Theory: it's a struggle

[gtrdave]

That's where my struggle is...being able to take what I know and learn and apply it when I am playing instead of relying on my ears so much.

The thing that most people will tell you is that you learn the theory and then you "forget it" and just play. What you know will flow out naturally.
Again, like I learned in my class, dissecting songs and understanding the theory inherent in them is a good way to learn about theory in regards to chord progressions, scales, melody, harmony, etc...
Any honest musician will admit that learning theory isn't so much about rules, it's about freedom. 

[Sweetplayer]

No pic = Never happened 

Why yes I did,AT THE greeboro colisum(there a e,in there somewhere.take a picure.Man i was scare enough.I called his name.I  actually bout passed out.When i called his name,he looked at ME,aND GAVE ME A HIGH FIVE.i JUST TOOK A SLEELING PILL i EXPLAIN IT BETTER SOON.mAN I AM OUT OF IT

[jlynnb1]

THROW THEORY OUT THE WINDOW

one of the most ridiculous statements i've ever read....ALL music is built on theory. without theory we'd have atonal garbage and that's it.

theory informs your playing, gives the foundation to build from, the framework to work in/out of at your discretion. it is in no way a hindrance to freedom or improvisation.

if people would learn just a basic understanding of theory there would be none of these "do you know the chords to this song" or "what scale should i play over this" threads. it is the basic building blocks of all music, period. music's DNA if you will.

[funkStrat_97]

one of the most ridiculous statements i've ever read....ALL music is built on theory. without theory we'd have atonal garbage and that's it.

It would be like learning to drive a car without learning the rules of the road. 

[dwest2419]

The only theory I know is about the major scale how that it's made up of whole and half steps.

For example

Major scale formula: W W H W W W H

C to D is a whole step
D to E is a whole step
E to F is a half step
F to G is a whole step
G to A is a whole step
A to B is a whole step
B to C is a half step

And that's all I really know I dont know the formula for the rest of the modes. Can someone provide me with the formula to the rest of them please?

[Sweetplayer]

Well,let`s be real.I can get down.With the best of them.I say it again,throw theory out the window.Gospel music is soooo easy

[jlynnb1]

do not feed the troll, do not feed the troll, do not feed the troll...

[betnich]

Even though CCM chord progressions are (mind-numbingly) easier? Hmmm....tempting.

[Sweetplayer]

But you are inevitably using theory when you get down. You just don't know what to call it. You know that THIS note goes with THAT note, but THE OTHER note sounds funkier... for some... mystical reason that you dare not try to understand.

But NOT everybody can take that approach. Not everyone has that kind of ear and self-learned theoretical knowledge.

[Sweetplayer]

Even though CCM chord progressions are (mind-numbingly) easier? Hmmm....tempting.

That is so true.Even though,must hymns are1,4,5 .uriah said something interesting about hymns.He play them chord melordy style

[betnich]

That is so true.Even though,must hymns are1,4,5 .uriah said something interesting about hymns.He play them chord melordy style

The thing about classic 4-voice-part SATB Hymns is that every syllable on every word is harmonized - so the chord changes are not once a measure or 2-3 measures, but on every note. That's why it's so hard for most guitarists and bassists to follow along - most end up simplifying the chord progressions...

[funkStrat_97]

That is so true.Even though,must hymns are1,4,5 .uriah said something interesting about hymns.He play them chord melordy style

I've said before in another thread, but the I IV V is a the heart of most chord progressions that we encounter and even then, you can eliminate the IV chord (using a sus4 instead) and get away with essentially playing only two chords; the I and V......but not always. 

[Gibby]

do not feed the troll, do not feed the troll, do not feed the troll...

Lol!!!

[jlynnb1]

The thing about classic 4-voice-part SATB Hymns is that every syllable on every word is harmonized - so the chord changes are not once a measure or 2-3 measures, but on every note. That's why it's so hard for most guitarists and bassists to follow along - most end up simplifying the chord progressions...

the vocal harmonies are implied over every syllable, but that's not the same as a chord changing on every syllable. the underlying chord is what gives the vocal harmonies foundation to work off of.

[betnich]

the vocal harmonies are implied over every syllable, but that's not the same as a chord changing on every syllable. the underlying chord is what gives the vocal harmonies foundation to work off of.

I was thinking of Classic Hymns such as "A Mighty Fortress", where the harmonies (chords) change on almost every note.
Even in the few places where they do not change from one chord to another, they tend to change inversions (bass notes).
Other 18-19th-century hymns and Gospel songs (like Amazing Grace) are less intense, usually changing chords every measure or so, except for the cadences at the end...