Quoting one of my readers
One of the greatest things that have happened for me since I wrote Music Theory for the Bass Player is that I get emails from bassists from all over the world. I love hearing about bass and life stories – some even tell about how music has saved a life- and many share their learning stories. Thank you for writing in,
This morning I got this, which expresses better than I ever could why I think Music Theory is worth learning:
I’m amazed at how theory gives ‘meaning’ to the music I’ve been playing all my life.
I sat down the other day and started playing a song I haven’t played in 20 years (Skin Tight, by the Ohio Players).
When I got to the bridge, which I’ve always had trouble remembering, I looked down at the fretboard and the path lit up for me and led me to the notes to play:
I walked from C to F then G to Bb, using the triad shapes as the basis of succession (C,D,E,F) (2,4,1,2 fingering) then G,A,Bb (4,1,2 fingering).That’s the part that lit up like a runway for me!
Then chromatic down from F to Eb and E,F,F#/Gb as the 10th to the D.
And the chords are C,F, Bb, Eb, D.
I heard it, saw it, felt it, anticipated it…cool beans!
I giggled like a little school girl!
Hilliard Scott, Bassist (from an email, used with permission)