Revised-Charles-Rosen/dp/0393302199
https://www.amazon.com/Classical-Style-Mozart-Beethoven-Expanded/dp/0393317129/
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Probably the best place to start is by writing "etudes" which basically means "Studies" You could also call them "Experiments".
These would be shortish pieces where you try out different things. Thus if you do not know which way to go with something, you try them all or most of them, and flesh them out into separate things. Each is an experiment.
one idea might give a dozen experiments (major vs minor, slow vs fast, 3/4 vs 4/4 vs 5/4 = 12 combinations)
As experiments, not everything has to work. (but you might come back to it later)
Nothing has to be perfect, They are experiments
Later own, you experiment with ways to make it better. (see the Beethoven sketches again)
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part of the musical problem of form is to how to continue something in order to maintain interest, without it getting boring for a variety of factors. Traditional forms are solid solutions to the problem but you can come up with your own.
As an example, check out the old popular songs of John Denver (!) many of which do not follow a conventional common practice song format. What is he doing there?
I would recommend going to your theory teacher's website/class website and look at what book they want you to get. This is a big sign of the approach the university will take in teaching from Theory I and upwards. This way, you will know the "common language" professors will use at your school regarding theory. What I mean are specifics, ranging from calling something an "accented passing tone" vs. making no distinctions between a regular passing tone, to various systems of abbreviations, and to differences in how the cadential "V^6/4 - V^7 - I" is viewed. Some people interpret this as " I^6/4 - V^7 - I." Basically, do you call a cadential^6/4 chord a V or a I chord? One use is not universal. Little clarifications like these, which can only been gleaned from your actual theory book, will make you better prepared and less confused on day one than learning one book's method, only to be presented with a completely different approach.
I think, given your background in theory, you will be surprised how far ahead you are compared to many people. A lot show up to their freshman year with a low level of theory competence.
I went to a university that used the Laitz textbook, so its about all I can recommend.
I've also been exposed to the Straus book for post-tonal theory.
For Species counterpoint, you can't beat the Schacter and Salzer book: "Counterpoint in Composition,"
For Schenkerian analysis, there is the Salzer book: "Structural Hearing." That is a bit more specialized, but it may pique your curiosity.
Great theorists like Felix Salzer and Carl Schacter, students of Heinrich Schenker, along with the acclaimed Steven Laitz, are good to learn about and be knowledgeable about. Looking into them, their associates, and their teachers can lead you to other good books.
The Adler book is definitely a standard, but I've heard a few complaints about inaccuracies. Haven't read it, so I'm not sure. I think the other major go-to is this book by Alfred Blatter. I used it in my undergrad and felt pretty good about what I learned.
start small and work your way up. Elementary Rudiments of Music. Learning theory is about learning music, not just guitar. http://www.amazon.ca/Elementary-Rudiments-Music-Barbara-Wharram/dp/1554400112
For learning guitar, I like fretboard logic.
And as a reference guide and rut breaker the Guitar Grimoire
If you don't know how to sightread, this is a good time to get good at that. Pack a metronome and a replacement AA battery or two and you're set for 6 months no problem. For books, try:
Jay Weik's Daily Sight-Reading Studies for the Guitarist, Large Print Edition:
http://www.amazon.com/Daily-Guitar-Reading-Technique-Studies/dp/0786682809
Make sure you get the large-print edition, because the "normal" edition is actually a pocket-sized "Quick Guide" that is tiny.
This has 30 daily studies that will have you sight reading full chords in 1 month if you work on it every day.
Another great resource for sight reading is this one from Berklee:
http://www.amazon.com/Reading-Studies-Guitar-Positions-Multi-Position/dp/0634013351
I also recommend a theory book, for example Berklee's Music Theory 101 books 1 & 2 as used at Berklee College of Music:
http://www.amazon.com/Berklee-Music-Theory-Book-Edition/dp/0876391102
Get these, a Real Book for jazz standards, and some note-for-note transcriptions of albums you want to learn for the metal stuff. Books are available for lots of major label albums if you search for them. Make sure you use a metronome to practice. You don't need anything fancy; something like this will work just fine:
http://www.amazon.com/Qwiktime-QT3-Qwik-Time-Metronome/dp/B0002F75EM/ref=zg_bs_11965901_9
Hope this helps! Have fun.
my wife got me a Roland RE-20 Space Echo and a copy of The Frustrated Songwriter's Handbook .
http://www.amazon.com/Instrumentation-Orchestration-Alfred-Blatter/dp/0534251870/ref=sr_1_1?ie=UTF8&s=books&qid=1278516600&sr=8-1
This book is one of my favorite sources for orchestration and just getting ideas about how different timbres interplay with one another.
As far as composing better, the best thing that you can do is make a bunch of pieces. Sure, some of the pieces aren't going to be that great, but you're going to eventually find bits that you really like. When you do that, you can requote those portions in other works and really start honing in on getting the piece to work together within itself.
Try writing three pieces in one day (similar to the as-many-songs-as-possible songwriting challenge). If that seems too easy, bump the number up. The more and more that you compose without overthinking what you are doing, the more likely that you will let your unbridled creativity flow. When the juice starts to flow, then you will be amazed at what you didn't know you knew.
\> This composition was focused on the balance and elegance of the Classical era (like Mozart and Haydn).
It doesn't quite achieve that either, mind you. The following paragraphs sound harsh but aren't intended to be.
