clyde
339 posts
Jan 31, 2014
8:09 AM
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This one is easy. Call the head of the music department at your local highschool and ask what text they use for beginning music theory . Buy it. Theory is theory. As long as you know where the notes are on the harp you will be able to build what you want.
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nacoran
7521 posts
Jan 31, 2014
5:33 PM
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Baker, I was going to just skim the forum today, but when I saw this thread in the queue I thought I'd pop in and mention Rubin's videos if anyone hadn't already!
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Nate
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STME58
632 posts
Feb 01, 2014
12:10 AM
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I agree that theory is not instrument specific. I have found that my understanding of the theory I took years ago has deepened since I started playing harp.
I think harmonica could be a valuable teaching tool, in addition to a keyboard, to anyone learning theory. Something about the patterns and seeing how they are the same when you switch harps just seems to sink in in a different way than using a keyboard.
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2chops
214 posts
Feb 01, 2014
5:13 PM
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Glad this popped up again. I've been working on basic theory this past year to be a better musician. One thing that Preston touched on in regards to playing minor over major.
To my understanding, you can play minor over a major key but not major over minor. OK. Now...if the song is in D major, and you want to play the minor key to spice it up, would you play in Dm OR play the relative minor which would be Bm (3rd pos. On my A harp)? I've tried it both ways. And to my ear playing the relative minor sounds better than playing what I'll call the "matching minor". In this case DM - 3rd pos on the C harp.
I would greatly appreciate the resident theororists help on this one. I'm having a frustratingly tuff time getting this one straightened out. Thanks all.
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I'm workin on it. I'm workin on it.
Last Edited by 2chops on Feb 01, 2014 5:14 PM
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SuperBee
1651 posts
Feb 01, 2014
6:09 PM
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If you played the relative minor, that would be the same notes as the major key you were already in. So I'm not sure how it would sound different unless you could somehow convince us to hear the 6th as the new tonal centre.
Hey, I'm just making this up...I mean, thinking aloud, so to speak...ummm
But if you played a flat 3rd instead of a major 3rd, flat 7 instead of major...I think that is what is meant by playing minor over major...
So I would say, not the relative minor.
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SuperBee
1652 posts
Feb 01, 2014
6:13 PM
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Oh...the relative minor would be 4th. . I think you got mixed up with playing D on an A harp?
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2chops
215 posts
Feb 02, 2014
4:47 AM
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You know Bee, you're right. I was playing in D on my A harp. That explains why it sounded awful when I tried it on my C. I was thinking I was in Dm, but was actually playing in F. The one song in particular I was trying it out on lays out better when playing in D on my A harp, than in D on my G. Hmmm. Now I have to rethink thus all over again.
Thanks for setting me straight.
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I'm workin on it. I'm workin on it.
Last Edited by 2chops on Feb 02, 2014 4:48 AM
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The Iceman
1437 posts
Feb 02, 2014
7:27 AM
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The minor over the major is most likely using the augmented 9th tone within the concept.
It makes more sense in the long run if one understands this concept and how it works from a "theory" orientation rather than just thinking minor over the major, although if you are theory resistant, it will still work for you with a simpler mind set.
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The Iceman
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Michael Rubin
850 posts
Feb 02, 2014
9:05 AM
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There is a fairly finite amount of theory that will work for almost all American music save jazz and classical. Once you study it and put it into practice for a few years, it will always be with you and seem very easy. Thanks for the mention of my videos. Perhaps one day I'll get off my bottom and make more. I'm in practice mode now.
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