In Defense of Theory (Full Version)

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Kevin -> In Defense of Theory (Jun. 22 2012 23:03:44)

So I have 8 lessons from beginner to advanced semi-prepared, but I thought I would take a brief moment to defend theory against people who say you do not need it.

Actually, I agree with some of the assessments on the foro. You do not NEED it. However, it can be very helpful. It took Paco de Lucia 55 years to intuit a bVI-I cadence. You can learn that right away. That does not mean you are going to compose like Paco, but you also do not need to spend 55 years searching for that sound.

Theory ALWAYS comes after practice but you can use it as a tool in your compositional toolpouch. Coupled with an exploratory spirit, theor(ies) are great tools.

At my site you will get things that you won't get ANYWHERE else, unless people imitate my format. The lessons are meant to be practical right off the bat with an understanding of music theory as a byproduct.
1) You will get PDFs (3-4 pages) that give you the music and some explanation of the material
2) Video. Video will include SOME of the material from the PDFs but also original so that you get more info.
Sometimes I will include audio.
3) Blog. In the blogs I will be discussing many issues not covered by PDF/Video/Audio. For example, I have included the first page of the PDF for a lesson on the Andalusian cadence and the descending tetrachord. The descending tetrachord can be traced back to the Baroque guitar treatises (1586-1674). It can also be found in the Lament bass of classical composers.
4) Don't forget the surprises

There is this tendency to think of "classical" and "jazz" and "flamenco" as all separate musics that don't have anything to do with eachother. That is just not the case. Harmony emerged out of the Western classical tradition and flamenco and jazz borrow from it heavily, then do their own thing with it. It is therefore very appropriate to learn common practice theory (though, not necessary). In the blogs I will address the socio-historical significance of cultural contact.

The point of ALL of it is to get you composing and for me to develop my ideas both theoretically and compositionally NOW THAT I AM MOSTLY FINISHED WITH SCHOOL.

The PDF included here could be called "501 chords in A." More like 128, 32 for each chord in the Andalusian Cadence in La - Dm-C-Bb-A.

This lesson in itself may not seem like much because it is not. Complimented by the video and blog (and other lessons like chord construction), however, you might find just what you are looking for.




That_Guy -> RE: In Defense of Theory (Jun. 22 2012 23:51:45)

Theory is just a tool. Like you said, you do not NEED it. It would be very helpful though, especially when communicating between two musicians.




Pgh_flamenco -> RE: In Defense of Theory (Jun. 23 2012 4:47:52)

IMO theory does more for developing a person's ear than anything else. I've always found it a bit odd that people who claim theory isn't useful don't know enough about it to even evaluate it...




Tomrocker -> RE: In Defense of Theory (Jun. 23 2012 8:45:34)

Kevin. I'm asking again for a link to you blog/site. Thanks.




orsonw -> RE: In Defense of Theory (Jun. 23 2012 12:39:37)

quote:

It took Paco de Lucia 55 years to intuit a bVI-I cadence. You can learn that right away. That does not mean you are going to compose like Paco, but you also do not need to spend 55 years searching for that sound.


Conversely a theorist may spend 55 years searching for their intuition.

(Personally I think there's room for both knowledge and intuition, they don't need to be placed in opposition. But I couldn't resist a little "in defense" of intuition, forgive me!)




Sr. Martins -> RE: In Defense of Theory (Jun. 23 2012 14:38:33)

To me any theory is just a way of building vocabulary and having awareness of things.

I can call a V - I "bananas" and as long as I associate it to that particular sound, then my theory is serving a purpose. If you understand V - I you dont have to treat it as 12 different things for each tonality.

If someone is a bit more on the "press here and there" way of playing, they might spend years playing without noticing things that happen all the time in music while they are stuffing their brains with finger positions and having a harder time when looking for the sounds they want.. they end up playing what their fingers want/know.

Theory is also good for you to try new things, explore.. but overall, to me it is the only way to make a useful library of vocabulary in your head, wether its bananas or anything else :)




Guest -> [Deleted] (Jun. 23 2012 17:37:23)

[Deleted by Admins]




n85ae -> RE: In Defense of Theory (Jun. 23 2012 21:28:31)

Kevin -

Yeah, gotta agree. The trashing all your posts and then blatantly promoting your
new site. That really rings all wrong. Defend it all you want, if it quacks, waddles,
and lands in the water - It sure looks like a duck to me. Maybe it's not, but it's
close enough.