There are lot of what I would call mechanical mistakes. Take the second bar. You shift an E-major chord up a second to F#-major, all voices moving in parallel. And then you compound it by the F#-C# to B-F# parallel fifths in the cello, viola and second violin. You will not find anything like this in the body of works of Haydn or Mozart. It's just a simple violation of rules that cannot happen when you strive to write in the Classical style.
Aside from these types of formal issues, there is something that takes much longer to get right and it has to do with all these unwritten rules that you would find implemented in every Mozart and Haydn sonata movement. The second theme appears to be presented in bar 17 and it is according to the standard rules in the dominant. So far so good. The problem is that you are missing the transition from first to second theme. The first section is just a repeat and alternation of two-bar motives. The 16 bars entirely consist of three chords: B-major, E-major and F#-major. And then, after ending on the tonic B-major, you introduce the second theme in the dominant F# but you never established that key, and it needs to be.
According to classical rules it requires either a cadence on the dominant, often introduced via vi which in the case of B-major would be like a g#-minor chord with the third in the base but more correctly denoted as B^(6), or a half-cadence on the double-dominant C#-major. You have neither and you don't have a single reference to the new leading tone E#, and you kind of do need it to convincingly present the second theme in the new key.
Whole books have been written specifically about how Classical composers treated the sonata form. I recommend Charles Rosen's Sonata Form or The Classical Style by the same author. These are incredible books and eye-opening. I keep repeating this and a lot of people don't believe it but the Classical era was the height of formalism in music. Haydn, Mozart and Beethoven were the most comprehensively trained composers in history. They had to be. They knew everything that Bach did but in addition to that they had mastery of the far richer structural and harmonic principles and rules of the Classical era (which, actually, they created themselves). That's why a scholar such as Charles Rosen spend his whole life (well, apart from performing as a pianist) on studying what made Classical music Classical.
But not to worry. It seems this competition that you won is for young (as in teen) composers. I've taken part in various composition competitions myself decades ago (and never really won anything). You'll figure it out. But do get these Charles Rosen books. When I read them for the first time they elevated my appreciation and understanding of classical music to an entirely new level.
This workbook that really helped me get theory down. Almost everyone I know who's versed in theory used it, including myself. I'd recommend getting the answer key too. It's cost can put people off, but you gotta look at it like an investment in your music, and it's far cheaper than any school textbook.
My advice is to buy some books. There's a lot of info on the internet, but it's all spread out and often chopped up into pieces, which can make it a bitch to make sense of. If you're going to go the internet route, though, check out guitarlessons365.com (not affiliated in any way). The vast majority of the lessons are free and the music theory section is completely free, not to mention very good.
http://www.guitarlessons365.com/lessons-archive/music-theory-lessons-archive/
Regarding books, this is a great, easy to read book on music theory that won't hurt your head. I'd start either here or with guitarlessons365.
http://www.amazon.com/Everything-Music-Theory-Book-understanding/dp/1440511829
For guitar books, Fretboard Logic is a must read. Definitely buy this. It focuses on the 5 position system (CAGED). If you're interested in learning the 7 position system for the major scales and other 7 note scales, check out guitarlessons365.
http://www.amazon.com/Fretboard-Logic-SE-Reasoning-Arpeggios/dp/0962477060/ref=sr_1_1?ie=UTF8&qid=1348759781&sr=8-1&keywords=fretboard+logic
After that, I'd check out this as well.
http://www.amazon.com/Music-Theory-Guitarists-Everything-Wanted/dp/063406651X/ref=sr_1_1?s=books&ie=UTF8&qid=1348759708&sr=1-1&keywords=guitar+theory
Worth checking this out as well.
http://www.amazon.com/Guitar-Fretboard-Workbook-Barrett-Tagliarino/dp/0634049011/ref=sr_1_3?s=books&ie=UTF8&qid=1348759937&sr=1-3&keywords=guitar+theory
Here's another important book. I'd probably buy this last, though.
http://www.amazon.com/Jazz-Theory-Book-Mark-Levine/dp/1883217040/ref=sr_1_1?s=books&ie=UTF8&qid=1348760257&sr=1-1&keywords=jazz+theory+book+by+mark+levine
Music Theory Remixed by Kevin Holm-Hudson, is a great book that covers all the typical concepts of a four semester university theory course (Theory I through IV) but supplements all the concert music examples with music from pop music. It's pretty fantastic. Sort of like a more relevant Tonal Harmony... I think it's fun to hear modern examples of cadences, modulation techniques, etc. along side examples from Bach, Mozart, Beethoven, etc.
Tonal Harmony, by Kostka and Payne, is in my experience the most commonly assigned text for Theory I - IV courses. It's very good.
Straus' Introduction to Post-Tonal Harmony, is incredible. This book helped me fall in love with post-tonal music. If you need to study post tonal music, this is the book to get.
I used an android app called note reacher and these books
https://www.amazon.com/gp/product/0882847309
https://www.amazon.com/gp/product/0800854535
https://www.amazon.com/gp/product/1554400112
I see no advantage at this point to reading music after working on it for 5 months and becoming fairly competent. I'm glad I learned but it has not added to my ability to make music. Maybe in the future it will pay off.
Pretty much all the Berklee method stuff is excellent. Here’s a link: https://www.amazon.com/Berklee-Music-Theory-Book-1/dp/0876391102
I have a feeling this isn't what you're looking for, but this book on practice could be of value to you. Perhaps if you understand the reasons why you're practicing and how to practice in a way that will most benefit you you'll be more willing to commit to it.
Good practice is one of the best skills you can learn for almost anything in life.
