My two cents as I've stated to all my students and firmly believe...
The Stick is an extraordinary logical instrument from dot/line markers to its tuning.
To understand theory of music makes learning The Stick so much more natural.
It simplifies the mental and physical effort thus allowing more focus on creativity and expression. No debate here. The layout of our chosen instrument is as important as the technique to play it. To ignore understanding music theory as applied to The Stick is sabotaging one's progress. True Dat

Steve Adelson

Driving to NAMM convention today after a fabulous week in Arizona with the amazing Omar Hakim and Rachel Z. More fun ahead

The Monk was merely making a valid point.Let him alone.People always trying to raise the bar with ( unimpressive vocabulary).I came here to fellowship with others and learn.every time i posted or said something here the rod of correction always surfaced.Constantly attacking religions and others view points. I wont disclose my back ground seeing that the attack on others is ready and aimed. But i will say this Mr. Chapman is a genius with a very respected and loving family. As the good teacher Greg Howard would say; Happy Tapping.

AUthoriteh! Love that.....

You kids get off my lawn!

Mad Monk, what theory book did you work through?

R

From 2003-2005 I used Kostka and Payne's Tonal Harmony, which was the most popular text at the time. More recently I wanted additional practice and retook two semesters at a different school with Benward and Saker's Music in Theory and Practice, which is better. I also work from Aldwell and Schachter, Schoenberg, and the classic third edition of Piston's Harmony. The Roger Sessions one is good as well. These authors all cover the same territory, but the subject is complex and the student can profit from using more than one because the information is presented differently in each. They all have strengths, but overall I like Benward and Saker for an introductory text.

Recently I have been using Mark Levine's Jazz Piano Book and his How to Voice Jazz Standards at the Piano.

Mad Monk.

Music theory is a hoax, and "they" are keeping the secrets from us to keep us in a musical box.


The true art of harmonic spell casting is still being researched....

Recently I have been using Mark Levine's Jazz Piano Book and his How to Voice Jazz Standards at the Piano.

Mad Monk.[/quote]

Great books!!! Another good one is Phil DeGreg "jazz keyboard harmony"

I studied the Ottman Theory books, years one and two, at LSU and then at North Texas in Denton. They made me take the last semester over again when I showed up at NT, which turned out to be a great idea. It really helped me to think about music. And if you want to understand Bach, Beethoven, and Mozart, you can't go wrong with a college music education. I also studied orchestration, romantic harmony, 18th-c counterpoint, and conducting. I'm so glad I did that before I turned 23. (I didn't start studying music seriously until I was 19.)

But now I want to get a good theory book and write out all the examples in Stick notation! I know, it's horribly pedantic of me, but I want to understand it thoroughly.

R

Standard notation is Stick notation.


Mad Monk.

I think Rodan07 was talking about adding the Stick "fingerings" with the different head shapes, and the numbers above in regards to his comment about "Stick Notation" Correct me if I am wrong, but I think he was talking about using Stafftab...

Personally, I would prefer to just see the notation for a piece, but it's all good. One day I will sit down and make some sense of it (Stafftab) for now, I have other priorities...