Major Breakthrough thanks to theory

Bill McCloskey · From: Nanuet, NY

A while ago I posted something about wanting a good theory book and someone suggested I purchase Levine's Jazz Theory, which I did. In that book they suggested the Aebersold Series. On Saturday my family went down to Central Park to see Christo's Gates and we stopped in the Colony Sheet music store where I bought volume 2 of the Aebersold series "Nothing But Blues".

Now, I've been playing for over 30 years as a fingerstyle folk and blues guitarists and Dobro for about 2. I've always improvised but never really knew what I was doing from a theory standpoint. Usually playing what sounded good to my ear or playing a blues scale.

Literally after reading the first 2 pages of the Aebersold book and woodsheding the first tune play along tune (f-7, Bb -7, G -7/C progression), it was like the heavens opened up for me.

Now I've read and watched instructional videos all my life but nothing explained things or had such simple practical information as this little $15 dollar book/CD. I spent the next 4 hours jamming over the changes on my 8 string lap steel. Not only Jamming over the changes, but jamming and KNOWING exactly what I was doing.

It was a complete revelation for me. I can see dumping all the other books/videos, and CDS I have and just focusing on these tutorials along with the Levine Book.

When people say you need to know theory to really open up your playing I always thought it was true but every time I tried to learn it, I got confused. This is the first series that made it immediately understandable.

Amazing. I feel like my life has changed forever.

[This message was edited by Bill McCloskey on 28 February 2005 at 06:22 AM.]

J Hill · From: Colorado, USA

Thanks for sharing your experience because I think what you went through trying to 'get it' is a common experience. It's nice to know there is hope after all. The problem I personally find is that every theory book I've seen so far sort of 'breaks down' at some point, beyond which I can't go. I keep thinking the practical application will 'dawn' on me one day but so far I'm still stuck somewhere in the middle of these laws of theory.

Its nice to see someone excited about actually seeing the rewards of understanding theory with the practical result of finally having the ability to use it in his music. That's encouraging.

Leila

Bill McCloskey · From: Nanuet, NY

I know exactly what you mean Leila.

I remember looking at the Mike Auldridge videos with him trying to explain theory and how it could help you create your own licks. I didn't get it.

In the Aebersold book, in half a page, he listed 4 steps to learn how to play over the changes. It was completely simple and I could do it immediately (after spending some time figuring out the scale pattern on my guitar) and it light bulbs just went off. I highly recommend this series.

HowardR · From: N.Y.C.-Fire Island-Asheville

Bill, I agree with you 100% about theory. I always had the same problem with books & videos.

Leilla, I recommend a class.

I took a night class of basic theory and then intermediate. It is a world of difference when a real live person can help you. I at least have a basic understanding of relationships and can figure things out. There was also ear training and this helped me a lot. I am going to repeat the intermediate course again next semester to become more solid, and then hopefully advance.

Travis Bernhardt said it very well in one of the other threads. With a good foundation of theory, you can crack any tuning.

[This message was edited by HowardR on 28 February 2005 at 09:15 AM.]

Bill Hatcher · From: Atlanta Ga. USA

Theory books on your own with no teacher are at best risky. You will soon reach the point where your own knowledge of theory stops and the new info you are trying to comprehend overwhelms you. That is when the frustration factor sets in and most abandon the study. The best thing about the theory book described above is that there is a CD along with it with something to listen to!! There is a huge difference in reading music theory and hearing an example as oppposed to just reading a book.
There are LOT'S of students of Pop and Jazz studying those Abersole things. A HUGE wealth of knowledge there!!!!

Brad Bechtel · From: San Francisco, CA

A good music theory class is MUCH easier to find than a good lap steel teacher, and probably as valuable in the long run.
I know I wouldn't be playing at the level I do today if I didn't have a solid background in theory.

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Brad's Page of Steel
A web site devoted to acoustic & electric lap steel guitars

Bill McCloskey · From: Nanuet, NY

I can already see that the difference theory provides is the ability to go from stringing together a series of "licks" to playing and creating real music.

Graham Lathrop · From: Dallas TX

Berklee College of Music is doing online Harmony ( their name for music theory) courses. From an alumni perspective, the material is fantastic, and the real bonus is the access to the teachers. www.berklee.edu is the webpage... I would check it out if anyone is considering getting real serious about theory. Just my 2 cents.

Joseph De Feo · From: Narberth, Pennsylvania, USA

If you liked Nothin But The Blues, Vol.2 and
you'd like to try a little more from the same
series, try How To Play Jazz & Improvise.
Don't be put off by the title

Lots of great blues stuff in there. You'll be playing
over not just 1,4,5's but 2,5,1's up through
the cycle of fourths (it's all in there)
Feel free to e-mail if you get stuck.

keep pickin

Bill McCloskey · From: Nanuet, NY

It's already on order. I'm really excited by this series.

I'm sure my story is similar to a lot of folks here: I loved slide so I got into bottleneck, but Bottleneck blues eventually seemed too limiting.

Then I got into Dobro, but quite honestly, as much as I like Bluegrass, its not my passion. I ended up playing Dobro behind singer/songwriters, celtic players, etc. But I wanted something more.

That led recently to Lap Steel and 8 strings. I loved the additional chordal possibilities but I'm not a big country fan or a western swing fan or a hawaiian fan (as much as I admire those forms of music).

I like Jazz and blues and avant guard acoustic stuff and the stuff that has no label.

This series, I can see, can start me down the path I really want to be on: creating new music on the lap steel. At least that's the hope.

[This message was edited by Bill McCloskey on 01 March 2005 at 07:05 AM.]

Mike Neer · From: NJ

Bill, you posted in another thread about the future of steel guitar not being tied to antiquated music forms. I'd like to respond by saying once you learn the tools and language of creating music, you can take it in whatever direction you like. Never look at other music styles with a closed mind, though, because it's also part of the learning process. If you're interested in learning about jazz improvisation and you don't have a grasp on the theory, you should start with guys like Louis Armstrong and Jack Teagarden and Lester Young. It's all part of the process and it's easier for your own development to not set the bar beyond your reach.

I play in a group that plays in the vein of a 1920s-30s string band, but I've paid my dues and have played almost all styles of music on guitar. This, however, is my first gig playing steel guitar. A lot of playing steel successfully in a band depends on your confidence level. Another thing guys like Joaquin Murphey and Sol Hoopii had was a "balls out" quality. This is important.

By the way, I also teach. If you're ever interested in a lesson, send me an email.

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www.mikeneer.com

Bill McCloskey · From: Nanuet, NY

Thanks Mike,

I may take you up on that offer. As far as my other comment was concerned, I am certainly not closed minded when it comes to older styles of music: if you saw my music collection, you would know what I mean.

My comment was meant to convey that the future growth of this instrument does not lie with limiting the instrument to certain niche, retro, and nostalgic musical styles. This is not to say that there is not a place for these types of bands and music. The Glenn Miller band is still playing and will always have an audience.

But people arn't going to be drawn to the Trombone because of Glenn Miller. This site is a testimony to the passion folks have for hawaian, western swing and older forms of country. But that is not my interest.

My belief is that the lap steel represents a unique and untapped potential for today's musical marketplace. Some folks like to look at the past, others like to look to future. I'm in the latter camp.

I'll email you about a lesson.

Bill McCloskey · From: Nanuet, NY

In case you get the wrong idea. I have not problem with learning as much about the traditional styles of an instrument. I just bought Herb Remington's excellent western swing videos for instance. But I want to learn this type of music as a means to an end, if that makes sense.

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