Here's some other stuff for people interested:
Joe Straus' Introduction to Post Tonal Theory
Introduction to Electro-Acoustic Music by Barry Schrader
Samuel Solomon's How to Write for Percussion
Rothenberg and Ulvaeus' Book of Music and Nature
Cope's Techniques of the Contemporary Composer is okay.
My favorite orchestration book is actually the Blatter
Composing Electronic Music by Curtis Roads is a very good new electronic book
The Rest is Noise by Alex Ross
On Sonic Art by Trevor Wishart
Tell her to watch these videos. The first is a concerto with the clarinet professor, the second has an amazing clarinet solo by a current student in the second movement.
If she is interested in the education program tell her to read Intelligent Music Teaching written by the head of Music Education.
It's sort of a combination of simple note reading, experimentation, and adaption to the instrument. Process:
Step 3 can involve adapting your chord to your instrument. For hymns, you probably won't have to worry about this a huge amount except for seventh chords, and there are pretty extensive charts available for mando seventh chords.
But really, after all is said and done: This is a pretty easy thing to do, if you know some basic music theory. If not, I think the closest I can get to ELI5 is (a) go read this and this, then (b) go arrange the hymns for mandolin.
I'll try to post an example later this week (arrgh, not on vacation anymore, so much less reddit) for a simple hymn. Or PM me with a scan of a hymn and I'll try to mark it up and show you what I am talking about in steps 1-4 in the context of an example.
EDIT: Another way to practice this chord writing skill: Get a book of hymns with guitar/piano chords already marked, and try out the process I outlined above. This way you can check your answers. This is not a bad start. Heck, it may have everything in it you want already.
Theory can be weird when it comes to songwriting and composing.
If you don't know anything, your songwriting is really free and wide open.
When you know a little bit, it's easy to feel boxed in by "the rules".
Eventually, when you learn enough, you understand that there are no rules, and you are once again able to freely write, but you have your theory knowledge to guide you. You can find the sounds you're looking for quicker, and more reliably.
One of my composition teachers once told me "the reason you learn this stuff is to forget it", and that always stuck with me. So make sure to keep that in mind as you learn stuff.
I recommend the Berklee theory book. It's not exactly what they use in class (although it may be now, I graduated there back in 2010), but it is a great book.
I already knew a lot before I started at Berklee, but the way they organized and presented the information there just made more sense to me. It may not resonate with you the same way, but that's how it goes sometimes. You just have to find a teacher, book, program that looks at things in a way that works for you.
> Say if I can't find a teacher right away, how would you say I should try striking that "balance" you talked about? Any resources you'd suggest for each element (technical/musical/theoretical)?
Technical and musical elements are quite difficult to advise on because they are quite individual. Some people are very expressive but aren't necessarily brilliantly technical players and some are brilliantly technical but make music that sounds like robots, and all shades in-between.
If you pushed me I would say that something like Yousician's free lessons will get you off the ground as far as basic technique is concerned. Their free service is perfectly adequate for a complete beginner.
As far as musicality goes that's more difficult to teach. Really you're looking to try and "feel" something while you're playing and it's not quite the same as feeling an emotion - you're trying to feel the flow of the music. I found it helpful when I was first learning to play along to a track and not worry too much about getting it right - just noodle around trying to get into the feel of the thing. Playing with other people helps here too.
As far as theory goes that's easier.
Standard theory (you can call it 'classical' theory if you like but it applies to pretty much any form of music except really early music and more modern experimental stuff):
The AB Guide to Music Theory Part I
Music Theory in Practice Book I
(As you'll see from the Amazon listings there are more books in the Music Theory in Practice series, and there's an AB Guide to Music Theory Part II as well).
Get someone who knows what they're talking about to check your answers!
Jazz theory:
The Jazz Theory Book
Songwriting:
Chord Progressions for Songwriters
Bear in mind that music theory is a bit like art theory in that it's largely descriptive rather than prescriptive - it describes common practice and therefore gives you some guidelines but it's quite possible to follow all the rules and still come up with something that's fucking dreadful. So when you're writing try not to get bogged down with "is it correct?" - just ask yourself "do I like it? does it sound good?".
> What would an ideal (or even okay) progress would look like according to you?
I would say classical guitar grade 1 within 1-2 years is normal progress. If you're ambitious then 6 months to 1 year.
The discipline you're looking for is a little more specific; you're looking for the History of Music Theory. Luckily for your boyfriend there's this glorious/awful son-of-a-bitch book.
The "how" and "why" of music theory is way more complex than evolution. Spend a little time with this book, and you'll find yourself scoffing at the idea of a teleological view of music. The tl;dr truth of why we do music the way that we do is because theory is a hot mess of style conflicts, nationalism, culture-wars, dogma, religion, mathematics, and science.
This book will be difficult to understand without a solid background in theory, but perhaps getting some of the "whys" might motivate you both toward investigating the "hows" and "whats" of musical construction.
source: PhD. music theory.
It's too complex for a post or even a series of posts. You're going to need a book. I'd recommend The Berklee Book of Jazz Harmony and Jazzology. I wouldn't recommend anything by Mark Levine.