Jeff

quote:

This is "Guerilla Marketing" ..... nice way to create new threads about your website, give a teaser pdf file and then talk about your service to attract students from the foro.

You might gain some respect and credibility (which you lost entirely when you mined the forum for info for your thesis and then deleted all posts) ... if you just put up an advertisement to try and attract students.

Stop advertising your website in this manner.
And stop creating new threads about the same old stuff. No one asked you to defend anything, you have no credibility on this forum so piss off.




KMMI77 -> [Deleted] (Jun. 23 2012 23:51:55)

Post has been moved to the Recycle Bin at Jun. 24 2012 3:12:21




BarkellWH -> RE: In Defense of Theory (Jun. 24 2012 1:10:42)

I have to agree with you, Nealf. He creates a thread entitled, "In Defense of Theory" and then uses it as a means to promote his website. He is employing the classic "bait and switch" tactic: First he introduces what appears to be an interesting topic, and then he uses it to advertise his website. Even discounting his milking the Foro for information and ideas for his thesis and subsequent deletion of his posts (no doubt to avoid potential problems with his thesis/dissertation committee), this tactic alone marks him as a classic "huckster." a snake oil salesman. The one word that comes to mind is: "Cheesy."

Cheers,

Bill




n85ae -> RE: In Defense of Theory (Jun. 24 2012 1:21:31)

Exactly.

quote:

After all the end goal is to "play" the flamenco guitar.




KMMI77 -> RE: In Defense of Theory (Jun. 24 2012 1:51:50)

Kevin,

When you uploaded your bulerias accompaniment i learnt something. If you remember i made a comment saying that i liked the chord you played at the end and asked you what it was.

You ignored me so i just worked it out using my ear[;)]

The chord was

---5----------
---6----------
---6-----------
---5----------
---0-----------
-------------


Now i use it as a nice substitution for A when i feel like. So thanks for that.




Guest -> RE: In Defense of Theory (Jun. 24 2012 2:14:26)

A7aug...

is it just me or are some of the chord annotations in the Pdf incorrect?
A7b9sus2?...sus 4 by the notes
Bb no 5th?...no reference to the root tone...seems odd when describing the Cadence...more of Dminor chord perhaps..?
Bb aug 6th is it not just a Bb9 chord? [with a raised 11th as a pedal tone...]


thanks in advance...




Kevin -> RE: In Defense of Theory (Jun. 24 2012 2:40:01)

quote:

Kevin,

When you uploaded your bulerias accompaniment i learnt something. If you remember i made a comment saying that i liked the chord you played at the end and asked you what it was.

You ignored me so i just worked it out using my ear

The chord was

---5----------
---6----------
---6-----------
---5----------
---0-----------
-------------


Now i use it as a nice substitution for A when i feel like. So thanks for that.


I never ignore anyone, or at least I try not to. Some days I do miss posts though.

@AlVal:
The tif file is incorrect. The PDF file is better and I will be triple-checking all material I upload for mistakes.
Yes, sus4.
Yes, Bb subs for Dm. In functional theory it could be said to function as IV even though it is II. Tomatoe-tomahto, but helpful in the long run whether you discover it through theory or intuitively.
Bb7 and Bbaug6 are the same chord spelled enharmonically. The aug6 (G#) wants to go to A in the A chord. In a TRUE Bb7 chord, the Ab will want to move down to G either as the seventh in an A chord or the third in Eb.




Guest -> RE: In Defense of Theory (Jun. 24 2012 2:49:13)

quote:

Bb7 and Bbaug6 are the same chord spelled enharmonically. The aug6 (G#) wants to go to A in the A chord. In a TRUE Bb7 chord, the Ab will want to move down to G either as the seventh in an A chord or the third in Eb.

thanks Kevin....makes sense..apologies for the incorrect file extension...
so
as a Phrygian mode in relation to flamenco and Not western classical or jazz theory is it more plausable to think of A phyrgian [and its derived harmony for use as a composition tool] as
A Bb C C# D E F G G# A ? understanding i may have the enharmonics wrong and figure D# could be added in there...
or is it still using the church modes as a reference point?

guess this question comes about as i dont or rarely hear flamenco as a modal music...[ in a church mode sense anyway...]
guess in essence the relationship between a C7 type chord and an A7 chord in a cadence seems to imply two types of modes at play...




