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[Chris Brimley]

Is it worth knowing this kind of thing?

I think the principles of intervals and chords are certainly worth learning.  Although I struggle to use intervals beneficially on the box, I do find harmony is a great thing, and categorising chords (like guitarists do) really helps in understanding how best to play something.  But I feel the jury is still out on the practical advantages of categorising tunes into modes.  It may be the case that it really helps, but I have yet to be convinced by practical examples.  I remember my sociology lecturer many years ago criticising the academic trend at that time that involved 'applying labels to things'.  He said that some academics seemed to imagine that if they managed to categorise all elements of social behaviour into pigeonholes, they would somehow have explained something.  This stuck in my mind as a perceptive comment, not just about sociology, but also about academia in general.  I think that just listening to music with one's ears, trying not to be hidebound by what's easy to play, and trying to hear what harmonies and chord progressions work best for you, is the best way forwards, because it's the closest to what the listener will get from your music.  And at the end of the day, that's what matters most to any performer.  The nuances in music are so subtle, and their effect on the audience so great, that in the end instinct is still tops, IMO.

[Anahata]

I’d love to know what people are talking about when they refer to an augmented 6th, perfect 1st, inversions and so on.

The first two are ornate terms for describing how far apart two notes are.
Inversions are descriptions of chords based on which note is lowest.

They are only useful as a shorthand for communicating those concept to another musician. Knowing what they are called (e.g. that a step of three semitones is called a minor third) does not make you a better player.

P.S. ... and what Chris said.

[Chris Brimley]

Hey, thanks, Anahata!

[William]

I practice with another ‘squeezer’ every fortnight and she tends to use the ‘terminology’. Anahata makes the point about communication between players and understanding what another is talking about is important- well usually. In this sense- it’s important that we fully understand each other, but I wouldn’t want to ask her what she means too often- I ask too many questions already. I suspect that in not understanding what she’s on about, I’m missing too much that’s useful.

Chris’s point about harmony has got me thinking. The only thing I know about it is that I enjoy listening to it and would love to leap in and get involved, somehow. If doing this means learning about the terminology- and I suspect it must- then here’s an important reason to learn more. Excellent stuff so far..

But I do have Augustus Holmes’ ‘Rudiments of Music’ and I’ve checked out the Wikipedia site. They’re SO dry they make me want to scream (Sorry Theo). Usually I reach for the ‘Child’s Book of Whatever-it-is’ and make a start there. Something tells me that there ain’t gonna be one of those for Major/Minor/inverted/eight thingys..

But I’ll keep looking..

What’s this? ‘Tigger’s Harmony guide for melodeon players’..

It’s bound to be out there somewhere..

[Chris Ryall]

Pignol's deeply into how harmony works and I got the bug from him. But ask Norbert what music is about and he'll say it's about 'putting it there' - your theme - and 'timing'.

If you are in a group of musicians - add 'listening'

[Bob Ellis]

I began to realise fairly recently that understanding keys and modes would help me to a better understanding of the less obvious chords that can be used to produce more interesting arrangements of tunes. Of course, one can just listen to each of the main chords available on a melodeon played against a tune by trial and error and recognise that some fit with the tune, some are really nice and some are horrible discords. However, if you understand the theory, you have a better idea, before you even press a button on the box, of where to look for chords that fit and of which ones to avoid. This applies particularly to what I sometimes call the 'hidden chords' - those that are available by combining two chords or the fundamental of one chord with a different chord (e.g. a D fundamental with a C chord).

Following Julian Sutton's workshop at Witney on Sunday, I have spent an hour or so this afternoon working on some of the chords that fit with his B minor bourrée, Bright Sparks. The chords I have used in my arrangement of this tune (some suggested by Julian, others worked out myself) include Bmin7, Asus4, Gmaj7, Gsus4 and Cmaj7. All of them are quite easy to form from the standard eight basses of a D/G melodeon, especially if you can remove the thirds.

I am hoping that, having worked over the last few weeks on understanding more clearly the scales of different keys and modes, and having analysed the composition of these 'hidden' chords, I shall be able to apply their equivalent chords to appropriate places in tunes in other keys. Some of this theory turns my brain into cooked spaghetti (as did Julian's workshop!), but it is fascinating and some of the 'hidden chords' really add interest to the tunes. That Gmaj7 in the A music of Bright Sparks is gorgeous!

[William]

Hmm- I agree. It amazes me just how much pleasure can be got from the 'right'  chord in the right place. Thanks for that Bob- One learns something from a new piece, but having the 'language' to conceptualise what one's doing must enhance that experience no end.

I just need that Holy Book Of Rules...