Technical piano: https://www.amazon.com/Piano-Scales-Broken-Chords-Arpeggios/dp/1860969135/ref=la_B00379YOX0_1_5/144-5373002-8499729?s=books&ie=UTF8&qid=1510343524&sr=1-5
Sight reading: https://www.amazon.com/gp/aw/d/1860969054/ref=pd_aw_sim_14_1?ie=UTF8&psc=1&refRID=NF8SPTEJJ57E9AK2VPQE&dpPl=1&dpID=51QBt59rXbL
Pieces: https://www.amazon.com/gp/aw/d/184849873X/ref=pd_aw_sim_14_2?ie=UTF8&psc=1&refRID=5DK53J404H4BTE8PG5HT&dpPl=1&dpID=51f2xHcSANL
Music theory: https://www.amazon.com/gp/aw/d/1860969429/ref=mp_s_a_1_1?ie=UTF8&qid=1510343695&sr=8-1&pi=AC_SX236_SY340_QL65&keywords=abrsm+theory+grade+1&dpPl=1&dpID=51IALOXmX%2BL&ref=plSrch
If you're talking about orchestral composition at all, you'll need to know quite a bit about instrumentation and orchestration as well. Alfred Blatter has an excellent book on that. As for composition in general, you'll need to read up a bit on music theory, if you're not already familiar with it. This is the book I used in college; it has a variety of composition exercises with various restrictions, and is a great place to start.
Yes, counterpoint assumes that you have a foundation in 18th century harmonic practice, also known as "common period" practices, e.g. voice leading as practiced by Haydn, Mozart, Beethoven, Brahms, etc.
Harmony by Walter Piston is very thorough, but it's a serious treatment and perhaps not for the faint of heart. Also, you may want to get an edition before the fifth as it's substantially different from a pedagogical standpoint than the earlier editions. I can also recommend Kostka's Tonal Harmony very highly, but also a serious treatment. In fact, it may be best just to start with the Kostka and pick up the Piston later if the fancy strikes you.
These two books teach harmony in very structured way, and in many ways that's the best for learning counterpoint. Eventually, depending on how serious you want to get about composition, you may want to read Schoenberg's book Theory of Harmony. It covers the same material as most harmony books, but it does so from the perspective of the composer. It's even a little philosophical (and dense). It's not unusual for graduate students to re-learn harmony using the Schoenberg text as it forces you to think like a composer. Of course it's a more difficult read, but only if you're unprepared.
If you'd like something a little more easy, there's no shame in getting the Dummies series book on harmony. It does the job with a minimum of depth. Frankly, though, it's in your best interest to start with a solid, university level textbook like the first two I mentioned if you want to tackle counterpoint. Eventually, it's a good idea to read more than one book on tonal theory anyway, so it can't hurt to start with the Kostka and just put it down and use the "Dummies" book. You can always just come back to it later.
I learned a lot from taking classes and private lessons, as well as self study by reading books and analyzing music. I'm not really aware of that many good resources for jazz theory online unfortunately, but there is this site: http://community.berkleejazz.org/wiki/index.php/Main_Page
EDIT: I love the Jazz Piano Book, it's not really a theory book but I thought it was great. The author has also written a Jazz Theory Book which a lot people seem to like, but I haven't really gone through it yet. Some other options are the Berklee Book of Jazz Harmony and the Jazz Harmony Book
It appears that the 1994 edition doesn't have "Spanish Theme" at the end of the "Notes on the First String" lesson.
Click "Look Inside" and scroll down to page 7 on each.
1994 Edition - http://www.amazon.com/Hal-Leonard-Guitar-Method-Complete/dp/0881881392
2002 Edition - http://www.amazon.com/Hal-Leonard-Guitar-Method-Book/dp/0793533929
I don't know much about it, but you may want to look at The Topos of Music.
This is a classic. This is a more recent one , and it's always a good idea to have at least two sources for theory.
Remember that making music is more about learning songs, listening and copying - i.e., learning the practices by ear (or from songbooks). Theory will give you all the terminology to help organise the information, to make sense of what you're learning, but you can actually make music (compose or improvise) with very little theory knowledge - just by copying the sounds you like. That's how most of the great pop/rock songwriters (and guitar improvisers) learned their craft.
Music theory is not different on a guitar than on any other instrument. And it gets very hard to get music theory correct when it is taught by largely self-taught guitarists, because they have a tendency to think every shape they play requires a name (a trait shared by musicians on most chromatic instruments).
Go get a basic music theory book like Music Theory for Dummies or Music Theory: From Begginer to Expert. After youv'e gone through and really understood what's in those texts, you'll be ready for more advanced stuff like Mark Levine's Jazz Theory or Walter Piston's books such as Harmony or Counterpoint.
Alternately you could look at texts on arranging and orchestration at that point as well.
Stay away from instrument specific texts, particularly those related to chromatic instruments (of which the guitar is one) because you'll almost find something that is a well-intended, but mistaken, concept. Also avoid texts aimed at Berkelee school of music. While they are a great school in terms of their performance degrees, they have an odd fascination with modes that is shared by virtually no other music school in the world.
Is orchestration, composition and harmony something you've studied quite a bit on? Like, have you grabbed a few books on the subject and dug in? The orchestra is a fickle mistress, especially when migrating from another, non-orchestra related, genre. If you haven't studied one or any of those things, it will make the learning process a living hell. Thankfully, the orchestra has been around for hundreds of years, so there is a massive amount of knowledge out there to pull from.
These lists are "start to finish" kind of lists. Do them in order and you should be alright. One will be a "quick start" list (not as much to read) and another will be a "long haul" list (way way more to read).
Quick start (a few months of study)
Long haul list (will probably take you a (few) year(s) to complete):
I hope these resources can help a bit, if you decide to take the plunge. If not, there are tons of resources at openmusictheory.com that should be helpful.