Kevin -> RE: In Defense of Theory (Jun. 24 2012 3:49:02)

quote:

thanks Kevin....makes sense..apologies for the incorrect file extension...
so
as a Phrygian mode in relation to flamenco and Not western classical or jazz theory is it more plausable to think of A phyrgian [and its derived harmony for use as a composition tool] as
A Bb C C# D E F G G# A ? understanding i may have the enharmonics wrong and figure D# could be added in there...
or is it still using the church modes as a reference point?

guess this question comes about as i dont or rarely hear flamenco as a modal music...[ in a church mode sense anyway...]
guess in essence the relationship between a C7 type chord and an A7 chord in a cadence seems to imply two types of modes at play...


Awesome questions.
Take the G# out. The Cnat and C# are used by many players at random points. I call it the flamenco octatonic scale and it is used very often before reverting to Phrygian dominant.

No church modes here. My feeling is that flamenco is TONAL. I won't go into that here because someone will accuse me of getting my original ideas from here. Suffice to say, the church modes had specific rules, like you have to end on a final tone, there is a reciting tone and several other rules that flamenco is not subject to. As for C7 and A7 implying two modes...not necessarily. In Dm you always have that C# raised for the dominant but C7 occurs diatonically.

Add the G# (take out the Cnat) and you get a double harmonic minor which is found in both Indian and Arabic music but I don't have my materials with me to give exact names.




Kevin -> RE: In Defense of Theory (Jun. 24 2012 4:00:58)

quote:

I have to agree with you, Nealf. He creates a thread entitled, "In Defense of Theory" and then uses it as a means to promote his website. He is employing the classic "bait and switch" tactic: First he introduces what appears to be an interesting topic, and then he uses it to advertise his website. Even discounting his milking the Foro for information and ideas for his thesis and subsequent deletion of his posts (no doubt to avoid potential problems with his thesis/dissertation committee), this tactic alone marks him as a classic "huckster." a snake oil salesman. The one word that comes to mind is: "Cheesy."

Cheers,

Bill


Ouch.[:-]

I have always known my potential and my limitations and within certain boundaries I only want to help those who discovered flamenco late in life like me. Speculate all you want but my ideas are MINE that I was working on long before grad school and even longer before I discovered the foro, which I believe was in 2007. At any rate, with all due respect, you can ignore me which is exactly what I plan on doing with you sir.




Ricardo -> RE: In Defense of Theory (Jun. 24 2012 7:16:13)

quote:

as a Phrygian mode in relation to flamenco and Not western classical or jazz theory is it more plausable to think of A phyrgian [and its derived harmony for use as a composition tool] as
A Bb C C# D E F G G# A ? understanding i may have the enharmonics wrong and figure D# could be added in there...
or is it still using the church modes as a reference point?


Sorry to butt in...this next info comes from Ricardo himself as per old archived posts. Simple answer is not exactly. Better to think of circle of 5ths (not that Zodiac BS we saw on Facebook, the REAL circle of 5ths LOL). So you have A major, 3 #, A minor, no Sharps or Flats, and A phyrigian 1 b. Like wise you have F major, D minor, and A phyrgian flamenco all sharing the same spot on the wheel. So in flamenco it is more than simply a scale we have but literally a "phrygian key". Inside you can claim to have the "andalusian cadence" etc, but all you really are dealing with is the circle of 5th related chord progression the same way you have relative major or minor. In that sense you actually are wasting time trying to claim special harmonies as per a phrygian chord scale...you have the KEY of A phyrigian with the ENTIRE chromatic scale fair game as any major or minor key has at it's disposal to use melodically, or for modulation or implied harmonies etc. The concept of "key" vs "mode" is important.

More specifically we borrow the same use of accidentals as would occur in ANY minor key since baroque times...with the expressed understanding relative major or minor tonics are avoided AT LEAST RHYTHMICALLY so we can experience the phrygian tonic instead. So we share F major and D minor chords and scales, but come to rest always on A as tonic when dealing with the "phrygian key" of A.

