Feb 212015
 

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you.

We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those new to the concept, double-tracking is when the guitarist performs and records the same exact part twice, usually turning one performance to the left side of the mix and the other to the right. It’s frequently done for rhythm guitars, but less often with leads. What follows are some modern home studio audio recording techniques and tips to help you record these guitar solos.

How To Do It

First off, why double track? Lots of reasons:

  • Two guitars performing the same thing sounds fuller (like a chorus compared to a single voice)
  • Alternating between doubled and single-guitar creates variation
  • You can use two different guitar sounds for a new tone
  • You can use two different articulations (one legato, one staccato)
  • After a decade of no guitar solos in popular music, we have to double-up to make up for lost time
  • Impress other guitarists

If all of that sounds good to you (and I know the last one does), here’s how to do it.

The Method

For starters, you should be able to play the lead part note for note, so take some time to memorize it. Some feel this will rob their lead playing of spontaneity, but if you feel this is true, just improvise your first performance (“Guitar 1”) and then learn it for the doubling (“Guitar 2”).

In theory, double-tracking is simple. Just record Guitar 1 like any other lead part, then turn Guitar 1 all the way to the left (or right). Turn the live Guitar 2 to the other side. Then, wearing headphones, listen closely to Guitar 1 while recording Guitar 2. That’s it!

Problems and Solutions

If that sounds too easy, you’re right. There are a lot of problems to worry about, but you can avoid some by doing Guitar 1 well, so we’ll focus on that first.

When you record Guitar 1, be sure that there are no strange anomalies within your phrasing or timing that you cannot duplicate. The tremolo bar is a good example. You’ve got to repeat any dive bombs or other tricks exactly later. Pinch-harmonics are another problem, as it’s hard to get the exact harmonic you want. Any harmonic will often do the trick, too, so you’ve probably learned to not care which one you get. The good news is that getting a different harmonic (or none at all) on Guitar 2 can work fine or be better. I did this on purpose on “Still at Large” from my album, The Firebard.

 

Slides can be easier, since they’re sloppy anyway, but that only helps with fast slides. These should start from the same place (roughly) and go the same distance at the same speed. It helps to improvise a couple times and notice where you’re starting. If the slide is prominent and in the rhythm track, you can try one of my tricks, which is to start Guitar 1 from a certain note, such as A in A major, and slide Guitar 2 from C#, so they start in harmony.

Slow, expressive slides are more trouble. These need to start from the same place more exactly. The amount of finger pressure can be a factor in the slide’s sound, too. This is more problematic when that pressure must change as you go, and if the slide’s speed changes. All you can do is practice and be aware of speed, pressure, start and stop point, and the emphasis placed on the destination note (how much pressure and vibrato are you using?).

Bends are tough, too. If you’re not consistent and precise with the speed of your bend, hold, and release, the variation when you double will be out of tune. Quickly bent and released notes can be easier, but don’t count on it. You may be more consistent with a given technique, such as bending with your fingers, the Floyd Rose, or the old tuner trick, but you won’t really know until you try doubling and simply can’t do it. To make matters worse, bending is generally an expressive thing, so being controlled about it may rub you the wrong way. The solution is good technique through practice.

Vibrato usually isn’t an issue because most people tend to use the same vibrato each time they play a line, so you may be in luck here. It tends to be applied unconsciously as well, meaning you’ll do it the same without ever realizing it. Still, make note of what you’re doing and the speed of your vibrato. If the lead is almost painfully slow, with long drawn-out notes and vibrato that starts after a few beats, then changes speeds and vibrato types, these variations create more room for error. Then again, such a lead is so expressive that doubling is probably not wise anyway. This is one reason I didn’t double the final lead guitar on “Epic” (many slow slides were the other)

Finally, extraneous noise in Guitar 1 is hard to duplicate exactly, and why would you want to? If Guitar 1 was perfect except for some weird sound in it, you have ask yourself how important doubling is and how noticeable the sound is. A finger sliding on a string can be easier to duplicate, and if only one side does this, it can be okay. It’s a judgment call. With recording software like ProTools, it’s possible to fix it in the mix, but if you aren’t sure, double-track anyway and worry about it later. You can always turn Guitar 2 (or 1) off. You could also save the Guitar 1 with noise but re-perform it. >Maybe another attempt would be even better – and not have the noise.

If you’re starting to think all of this is an endorsement for speed, because that would reduce bends, vibrato, and slides as issues, not so fast. That’s when timing becomes the biggest issue of all. Without good timing on Guitar 1, you’ll really feel the pain later. Practicing with a metronome, while a good habit, may not help with a troubling passage. Maybe the drum groove or rhythm guitars are slightly off, or DAW-induced latency is disturbing your feel, or you’re just having a bad day and can’t do something right. What to do?