Some of my favorites:
Messaien - The Techniques of my Musical Language
Straus - Introduction to Post-Tonal Theory
Ross - The Rest Is Noise: Listening to the Twentieth Century
Chinen - Playing Changes: Jazz for the New Century
Gottschalk - Experimental Music Since 1970
Perle - Serial Composition and Atonality
Xenakis - Formalized Music: Thought a d Mathematics in Music
Mann - The Study of Fugue
I'm a beginner, too. Is this your first instrument? I would suggest reading The Practice of Practice. You will need to practice, but don't call it practice to yourself. Call it playing or spending time with your instrument. Practice just has the conotation of being arduous and boring. Playing guitar is really playing with something and exploring what you can do and what your instrument can do. This has given me motivation when I'm having trouble getting beyond a barrier in my musical ability.
Elementary Rudiments of Music. If you truly want to get an understanding of theory, stay away from any book that claims to be "theory for guitar players".
http://www.amazon.ca/Elementary-Rudiments-Music-Barbara-Wharram/dp/1554400112
If you're interested in Post-tonal music at all, I think you're ready to start tackling the basic concepts of it. I recommend this book (find a used copy of course. It's ridiculously overpriced).
Read this book:
Intelligent Music Teaching: Principles of Instruction
http://www.amazon.com/Intelligent-Music-Teaching-Principles-Instruction/dp/0977113906
Read this and this
Edit: Additionally, everyone has a natural frequency they resonate at. When you wake up in the morning, hum a note. What comes naturally is usually your natural resonance. Due to sympathetic vibrations in the harmonic series, certain harmonies and sympathetic tones can physically interact with your "personal frequency"
In other words, music fucking rules
This book was a little dense, but not too hard to get through for a layman like me who knew next to nothing about synthesis or basic electronics before reading it. It was a slow read, but very much worth it. A little research and you can probably find an electronic copy. Its a crime the book is no longer in print. Look for the 2nd edition.
http://www.amazon.com/Electronic-Music-Systems-Techniques-Controls/dp/0697036022
I enjoyed / suffered through Alan Strange's book on synthesis, still awesome though obviously dated.
There are pdf's floating around; I eventually found a copy for less than the currently ridiculous asking prices on used book sites
https://www.amazon.ca/Electronic-Music-Systems-Techniques-Controls/dp/0697036022
Introduction to Post-Tonal Theory By Joseph Straus is my personal favorite in terms of discussing the 12 chromatic pitches of Western music in an objective and mathematical sense, but it really is more of a textbook for composing 12-tone and serialist music. Still a great read and tremendous resource. Any book on acoustics will discuss the repeating patterns in wave propagation that are responsible for our experience of pitch and harmony, but that will contain little info on music theory per se. Hope this helps! Also check out Vi Hart's videos if you're interested in weird theory stuff.
This is a pretty good one. It's centered around jazz but the concepts are super transferrable. You probably need to be able to read music for it though.
​
Outside of that, I'd guess that almost any book on functional harmony would teach you what you're looking to learn. Hope this helps!
Call your library and get a copy of Allen Strange's Electronic Music: Systems, Techniques, and Controls through inter-library loan.
Work through the book.
I have this one at the moment
https://www.amazon.co.uk/gp/aw/d/1503319210/ref=mp_s_a_1_1?ie=UTF8&qid=1472771251&sr=8-1&pi=AC_SX236_SY340_QL65&keywords=guitar+theory
Excuse the formatting, on mobile and I suck at the app!
It's been pretty good so far, makes a lot of sense and I'm definitely learning. That being said I've not really had to knuckle down and actually study anything since uni, so it's taking longer than I'd like to!
Good luck :)
I would recommend reading this if you haven't already.
Yea, you're 16, you got plenty of time to be amazing at both in 3-5 years if you practice it consistently. And I do mean amazing, most people don't practice consistently for years at at time at all. Also, read this book on practice
By guitar theory, do you mean music theory that applies to guitar? If so, here is a music theory book that helped me a lot: http://www.amazon.com/Everything-Music-Theory-Book-understanding/dp/1440511829
I read it all, did all the exercises (which forced me to re-read the chapters in order to fully complete the exercises) and by the time I was finished, so many things fell into place.
This book lays set theory out in an easy to understand way:
http://www.amazon.com/Introduction-Post-Tonal-Theory-3rd-Edition/dp/0131898906
Of course, most books are only going to describe the theory, composing is a whole other story.
Thanks for the in depth reply! I actually found another option which was I found a classical composition teacher (been teaching for a couple decades) who starts students off with Walter Piston's Harmony 5th edition -- Would you recommend this as opposed to the self-taught route?
Well the first issue you talk about-- the assignment of notes in your chords to instruments of the orchestra-- is orchestration. Here are a couple of good textbooks that cover that:
The other issues are covered by some of the topics in "voice leading." It sounds like you have an understanding of chord progression, but things like harmonic rhythm or how fast chords change is also covered in voice leading. Many of those decisions are yours to make and that's what makes it fun! Some composers will create a harmonic rhythm that they will use to create a structure throughout the piece. I am a professional composer and would be happy to answer any other questions. Good luck!
https://www.amazon.com/Harmony-Fifth-Walter-Piston/dp/0393954803
Not to go out on a tangent as I know you were looking for free online resources, but I purchased The Everything Music Theory Book from Amazon for $13 as an aid for learning music theory. It can be useful to have the information in paper form in front of me while I follow along to videos on similar subjects of music theory.
http://www.amazon.com/Hal-Leonard-Guitar-Method-Book/dp/0793533929/ref=sr_1_2?ie=UTF8&qid=1396972921&sr=8-2&keywords=hal+leonard+guitar+books
If you've got about $15, the Hal Leonard Beginning Guitar Method book comes with a CD that has ear training tracks on it that are played on guitar. I learned some stuff from this book, but I got bored with it easily.
edit: added link
FWIW, while I am very much not a successful or confident musician (I am an older hobbyist), I have noted people here whose opinions seem usually balanced and sound recommend The Musician's Way found at http://www.amazon.com/The-Musicians-Way-Practice-Performance/dp/0195343131, which seems to me to directly speak to what you are saying.