THe augmented 6 thing is really more borrowed from major or minor tonal harmony practices, and used as a device SOMETIMES but for sure not always, to make an even stronger resolution to phrygian tonic....sort of like doing a half cadence in Dm (Bbaug6->A7) but the RHYTHM or phrasing allows us to accept THAT as the final resting point, so in fact a FULL cadence. I want to stress the importance of rhythm and phrasing which is not normally taken as so important a factor in classical theory analysis of tonal harmony, but makes the whole difference in flamenco.

IMO.

PS if anyone arrives at a similar conclusion in a paper, article, dissertation, facebook post, website lesson, or other, it is only LOGICAL. I would hope that anyone who does will understand that he or she is NOT the first person on earth to have noticed and understood such a thing.




Kevin -> RE: In Defense of Theory (Jun. 24 2012 7:36:33)

quote:

PS if anyone arrives at a similar conclusion in a paper, article, dissertation, facebook post, website lesson, or other, it is only LOGICAL. I would hope that anyone who does will understand that he or she is NOT the first person on earth to have noticed and understood such a thing.


Totally agreed. That cuts both ways but unfortunately your fans (no offense to you or them) seem to think that you are the only one that has come to those conclusions. At any rate, those ideas have not been published. Lola Fernandez and Manuel Granados are the only two to have offered decent flamenco theories. Sanlucar goes way out.

As usual, where we differ is in matters of detail. As an example, the circle of fifths was not developed fully until equal temperament became possible. ET was actually a push for being able to play in all keys. Flamenco came out of the Lament tradition in the mediterranean. The seguiriya and its predecessors are laments and are the only forms to actually follow the Lament bass as found in early guitar as well as Italian Opera. It is MY OPINION that the lament bass served as the foundation for the seguiriya but then flamencos ran with it. It is ONLY in retrospect that we can say the circle of fifths works within the Andalusian cadence. I have analyzed all of the early recordings and there is nothing that even hints at the Cycle. Early flamenco is at the crossroads of modality and tonality though decidedly leaning towards tonality. Throughout the century more and more "classical" material and then jazz (directly or indirectly) were APPROPRIATED by flamencos and used in their own way. In that way, it really came to resemble tonality.

quote:

So in flamenco it is more than simply a scale we have but literally a "phrygian key". Inside you can claim to have the "andalusian cadence" etc, but all you really are dealing with is the circle of 5th related chord progression the same way you have relative major or minor. In that sense you actually are wasting time trying to claim special harmonies as per a phrygian chord scale...you have the KEY of A phyrigian with the ENTIRE chromatic scale fair game as any major or minor key has at it's disposal to use melodically, or for modulation or implied harmonies etc. The concept of "key" vs "mode" is important.


Actually, I am SIMPLIFYING. Any composition can be thought of as creative expansions of V-I (major), V-i (minor), or II-I (Phrygian). You have to learn how to compose a diatonic melody like Twinkle, Twinkle first. Then you learn how to color it. ONLY after simple melodies should you learn the "ENTIRE chromatic scale" and learn in context. I have been transcribing Paco and it is amazing how much he fits into the classical mold with a few jazz harmonies thrown in.

quote:

More specifically we borrow the same use of accidentals as would occur in ANY minor key since baroque times...with the expressed understanding relative major or minor tonics are avoided AT LEAST RHYTHMICALLY so we can experience the phrygian tonic instead. So we share F major and D minor chords and scales, but come to rest always on A as tonic when dealing with the "phrygian key" of A.


I assume you are responding to AlVal. I would add that a true understanding of cadences is helpful; playing with expectation depending on the degree of finality of the cadence. An example I gave is Paco's use of bVI-I/VI goes to II-I or C#-F, Bb-A. He could have worked his way down from C# to C then Bb and A. Instead he deceptively cadences on VI(F) before using the remate as a vehicle for bringing the falseta to a full cadence (we have to clarify that a full cadence is whichever cadence is considered to be the most suggestive of finality according to the key Maj, min, or Ph. Any full cadence in any key would be considered a half cadence in any other and vice-versa).


I have a whole schtick on cadences and Douglas Green's book is my point of departure. You have to modify the theories to better explain flamenco but I agree that RHYTHM (and harmony since they both contribute to cadence) needs to be better elaborated.

