Crotchet – quaver quaver – crotchet – quaver quaver! Two sharp at the beginning of the staff… is it D major or h minor? What exactly is a Neapolitan chord?
These rather technical terms are termini technici to describe elements of music, but music is much more than mere theory. Music is not a series of such technical terms. To understand music in its entirety, it needs more than just to define a note’s name or value.
To really understand music, we need to adopt a holistic approach. It is exactly the same as written text; in order to comprehend the meaning of a book, we must be able to identify more than just the individual letters. It is important to see connections and to be aware of its context.
3 Steps: From small elements to whole
Firstly, you have to learn the basics in the first step (note names, duration, etc.) In the second step, these elements are composed so that you can learn to determine keys, chord configurations and progressions (like cadences). With this knowledge you will be able to write your first piece of music. In this third step, what was learned previously is placed into context.
Music theory must be viewed in the context of its time, and in the combination with social and historical developments. That is the point where you have to include musicological knowledge. For an integral understanding of a composition the period when a piece of music was created, and the biographical circumstances of the composer who created the music are important. If you do not look at music theory as the problem as such, but as an applied means to an end or as the actual purpose for the understanding of music, then it is neither technical nor tedious.
For this reason, the acquired knowledge must be applied to practical examples. This, you can do, for example, in composition exercises, simple attempts of own compositions or by analysing printed music. Scores of masterpieces of the great composers must be studied! Beginning with easier pieces (such as a piece for harpsichord from the baroque period for instance), you work steadily forward to more complex pieces (such as a symphony by Beethoven). Even if we speak of music theory, it is always necessary to apply the knowledge in practice.
Uncover connections
The fascination that emanates from music arises not from being able just to determine elements of it. It becomes even more fascinating, if you can discover connections or become able to explain differences between pieces of music, musical epochs and composers. Music is created in a state of flux, it is a continuum: what is new develops from what is known. Composers were always referring to others, took up new trends and developed them further. In order to recognise these connections, we have to compare compositions. The easiest way to do so, is to talk about music, and to exchange it with others. This will help you to discern references, to recognise breaks with traditions, and to put an interpretation on them.
Not theory per se: Practice is the magic formula
Theory and practice go hand in hand, because you learn the theory of music only as a means to an end. You have to apply your knowledge so that music begins to live. It is similar to learning a language. It is also not enough to learn just the vocabulary, because only in conversation with other speakers you can use the language. By exchanging knowledge and experience, you profit the most. Read our previous article on the 8 learning strategies to help you learn more and faster here.
Written by Thomas J, Music Theory tutor, Telios Tutors.
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