Rules were meant to be broken...

Musical theory is somewhat of a misnomer,musical system or rules seems more direct.Knowing the musical theory or rules makes it possible to break them at strategic times and locations,which is the aim of most good composers,songwriters,players.Studying other types of music helps greatly in seeing and understanding examples of how,why,and when a writer chose to break a musical rule.However,the writer could never have broken the rule "correctly" if he didn't understand the rules(theory).Breaking musical rules (tastefully) and being able to return to the standard musical structure are vital to great writing.First,learn the rules,and then how to break them,because musical rules were meant to be broken.

Originally Posted by: SweepFreakMusical theory is somewhat of a misnomer,musical system or rules seems more direct.Knowing the musical theory or rules makes it possible to break them at strategic times and locations,which is the aim of most good composers,songwriters,players.Studying other types of music helps greatly in seeing and understanding examples of how,why,and when a writer chose to break a musical rule.However,the writer could never have broken the rule "correctly" if he didn't understand the rules(theory).Breaking musical rules (tastefully) and being able to return to the standard musical structure are vital to great writing.First,learn the rules,and then how to break them,because musical rules were meant to be broken.

True, however, I disagree on some points.

When a musical rule is broken well, that break becomes a new musical rule. Music theory is an adaptive science. The theory of the Baroque era composers differs greatly from that of the Neoclassical masters.

Originally Posted by: Jolly McJollyson
When a musical rule is broken well, that break becomes a new musical rule. Music theory is an adaptive science. The theory of the Baroque era composers differs greatly from that of the Neoclassical masters.

I agree. And, even amongst jazz musicians, some of whom consider themselves to be unbound by the constraints of classical musical theory, there are unspoken rules regarding communication in improvisation etc.

In Jazz,the exception IS the rule.My comments were made in the context of mainstream major/minor contemporary rock/pop music.Where an F#aug6 would be commonplace and not that remarkable in a jazz context,that same chord would be a solitary abherration inserted deliberately as a point of suspension or release following a series of plain major/minor chords in a rock/pop context.In Gmaj where the assumed resolution chord is Dmaj,knowledge of music theory permits one to substitute other resolution chords or split the resolution at one's discretion.Thorough knowledge of the traditional,makes the unorthodox not a matter of luck,but a matter of art.

There are always exceptions,individual examples that stray from my theme.Jazz is unique and stands on it's own,musically.However,at the risk of over-simplification,"most" music boils down to root,resolution,and fill-in-the-blanks.The root is generally sacred and written in stone,save modulation,in which the root is simply changed,not made less significant.Almost all of the creativity and fun of writing music is in the resolution and filling in the blanks.The memorability of a melody or chord sequence is penultimate,and therefore repetition and relativity within the key and motif are commensurate to good writing,imho.

Truth. I agree with and like all the comments.

I agree so far I can agree with it since my knowledge is basic concerning music theory

Working in the key of Emaj,E-F#-G#-A-B-C#-D#-E,a typical chord sequence might go as follows-
Emaj (root)-D#/Bmaj-C#minor-Bmaj-Amaj-Bmaj(resolution chord)-Emaj(root).

An example of breaking a rule would be the addition of this strange chord-(A#-E-A#-C#-E) between the first Bmaj and Amaj.Play both chord sequences as written and you will hear how the strange chord adds mystery and suspension to an otherwise very plain and predictable chord sequence.

Emaj-D#/Bmaj-C#minor-Bmaj-(A#-E-A#-C#-E chord)-Amaj-Bmaj-Emaj :Note A# is not in the key of Emaj yet works fairly well I think.

Cadence is another word for resolution,getting from a chord back to the root.Because I knew the authentic cadence of Emaj is Bmaj,and the plagal cadence of Emaj is Amaj,I split the two by making A# the root of the strange chord,then adding two notes that were in key,E and C#,for relativity.

Setting the listener up with predictable chord and melody sequences that change artfully and unexpectedly and then return to the norm is a proven successful songwriting technique.It also allows you to draw the listener in and then shift gears musically,ofttimes leaving them in suspended animation not knowing where the melody will turn next.This idea of suspension and release is a hallmark of good songwriting.Thus,breaking a musical "rule" at the right place and in context of the key and melody breaks up the monotony of predictable chord sequences,while at the same time providing even a layman the ability to identify with familiar chord and melody progressions.

When I studied music theory in college, a long time ago in a land far far away. Our teacher would start at the board , she would tell us to copy all of her notes. Each time she taught us something she would write and emphasize the word RULE example - RULE:# 4-x=y=z, Then she would always tell us that the rules could be broken If we knew what we were doing :eek: RTO