Intelligent Music Teaching by Robert Duke
On Teaching Band by Mary Ellen Cavitt
Ginger and blueberries are also natural anti inflammatories. YOu might want to read what Dr. Andrew Weil have written about protoglandins and limiting omega-6's, and diet in general. The book I'm looking at is http://www.amazon.com/Dr-Andrew-Weil%60s-Living-Longer-Boosters/dp/B00HXWLB9C.
Some other books that may be in your library: http://www.amazon.com/Musicians-Way-Practice-Performance-Wellness/dp/0195343131/
http://www.amazon.com/Playing-Less-Hurt-Prevention-Musicians/dp/1423488466/
http://www.amazon.com/You-Are-Your-Instrument-Performance/dp/1879730200/
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Also look at other factors. Once i had pretty bad tendinitis in left wrist and quit using the computer and quit playing all string instruments (i kept playing others cause they never caused me problems), and no improvement until a week later i realized i was always driving with only left hand on wheel, and left wrist bent at a horrible angle. I've also had kind of a palsy, or loss of motor control from lots of bike riding where i press on the "V" between thumb and index a lot. So it could be other factors
I used these:
https://www.amazon.com/Guide-Music-Theory-Part-Pt/dp/1854724460/ref=sr_1_1?ie=UTF8&qid=1466623651&sr=8-1&keywords=ab+guide+to+music+theory
https://www.amazon.com/Music-Theory-Practice-Grade-Abrsm/dp/1860969429/ref=sr_1_3?ie=UTF8&qid=1466623560&sr=8-3&keywords=abrsm+music+theory
But note that I didn't shop around - don't really have anything to compare it against.
Get a Hal Leonard guitar book. Here is the link
http://www.amazon.com/Hal-Leonard-Guitar-Method-Book/dp/0793533929/ref=sr_1_2?s=books&ie=UTF8&qid=1302563224&sr=1-2
That was one of the first books I picked up when I started learning. Really helps with being in the right mindset.
Also recommend The Musicians Way and The Practice of Practice.
> Hey now, you might hurt my feelings.
hehehe don't worry. I love physics, and I am jealous that you are still involved with it ;)
Music is very weird. Even newborns can sense "off" notes (they will grimace). Music is one of those things that I partly ascribe to "the consciousness mystery". For example, in my music paper, I could easily talk about the parts of the brain that recognize individual notes, or how music triggered memories, etc... but that still went nowhere towards how it feels to listen to your favorite tune, as it were.
There are a couple of books I have on this idea that I still need to read. One is Musicophilia by Oliver Sacks.
Note that the use of the word "feel" in this subreddit leads to immediate downvotes. ;) Qualitative descriptions are not useful for proving anything, of course! :)
> if dogs could comprehend what we wanted them to do, they might be able to put smells on a scale
We could also just cut to the chase and attach a highly sophisticated brain sensor to their skulls that would communicate what they're smelling based on what parts of the brain light up. Essentially using them as part of the instrument. It still wouldn't tell us what it's like to be able to smell that well, though.
Curious to hear your opinion on the qualia/zombie links.
these two books in this order: Rudiments of Music (boring but worth it) and fretboard workbook
with this one as a supplement: theory for guitarists
and this one wouldn't hurt: Fretboard roadmap but may be a bit repetitive if you already got it all figured out
Download a piano app, we're going all in.
While it's downloading, think of all the songs you heard or sang as a child.
Happy Birthday or Mary Had a Little Lamb are great examples (and you should look up how to play them when we're done here!)
These songs are in a "major" key, which basically is what we associate with happy in music.
To understand, check out this diagram I made.
http://imgur.com/3CUdEsu
Play the "major" notes, all white keys, in order. Notice the note labeled B next to the top note, C? This is what gives major keys the sound we love so much: the leading tone. Between most notes, you will see a black piano key. But between E and F, along with B and C, we have nothing.
Alone, no two piano keys next to each other have this effect, but because we started on C, the B is leading us into C again.
So basically, major keys make us feel happy and complete.
But within a major key, there is a lot more going on. For example, there are major and minor "chords"
>Minor chords in a major key? What's going on?
Yes that's right! In fact, within the white keys is another key signature which we call "A minor." Test it out now and play it through!
You'll notice, unlike in C major, we do not have a leading tone in this sequence of notes (which we call a scale).
You may also notice that these are technically the same notes as before, don't get too hung up on this!
What you need to know is that in these two scales there is one big difference, the leading tone. In minor keys we don't experience the completeness that major keys have to offer, so they sound a lot more ambiguous and we don't know where they're going.
Both key signatures though, use both types of chords (in fact, there are many other types of chords). If you want to play around with this, play alternating notes together (C-E-G, D-F-A, etc) and you'll notice that some sound very different than others. But they're all white keys!
In short, the difference between A minor and C major is where we start. In C major, we want B to move into C. But there's nothing inherently happy about C or sad about A, it's just where we start, and what notes are played accompanying these notes.
Part of our association with these sets of notes is because of sound-waves and how our ears interpret them, and part of it is because we are raised listening to a lot of major sounding music.
We listen to this music because its a lot easier to sing, not because it's inherently happy. So it's kinda confusing.