Cadence goes with FORM and that will be something else I cover (Oooooops, SHAMELESS PLUG[8D]).

At any rate, although I have always appreciated your posts, Now if I am going to post anything I guess I will have to say THIS IS HOW I SEE IT and document it so no one can say my ideas are not original, if not in content, then in form of content and how I arrived at them.




Ricardo -> RE: In Defense of Theory (Jun. 24 2012 8:02:20)

quote:

your fans (no offense to you or them) seem to think that you are the only one that has come to those conclusions


My "fans"??[:D] And no one ever claimed such a thing anyway. And odd you would say such a thing in THIS thread, as I just brought it up now to reply to the question of phrygian scale/harmony. Or do you feel that the "Mining foro" type comments above are related to my personal conclusions on this theory stuff? I seriously doubt that's what they were refering to... don't be paranoid. Other foro members are probably just peeved you are not engaging in "open" dialogue anymore as per your deleted posts....dont' call em "my fans" please, even if they are as it implies anyone who might agree with me is doing so blindly. This is still an open forum even if you want to just advertise stuff.

For the record when I talk about "circle of 5ths" I am talking of relationships of keys chords and scales as they preside over the guitar which IS an equal tempered instrument...more or less. "Phrygian key" as I refer to it also is only about guitar and perhaps it's relation as accompaniment for cante....not modality of cante or pre flamenco guitar influences. No denying the practice of accompanying cante is born out of modal music and hybridizing with basic tonal folk music. My only point is that the "modal" flamenco forms are afforded the same luxuries as the normal major or minor key forms interms of chords and scales used...unlike proper modal music which is only modal (a single chord and scale).




Kevin -> RE: In Defense of Theory (Jun. 24 2012 8:24:26)

quote:

My "fans"?? And no one ever claimed such a thing anyway. And odd you would say such a thing in THIS thread, as I just brought it up now to reply to the question of phrygian scale/harmony. Or do you feel that the "Mining foro" type comments above are related to my personal conclusions on this theory stuff? I seriously doubt that's what they were refering to... don't be paranoid. Other foro members are probably just peeved you are not engaging in "open" dialogue anymore as per your deleted posts....dont' call em "my fans" please, even if they are as it implies anyone who might agree with me is doing so blindly. This is still an open forum even if you want to just advertise stuff.


As you said, it is possible to come to these conclusions independent of any one else. I agree. I began working on a theory around 2001 and decided to return to school with the hopes of becoming a better writer (shut up[8D][:)]) so I could really put something together.

quote:

For the record when I talk about "circle of 5ths" I am talking of relationships of keys chords and scales as they preside over the guitar which IS an equal tempered instrument...more or less.


I like the "More or Less," haha. As an ethnomusicologist I would emphasize that equal temperament and the circle of fifths are mutually exclusive. You do need ET in order to play the cycle, BUT the cycle is not required by ET.

quote:

...unlike proper modal music which is only modal (a single chord and scale).


I would also point out, and you intuited it in another thread, that there is not one theory. The Cambridge History of Western Music Theory lists multiple modal and tonal theories. They are not all musically exclusive either. People have always written what sounds good and we call something modal or tonal after the fact. This has the unfortunate effect of sometimes causing ambiguity.

Flamenco has qualities of both. We should also be careful NOT to give boundaries to flamenco that do not exist or to not acknowledge boundaries that do exist. Early flamenco would definitely be closer to modality with the potential for realizing a tonality WITHIN THAT PHRYGIAN CADENCE. Once they began to figure that out, they really began to realize something closer to tonality.




Kevin -> RE: In Defense of Theory (Jun. 24 2012 8:34:09)

quote:

Kevin. I'm asking again for a link to you blog/site. Thanks.


Oops. Sorry I missed this.
http://flamencoresources.blogspot.com/2011/06/modo-dorico-andalusian-cadence-and-modo.html

This is stagnant. The other site is going live within the next month but hopefully within two weeks. Workin on all the pdfs and vid as well as layout of site and textual content, etc. as well as design.




orsonw -> RE: In Defense of Theory (Jun. 24 2012 9:53:52)

quote:

It is MY OPINION that the lament bass served as the foundation for the seguiriya but then flamencos ran with it.


I am curious to know what forms this opinion. Is it just because of chronology or something else? Couldn't two people have the same musical idea without ever having heard or referred to each other?

