Ricardo -> RE: Music Theory: Why? (Feb. 5 2007 0:16:58)
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1- Do we need to know / understand music theory in order to be good flamenco composers? 2- Can somebody with no talent be able to (if he has a firm grasp of theory) "scientifically" compose (by knowing what chords fit with what scales, etc.) something that will generally be accepted as "nice-sounding?" 3- Do the masters (PdL, Sanlucar, Sabicas, Ricardo [and by that I mean Nino, and not Richard - we already know he is a master of theory just by reading his posts with guitarbuddha and Romerito!!! CHINESE to me) know this theory? I know that PdL cannot read music, so I think he does not know theory, yet his compositions are super ... is that pure talent? 4- How important is a grasp of theory to be an all-round "good musician" or "good guitarist" or "good improviser?" 1. Absolutely NOT. In some cases if not careful, it can get in the way. 2. Yes. Especially nowadays with computer technology. You can type random bs notes and "hear it back". Might even sound good sometimes. But going further, there are composers for instruments that can't even play them. For example RODRIGO was a blind pianist, who composed one of the most beautiful guitar compositions ever. You could say he had "talent" but really, nothing else he wrote is that famous, or even considered as good. 3. Sanlucar, Riqueni, JM Cañizares, to name a few famous ones, do infact know the abstract music theory you refer to, and know how to read and write music. The other maestros don't, but they understand theory "on the neck of the guitar" so to speak, in a more intuitive way. The thing that really matters to me, that puts all these guys into the same "level" as musicians, is their undertanding of rhythm. This is more important than the amount of "theory" they undertand, as composers of "flamenco guitar music". 4. For guitarists, I say, not important AT ALL. I say that because there are examples of the TOP maestros of guitar, for almost every genre, who don't know how to read or write music. jAzz-Django Reinhardt, Rock-you name it, Flamenco- you name it, folk/country/ethnic whatever-you will find plenty. Classical guitar is the exception, althought it is ironic because the VAST MAJORITY of classical guitarists don't even compose. Their music theory knowleadge is for reading and analyzing only. I say, of all the styles, JAZZ has a special use for theory that CAN be learned intuitively, but I would say is more efficient if learned in the abstract way. In all cases and genres, the separating factor between the high level players and the mediocre, is IMO RHYTHM. Just adding to flamenco/music theory connection. I feel that rhythm and TECHNIQUE is the primary means of composing or creating in flamenco. Meaning, flamenco guitarists let their "fingers do the walking" so to speak, they weave things together on the neck in a way that the end result is very fluid, solidly played music. It is rare they compose things that are too difficult for their own technique level, because it is from that vantage point the the music springs forth. On the other hand, folks that "know music theory" might spend time searching for things on the neck they know sound good. They can find themselves in a position of not being able to execute their own ideas, or the music might have some places that are not "fluid". I speak from experience on this, as I have found myself in such a position as a composer at times. I recognize it in other players too, when I hear it, I won't name names. Another problem of "knowing theory" is you have already a vision of what will sound "bad", and not let the fingers experiment. But this problem is not so bad as the first I mentioned. One personal problem I have knowing the neck, is a guitar with "dots" in combo with a capo. Really messes with my poor mind. Like thinking in two different keys at the same time! The tone of this I know is "anti theory". I have to say knowing it is intellectually "fun", and it can be a useful tool or short cut, but you have to undertand HOW to use it in context and in combination with other important aspects of music playing/composing/improvising. And not be afraid to "discard it" altogether at times. Ricardo
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