Composition & Improvisation: Analysis & Synthesis

In true art, the larger subject and the details are inseparable threads in the same fabric…

Enjoy this portrait of Roy Lichtenstein by Chuck Close (who happens to be “face blind”)…

Two Big Lessons:

  • Details have meaning only the larger context they serve.
  • Beware any theory that analyzes music (of anything else) to the point where it cannot be put back together again.

About Frank J Peter

A uniquely burdened and blessed citizen of the world thinking and acting out loud!
This entry was posted in Composition, Improvisation, Music Theory and tagged , , . Bookmark the permalink.

3 Responses to Composition & Improvisation: Analysis & Synthesis

  1. paula graham says:

    Yea, there comes a point when you just have to get on with it, I presume.

    Liked by 2 people

  2. Indeed, Paula. In fact, it is quite possible to become so “theory-happy” that one becomes deaf and blind to the real music. At some point one has to abandon the need to EXPLAIN everything and to simply allow the concrete reality to speak for itself. This is also why I strongly suggest… after they grasp the fundamentals of scales, solfege, chords, chord progressions… that everyone go right to the kinds of music they want to play for their study-practice material. Cheers!

    Liked by 2 people

  3. paula graham says:

    Yea…got it. Thank you

    Liked by 1 person

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