It seems that certain chords or progresssions evoke particular emotional or intuitive repsonses. Most people can recognize 'sad', 'dark', 'happy' or 'light' sounding music without 'knowing' anything about music. Human emotions, whilst varied between individuals have common themes, isn't it possible that muscial expression of these emotions may also be similar?

Don't musically uneducated musicians (like Flamencos) do this:
quote:

People have always written what sounds good

Not this:
quote:

they began to figure that out
?




Kevin James Shanahan -> RE: In Defense of Theory (Jun. 24 2012 11:35:34)

We all have a desire to teach . It is natural to want to share . Beginers need to be taught , intermediates will listen , advanced players don't want someone to tell them what is right or wrong . Music is for the listener as much as the musician . Between a musician and a listener there is much room for absolute freedom . Absolute freedom .




Guest -> RE: In Defense of Theory (Jun. 24 2012 12:27:18)

Thank you for the response Ricardo and Kevin

quote:

Zodiac BS

agree with you on the out of tuneness on that album...the chart was pretty mixed up i believe the original only used 'pedal tones' not keys...anyway a system for someone else to work out and believe in...

this topic does feel familiar...

Appresciate your response and thanks for the bigger picture
understand the points given...logical..
Can see a movement in fourths in apects of flamenco..in relation to the cycle
and the idea of the entire chromatic scale, harmonic rhythm, melodic phrasing and 'key' of phrygian is clear.....etc


personally have'nt seen much said generally on flamenco theory [except in terms of structure in relation to baile and cante] and am beginning to understand why..but respect the fact others may have thought deeply on this...

@kevin thanks for reponse. ET and Lament are out of my scope of reference so really need time to assimilate the info ..the earlier points were helpful...

when i began learning flamenco guitar i would often be playing wth experienced players and needed to find ways to complement what they were doing with chord inversions and harmonized melodic lines as opposed to playing the same as them...had no piont of reference other than my previous knowledge, materials like keys and modes etc really helped to accelerate my learning...over time it has become alot more intuitive...personally just looking for a 'frame' of reference when it comes to tonality so i can communicate this to other musicians or students...and just play the guitar..

quote:

emotional or intuitive repsonses

environment seems a large part as well...
quote:

uneducated musicians (like Flamencos)

degrees from the school of life....but that's a whole different issue...cultural education vs Institutionalized education...




BarkellWH -> RE: In Defense of Theory (Jun. 24 2012 12:42:52)

quote:

with all due respect, you can ignore me


Of course, but it was your "bait and switch" hucksterism that pulled me in to reading your initial post in the first place. A thread entitled "In Defense of Theory" has interesting possibilities. Imagine my surprise, upon reading your initial post, to find that it was just a vehicle for flogging your new website and lessons. No one begrudges you opening a website and offering lessons. What is unprofessional and, yes, cheesy, is using a thread you have entitled "In Defense of Theory" as camouflage for advertising.

Cheers,

Bill




Miguel de Maria -> RE: In Defense of Theory (Jun. 24 2012 15:22:01)

Too tacky even for capitalism, eh?




BarkellWH -> RE: In Defense of Theory (Jun. 24 2012 15:40:01)

quote:

Too tacky even for capitalism, eh?


It might fall under the rubric "Truth in Advertising."

Cheers,

Bill




Kevin -> RE: In Defense of Theory (Jun. 24 2012 17:11:12)

Yet more reasons I wanted to delete SOME of my threads. I try not to BS when I am speaking about something I care about and try not to hijack threads.

Some of the responses here really make me ask why I even bother coming here. I know, I know, it's a forum, blah, blah, blah. It's disappointing, especially when yo have no ill intentions. Uugh.[&o]




Munin -> RE: In Defense of Theory (Jun. 24 2012 17:22:02)

quote:

ORIGINAL: Kevin

Yet more reasons I wanted to delete SOME of my threads. I try not to BS when I am speaking about something I care about and try not to hijack threads.

Some of the responses here really make me ask why I even bother coming here. I know, I know, it's a forum, blah, blah, blah. It's disappointing, especially when yo have no ill intentions. Uugh.[&o]


But don't you find it somewhat understandable?

Anyway, I look forward to checking out your site.




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