
mshilarious
Banned
Sillyhat said:You've got to pay attention.
Is that a rule?
Sillyhat said:You've got to pay attention.
Sillyhat said:If you look at what you quoted, I said the people who write and arrange. You've got to pay attention.
If you want to keep up. (kind of like knowing theory)mshilarious said:Is that a rule?
[sarcasm]Yup, and Diane is really big on breaking the rules. She always writes the most innovative songs. She takes more musical chances than anyone I can think of.[/sarcasm]EDAN said:Anyway, the songwriters are not the worker bees. A studio musician at very best might make a good living although this is pretty rare. A songwriter is waaaayyyyy up on the food chain and "can" and do become filthy rich, even multi millionairs. A studio musicain can never become truly rich doing thier job, there is a cut-off point, there is none with songwriters. Diane Warren makes over 20 million a year and her catalog is estimated to be worth a half a billion dollars!
So what you are saying is that you don't like the word 'rules'.EDAN said:The public likes things simple, she's on to something. Just because you stay with something that works, like within the frame work of pop writing, verse verse, chorus or whatever doesn't mean they are rules. The songs that go outside that frame work simply don't have mass appeal and are usually called fusion![]()
Sillyhat said:Saying "Learning music theory will ruin your songwriting" is like saying "Learning to spell will affect the way you speak in a negative way". That's just stupidity.
I never said it would. You're not paying attention again.EDAN said:Take your silly hat off and use your head. Learning music theory in a formal way is not going to help you be a better songwriter, not even a little bit.
EDAN said:Take your silly hat off and use your head. Learning music theory in a formal way is not going to help you be a better songwriter, not even a little bit. That's not at all how great songs are written, you just don't get it. Many songwriters don't even use an instrument to write. The ideas, where it comes from, the melody, the feel, etc., comes from a place deep down, a place that can't be explained and theory has never visited.
Thank you for remembering that one. Might be a losing battle though because it's presented incorrectly on some often-quoted and respected sites that talk about ac guitar mic'ing.Sillyhat said:BTW Another myth:
The 3 to 1 rule applies to using multiple mics on one source.
I saw this in another thread, thought I would post it here.
eraos said:Until you've taken a course in theory, I don't think you can say what it will or will not do.
EDAN said:Take your silly hat off and use your head. Learning music theory in a formal way is not going to help you be a better songwriter, not even a little bit.
Sillyhat said:I never said it would. You're not paying attention again.
Most of your posts come off as if you are saying that having knowledge will somehow subvert your creativity. That just stupid.
Sillyhat said:You also seem to think that being a songwriter is some how more noble than being a musician. It isn't.
mshilarious said:That is simply false. Take vocal harmony for example. Exploring music theory may lead one to styles of harmony not previously imagined. Creative use of vocal harmony can really set a track apart.
But go on, keep using the same ol' tired third harmonies. You won't even realize you are doing it.
Let's revisit keys. Nobody answered my question of why there is more than one key. Well of course they are THERE, there are twelve notes after all, but why use more than one key? Aren't they pretty much all the same?
Of course they are not, and there are several different reasons why, an understanding of which *might* lead one to select a key based upon the mood of the song.
True, that could be learned by trial and error, but can you honestly same you try all twelve keys each time you write a song to see which one fits best?
You also seem to believe theory is only concerned with harmony. That's a big chunk of it, but hardly all. There are theories of rhythm and melody too. There are thoeries of counterpoint and accompaniment. There are theories of orchestration and arrangement.
I have only scratched the surface with my knowledge of theory, but each tidbit I learned makes my songs better.
No, I don't write fusion, and I don't like it either.
There's more than one key?mshil said: Nobody answered my question of why there is more than one key.
Timothy Lawler said:There's more than one key?
...must be an invention of singers who just can't hack singing in the key I play in.
Seriously, I think knowing theory... form analysis, harmony, counterpoint, arranging, etc is very valuable. But hell, I have a conservatory degree so of course I'd say that. But one puts all the intellectualization out of mind when in the heat of the moment in a performance. Maybe that's part of the challenge - to SOMETIMES be analytical and SOMETIMES be purely passionate depending on what the situation inspires.
Tim
Timothy Lawler said:There's more than one key?
...must be an invention of singers who just can't hack singing in the key I play in.
Seriously, I think knowing theory... form analysis, harmony, counterpoint, arranging, etc is very valuable. But hell, I have a conservatory degree so of course I'd say that. But one puts all the intellectualization out of mind when in the heat of the moment in a performance. Maybe that's part of the challenge - to SOMETIMES be analytical and SOMETIMES be purely passionate depending on what the situation inspires.
Tim
EDAN said:No, knowlegde is great, but theory is not going to help in the creative process as far as songwriting goes, no one will ever convince me of that. Now, it may or may not help you be a better musician, but songwriting, no.