It sometimes helps to hard-pan Guitar 1 to one side while playing it, and/or wear headphones. This way, you can focus on the rhythm section on one side while fitting in your lead notes on the other. Turning down the lead guitar helps, too, for if the lead is too loud while you’re playing, it obscures the timing underneath. For latency, try reducing or eliminating it altogether with a no-latency setting. Be aware that on some days, your sense of timing will simply be different/off, just as you might like a guitar sound one day and think it’s terrible the next. Perseverance is king.

Coda

If all of this is starting to sound impossible, just wait until Part 2 of this column! Seriously, though, double-tracking is not as hard as it seems. With a little practice it can even be fun, and most of these ideas will help you get a great performance for Guitar 1 anyway. You also might be more ready for doubling than you think. Try doing it a few times and see what your problem areas are, then work on them. Next time, we’ll focus on the more problematic Guitar 2.

Double-Tracking Lead Guitars, Part 1

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you. We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those […]

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Double-Tracking Lead Guitars, Part 2

Last time we discussed double-tracking problems you can avoid by doing Guitar 1 well, so this time we’ll cover the same for Guitar 2, with more modern home studio audio recording techniques and tips to help you record your guitar solos. Aside from the difficulties mentioned under “Performance Issues” below, there are some disadvantages to […]

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Reamping

How To Re-Amp Guitars

If you’re like me, you’re not really an audio engineer despite all your research and efforts into capturing high quality sound in your home studio. Though it’s increasingly easy to buy quality gear, that doesn’t mean you have the training or experience to master it. Enrolling in engineering school, sound proofing your house, and upgrading […]

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Feb 212015
 

A good way to make songs more powerful and structurally sound is to use chord progressions not only within sections, but also across them. This creates a harmonic relationship between sections and adds to the sense of forward motion, tension and resolution, and overall strength. A change of section can feel more logical and expected, which you can also use to your advantage by doing something harmonically unexpected.

Progression Vs. Succession

First, we must define chord progression. Since there are two ways of placing chords side-by-side but only one term, “chord progression”, everyone calls both versions the same thing. Let’s call the second version, “chord succession”.

In a chord succession, none of the chords have a relationship to the others except that first one and then another is played in succession. Playing E5, D5, and C5 ala Iron Maiden is a good example. Since nothing is going on, there’s nothing to define. It’s not even clear if this is E minor or C major.

Chord progressions, by contrast, are so involved that books are written on them, so we’ll just cover the relevant basics. It is their nature to solidly define a key by concluding with V-I (the key’s fifth chord and first one). The chords of increasing tension precede the chord of no tension, which is therefore the ultimate resolution. Several other chords can precede V-I, such as the famous IV-V-I (D, E, A). This defines the key as A major, provides tension and resolution, and moves (or progresses) the song forward purely by harmony. Let’s use the IV-V-I progression for structure.

Song Structure

So what do I mean by structural chord progression? Let’s say your song has a verse, bridge, and chorus. We’ll decide our song, overall, is in A major despite any key changes within the song. To do a structural progression, we would write the verse in A major (I), the bridge in D major (IV), and the chorus in E major (V). After the chorus, we conclude the progression by returning to the verse in A major (I). See Example 1.

First

In this example, the indication (V/IV) means “V of IV”, and that A major is not only I in A major, but also acts as the V chord in D major, our next key. Simply by concluding our verse on an A major chord and starting the bridge on a D major chord, we go V-I into D major.

After the verse (I), we continue forward with the bridge (IV) and chorus (V) again (Example 2). At this point, we could either return to the verse music again, or go straight into a solo in A major, but that key is sort of expected at this point, isn’t it?

Second

Why don’t we do something unexpected, such as resolving to A minor (i) instead? It’s a nice surprise, a different tonality (being minor), and is also something we haven’t heard.

The technique can continue within a solo. To determine what keys to use, decide what section (and key) will come after the solo, then work backwards. In our example, the E major chorus comes after the solo, so it makes sense to end the solo in B major. B is V of E and makes E sound like home.

Solo

For this reason, at the coda in Example 3, we remain in E major instead of return to A major. By this point, E sounded like home anyway, and structural progressions have less strict requirements for completion.

What if our song has an introduction? This could be in A major, too, but let’s use E major to create a build up to the main music.