I'm sorry if this didn't make sense, I spent a lot of time on it but I have to acknowledge that I'm only just getting into music education and still have a lot to learn.
I'd be happy to answer any questions.
Please check out these resources. Do not shy away from music theory, it will only make you enjoy listening to music more!
Videos by Adam Neely
Why is major "happy"?
Which key is the saddest?
Books:
How music works
The Everything Music Theory Book
edit: formatting
Its a fairly common "game" to help teach yourself that quantity is better than quality. I'm not sure if this is the origin of the "Immersion Music Method" idea, but I'd heard of it through multiple posts on this subreddit: The Frustrated Songwriter's Handbook. Great book that's worth checking out.
It is a fun and enlightening experience, and I definitely recommend giving it a try sometime!
It sounds like you have a good foundation both in what you have played and your knowledge of tab. I’m assuming that you mean ‘solo’ fingerstyle guitar (just one guitar but no voice) or fingerstyle as accompaniment to singing. In any case, the best place to start is with Travis Picking. More specifically, the styles of “Merle Travis” and “Chet Atkins.” Learning Travis Picking, even if you don’t pursue it, is an essential foundation to everything else you will do. An online program called True Fire (https://truefire.com) is an incredible place to go and is very oriented toward teaching you fingerstyle. Even Tommy Emmanuel teaches there! Beyond that, just listen to others. Listen closely to many pickers of many genres and styles, then pick and choose what you do and don’t like to create your own style. Finally, learn basic music theory (if you haven’t already). Music theory is in my opinion, a very important but often missed aspect of guitar. I wish you good luck, and I hope you found this helpful!
Some supplementary books I would recommend:
For music theory: https://www.amazon.com/Practical-Guide-Modern-Theory-Guitarists/dp/1503319210?keywords=Guitar+music+theory&qid=1540820080&sr=8-6&ref=sr_1_6
For Merle Travis Style: https://www.amazon.com/Mel-Merle-Travis-Guitar-Style/dp/078660266X?crid=1FDIX0PBK0ZS5&keywords=merle+travis+guitar+style&qid=1540819852&sprefix=Merle+Travis+guit%2Caps%2C164&sr=8-1&ref=sr_1_1
For Chet Atkins Style: https://www.amazon.com/Complete-Chet-Atkins-Guitar-Method/dp/0786691476?keywords=Chet+Atkins+method&qid=1540819891&sr=8-1&ref=sr_1_1
I wanted to share this, it looks to be one of the most interesting books I've seen:
http://www.amazon.com/dp/0977113906/ref=wl_it_dp_o_pd_nS_ttl?_encoding=UTF8&colid=IGCT7922IL9V&coliid=I2GKHSI90AYUUP
I know you asked for free, but...
Buy this book
Or download it from a torrent site, whatever.
This might be miserable at first, but if you want to get the maximum amount of development for your composition, I recommend these two books:
http://www.amazon.com/Scales-Arpeggios-Cadences-Alfreds-Library/dp/0739012975
^ This comes with cadences. Learn to play scales, arpeggios, and cadences. All of them.
http://www.amazon.com/Harmony-Fifth-Walter-Piston/dp/0393954803
^ This book will teach you pretty much everything you'll want to know about harmony and composition. Highly recommended.
Oh, rocksmith isn't really the best place to start for beginners.
I would recommend this book I used to teach from.
It explains things in a very clear way that's easy to understand and the songs in it are really easy. You should check it out or add it to your wishlist :]
This is a standard numbering system for PC set theory (an analytical method used mostly used for atonal music), it does elucidate some fun fact about tonal music though!
I would look at Joseph N Straus's Introduction to Post-Tonal Theory is usually the book people start with Sharp inhale when looking at the price (https://www.amazon.ca/Introduction-Post-Tonal-Theory-Joseph-Straus/dp/0131898906)
You might also try this website (only half complete unfortunately) that was done by one of my theory teachers https://www.mta.ca/pc-set/pc-set_new/index.html
Or this free online textbook that covers a lot of basic concepts in theory http://openmusictheory.com/contents.html
It's been posted before but I'll post it again because it needs to be: Frustrated Songwriters Handbook
Relevant
Laitz is what we used for theory, but the way to approach different things is different amongst different people...
Edit: [Straus] (http://www.amazon.com/Introduction-Post-Tonal-Theory-Joseph-Straus/dp/0131898906/ref=sr_1_4?s=books&ie=UTF8&qid=1376717704&sr=1-4&keywords=theory) for base 12/12 tone
Edit 2: Don't forget that looking at various texts is another great way to think about understanding how different composers approach things, so once you learn a fundamental way of slapping labels on things, actual music is the best way to learn theory. Also, check out [this.] (http://en.wikipedia.org/wiki/Schenkerian_analysis)
The topos of music is a famous example of this. Topos theory is as abstract as you can get in mathematics and there seems to be a lot to be said using this language.
I can't really comment on this since I haven't read it, but maybe someone else can chime in.
You shouldn't have major technique issues if you are taking lessons and your teacher believes you are ready for that piece. It could be something subtle that your teacher won't see unless you say something, so I wouldn't rule it out completely, but I wouldn't call it the most likely suspect. How do you cross strings? Do you use your whole arm, from the shoulder, so that each string has its own hand and elbow level, and keep your elbow on the same plane that the wrist passes through when its in a neutral position? Does your wrist move with your bow strokes? Is your hand relaxed, with no death grip on the bow? Are your fingers close together on the stick and not wrapped around it in a claw hold? Are your pinkie and thumb bent? If all of that is true and your teacher has not corrected anything, and you are not tired after an hour of practice and do not experience pain or new mistakes that would point to you stumbling over yourself due to exhaustion, then my gut is that it has nothing to do with kinesthetic aspects of your technique but rather with your lungs.
