Hello reader, thanks for visiting again or taking the plunge as a DC.net first timer.

It’s been a while since I last posted something, this is mostly due to the fact that my head has well and truly been sandwiched between pages of ii-V7-I progressions, diminished/chromatic chords and the ability to compose and complete scores of music without the assistance of an instrument!

Yes, you guessed it, I decided to take the plunge and go for my Grade 8 theory exam.  Now there are many reasons for this, mostly it’s because I want to exorcise my demons, of sorts.  The last theory exam I sat was way back in 1998 when I took my ABRSM grade 5 so that I could progress onto the higher grades.  Now, back then and for a long time afterwards and like many of my younger students, I despised theory.  My mindset in my youth was always “Why do I need to know what a cadence is when all I want to do is play my exam pieces?” well young Daniel of the past however do you expect to finish that blistering jazz solo when you don’t know how to end it?   Without some knowledge of theory I think we’d all be stuck in an infinite cycle of non-sense in the middle of that Sax solo in Tequila.  Chris White would still be on stage in Sydney playing a 23 year long solo in Dire Straits “Your latest trick” well you get the idea…

I’ve always been a “practical player” the theory never interested me and it wasn’t really until I started composing that I actually thought: Why does Mozart sound so good?  Just why did Procol Harum base “A whiter shade of pale” on Bach’s “Air on a G string?”.  Understanding a little more about the theoretical aspects of playing has made such a huge impact on my playing.  Recognising the preparation, dissonance and resolution of a suspension gives you so much scope in regards to really make the most of the composers intentions.  Suddenly you find yourself playing the music with more realisation of the composers intentions and you have more artistic freedom when it comes to the performance of a piece.  When playing in a group, which notes are more important? Who should be heard?  Who has the melody? Who has the counter-melody? Which degree of the chord are you playing?  These are all questions that, without a little theoretical understanding, we really don’t have the ability to answer.

Now I don’t have the time to tell you absolutely everything that has sparked this enthusiasm for the less practical side of music but one thing I did find fascinating was figured bass.  Now unless you have looked into A level music or post Grade 5 theory you probably haven’t come across it.  Figured Bass was basically the guitar “chords” of the 1500’s.  They were used to tell the performer which chord to use and in which inversion.  This was a very early example of improvising, the stars of the time were people who could perform amazing keyboard “solos” based upon the single notes written under the music.  We do the same today, although we use “AM” instead of a 53 written underneath an A.

Well I thought I’d share some thoughts on some elements of theory, many of my students have felt the wrath of my enthusiasm for theory and have definitely benefitted from it on a practical level.  For you theory novices out there, do have a look.  DanChristian.net guarantees you’ll be amazed at the results on many levels.

For now, happy playing!

Daniel Christian – danchristian.net