Amaya, it is rare for a music critic, commentator, and listening guide to be able to speak about the nuts and bolts of music in a technical way. I think it is a huge plus, esp. if you can illustrate with words how these chords and changes may influence what the listener is hearing and feeling: It can be as simple as "ah, now I know why I felt sad for a moment: unexpected shift to a minor chord." It can be a very useful arrow in your quiver; use with care.
Great timing for me to consider theory that I mostly leave by the wayside, but sometimes need to consider. I'm currently arranging a version of Charlie Byrd's Corcovado, in part because the arrangement was designed to be backed by an orchestra. There are parts that just wouldn't make sense if I just played the guitar without the strings, like single notes and octaves. I'm therefore using those modal interchanges to add texture and colour to what he wrote, so that I can both add something to his piece, while keeping enough of his work that anyone who knows and loves Byrd recognises it instantly as more or less his piece, but I can also take it to new places. Before I studied music, I would do things like that instinctively, without understanding why it worked, which limited my creative ability. I have also forgotten at least half of what I learned. Fortunately I retained the other half :D
Amaya, it is rare for a music critic, commentator, and listening guide to be able to speak about the nuts and bolts of music in a technical way. I think it is a huge plus, esp. if you can illustrate with words how these chords and changes may influence what the listener is hearing and feeling: It can be as simple as "ah, now I know why I felt sad for a moment: unexpected shift to a minor chord." It can be a very useful arrow in your quiver; use with care.
Yes more music theory please!! loved this!!
Great timing for me to consider theory that I mostly leave by the wayside, but sometimes need to consider. I'm currently arranging a version of Charlie Byrd's Corcovado, in part because the arrangement was designed to be backed by an orchestra. There are parts that just wouldn't make sense if I just played the guitar without the strings, like single notes and octaves. I'm therefore using those modal interchanges to add texture and colour to what he wrote, so that I can both add something to his piece, while keeping enough of his work that anyone who knows and loves Byrd recognises it instantly as more or less his piece, but I can also take it to new places. Before I studied music, I would do things like that instinctively, without understanding why it worked, which limited my creative ability. I have also forgotten at least half of what I learned. Fortunately I retained the other half :D