We don't talk about breathing much when learning to play the violin because, unlike vocalists and wind and brass musicians, our lungs don't directly power our instruments. However, especially when we play something high energy with fast string crossings, our bodies need more oxygen. Otherwise, you default to a metabolic process called lactic acid fermentation, a form of anaerobic respiration (feeding your cells without oxygen). As a very short-term solution, lactic acid fermentation is a good way for your body to get emergency energy. However, if you use it for longer periods of physical activity, the byproducts of that process build up in your muscles, and it will result in pain until your body can break it down.
Weight lifters typically do not lift weights seven days a week. They have rest days, or they will focus on different parts of their body on different days, to allow themselves recovery and prevent pain and injury. They also have to know how to breathe and work in activities that are naturally more aerobic, like running or swimming or yoga, to compensate.
Violinists could actually learn a lot from weight lifters and other athletes. We need to learn to breathe, perhaps by building something that encourages it into our exercise routines. We need to learn to breathe while we play, give ourselves a slow warmup, and take breaks if we are tired or experience pain. Since ideally we do practice everyday, we need to learn to have a different focus each day, vary our routine so we don't end up with repetitive strain injuries.
Here are some books that cover these ideas, if you are interested:
https://www.amazon.com/Musicians-Yoga-Practice-Performance-Inspiration/dp/0876390955/ref=sr_1_1?ie=UTF8&qid=1479054081&sr=8-1&keywords=musician%27s+yoga
https://www.amazon.com/Playing-Less-Hurt-Prevention-Musicians/dp/1423488466/ref=sr_1_1?ie=UTF8&qid=1479054162&sr=8-1&keywords=playing+less+hurt
https://www.amazon.com/gp/product/0810833565/ref=pd_bxgy_14_img_3?ie=UTF8&pd_rd_i=0810833565&pd_rd_r=RWHBKW02B6M7TF94YYKR&pd_rd_w=46ibZ&pd_rd_wg=u4M4j&psc=1&refRID=RWHBKW02B6M7TF94YYKR
https://www.amazon.com/gp/product/0195343131/ref=pd_sim_14_3?ie=UTF8&pd_rd_i=0195343131&pd_rd_r=E19SZTNCKQQDJQ6RBHGM&pd_rd_w=xqfGw&pd_rd_wg=92fpR&psc=1&refRID=E19SZTNCKQQDJQ6RBHGM
I've been using The Practical Guide to Music Theory for Guitarists but Joseph Alexander . It's helped me with how chords are constructed and how intervals relate to harmonization. It builds slowly, is in plain English and has many practical examples.
I've been playing for not very long, less than a year.
The Practical Guide to Modern Music Theory for Guitarists: Second Edition https://www.amazon.com/dp/1503319210/ref=cm_sw_r_cp_apa_i_uf7OCbJKWXQRK
I hear Oliver Sacks writes about such things.
Sounds interesting -- haven't read it myself though.
Read 'Elementary Rudiments Of Music' by Barbara Wharram
amazon link
I cannot recommend this book enough:
https://www.amazon.com/Frustrated-Songwriters-Handbook-Radical-Overcoming/dp/0879308796/ref=sr_1_1?ie=UTF8&qid=1525181948&sr=8-1&keywords=frustrated+songwriter%27s+handbook
It isn't just some goofy self help book. This is filled with gold. Find a friend, or start a group, and you all dedicate one day a month if you can. You each have 12 hours to write and record 20 BRAND NEW compositions. I've never gotten to 20, and most of the ideas are garbage throwaway tunes, but by the end of the day you'll most likely have 2-3 really solid ideas to build from later. And knowing that your friends are doing the same thing adds a little friendly competition. Meet at the end of the day, play your tunes and laugh your asses off. Trust me, this technique works wonders.
Berklee Music Theory Book 1 & Book 2
Free music classes from Coursera taught by Berklee College of Music professors
Sonata Forms by Charles Rosen
Enjoy.
Check out the Berklee Book of Jazz Harmony and patiently work your way through it.
ok man, you're right. whatever you say. ann coulter, bill oreilly ... etc use sources in their publishing first of all. secondly. that's a mistake to add those pundits into the conversation becuase they sell based on popularity. if you are trying to LEARN something,using a credited, published book
maybe something like this http://www.amazon.com/Berklee-Music-Theory-Book-2nd/dp/0876391102/ref=sr_1_1?ie=UTF8&qid=1450295738&sr=8-1&keywords=music+theory+berklee
which was super fast for me to find, and I know it's credible and organized. whereas going 'on the internet' will leav eyou finding little pieces of information that you have to put together by yourself, and will not know whetehr it's right or wrong.
again this is teh second time that you are calling me out for syaing "ALL BOOKS ARE BETTER THAN THE INTERNET" and I didnt say that. of course I can name a book with bullshit in it. but that's not hte point. thersbullshit on both sides. but you're MUCH MUCH more reliable to get a random book and learn loads more from it than 'the internet'.
Just start working on the Bach Sonatas and Partitas, It'll be confusing at first but keep pushing through slowly and you'll get more and more understanding. This is considered the daily bread of the famous virtuoso violinists. Definitely don't need a decent instrument it's all just wood and string, and don't bother trying to find a teacher they don't love music as much as you do. If you need info on learning the music try reading a theory book such as an introduction book. If you end up needing some inspiration try reading this book about some history of the violin
gg ez