Intro

Here’s the final structure of our song and a recording thrown together to demonstrate it:

 

Randy_Ellefson_Progression

Caveats

Notice how the chorus has a succession in the first phrase (I-vi-I-IV), but because I slipped in the V chord right at the end before returning to the I chord, this became a progression.

To make structural progressions work, we must clearly define the key of each section. The only way is with a chord progression, for if I were to play all the white keys on a piano, the music could either be C major or A minor, or even modal. It must be definitive.

This raises the problem of using progressions constantly when they are all very similar, which is why people avoid them in favor of successions. Still, it is possible to ignore progressions and then slip in the V-I or vii-I motion at the end of a phrase. Either that, or do it at the start of a section and then avoid it, such as the entrance to the solo.

Since structural progressions are less strict, a song does not have to conclude with a finished progression, or even maintain them within a song. Two sections can be related by key when no others are. The song above ends in E major, the key of V, but still feels over.

Coda

This approach can improve your songwriting and make you think of new paths for song development. The effect is often subtle, almost psychological, and yet helps retain a grip on your listener, something every composer wants. This technique and others can be heard throughout the songs on my album, The Firebard.

Interval Riffs, Part 1: Basics

Many guitarists use chords for rhythm guitar without considering another option: intervals. While a chord is three (or more) notes, an interval is only two. This might seem a trivial difference, but using just part of a chord lets you play intervals for specific reasons, and using only two fingers creates other more advanced possibilities. […]

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Interval Riffs, Part 2: Ornamentation

In a previous article, Interval Riff Basics, we looked at and heard examples of using only two notes, or intervals, for rhythm guitar parts. The two main intervals are fifth and thirds, with the latter adding more variety and color to your riffs. Now we’ll look at ornamenting these two basic sounds with melody fragments. […]

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Interval Riffs, Part 3: Simple Counterpoint

Counterpoint is defined as two or more simultaneous melodies that maintain their independence while still forming a harmonic relationship. A single instrument like classical guitar can perform counterpoint with three or four lines seeming like a single part. However, rock guitarists seldom do this for a variety of reasons, but that doesn’t mean it can’t […]

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Structural Chord Progressions

A good way to make songs more powerful and structurally sound is to use chord progressions not only within sections, but also across them. This creates a harmonic relationship between sections and adds to the sense of forward motion, tension and resolution, and overall strength. A change of section can feel more logical and expected, […]

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Writing Guitar Licks

I always prefer to write a new guitar lick instead of using a standard one, but since anyone can throw in a bunch of notes that don’t sound good, how do you write something fast, impressive (they must always be that, of course), and musical? Through experience, I’ve developed an approach. To do this, you’ll […]

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Feb 212015
 

Sometimes musicians are asked to perform without being paid, whether live or on an album.  The request can come from a venue, other bands, or musicians, and can stipulate (or not) what they get instead. I can’t address every situation here but can give some perspective on what is okay and not okay to say and do.

Once Asked

MoneybagIf you’re asked, I recommend asking why they’re requesting that, not to put them on the defensive, but to avoid a misunderstanding.  You don’t want to end up resenting them because you’ve gotten it into your head that you’re being taken advantage of, for example.  It may help to understand their situation.  Maybe they’re already spending all they can on the album, for example, and will never recoup anyway, so they’re trying to mitigate losses, not maximize profits (for themselves at your expense)

When I Ask

If you’re asking someone, you may want to tell them upfront why you’re asking.  Here’s some of what I tell musicians:

  • I’m a solo artist and therefore pay all studio costs (rehearsal, recording, mixing, mastering), which is typically over $5000 per album
  • If this were a band with four equal members, I’d only have to pay $1250.  You’d be paying $1250, too.  Instead, you pay nothing.
  • I pay all manufacturing, distribution, and promotional costs (which can vary in cost but is typically thousands more).  You pay nothing.
  • So while you’re not being paid, you’re also not paying anything.
  • If I also had to pay each performer, let’s say $1000 to perform on all tracks, that would be an additional $3000, making the album cost over $10,000.  I simply can’t afford that.  I don’t recoup costs from sales because that’s very hard to do with instrumental music (or even other genres).  Here’s how it would look financially:
    • Each musician’s figure: plus $1000
    • Studios figures: plus thousands
    • Cover artist’s figure: plus $1000
    • Photographer’s figure: plus $300
    • My figure: minus $10,000

In other words, everyone profits but me. I need to mitigate my losses.  The musicians no longer profit up front but get to be on an album (assuming they want to be) without having to pay to be on it, and I lose less.  Personally, I feel that either me and that performer are doing each other a favor, or neither of us are.

To be honest, this is a great reason not to be a solo artist!

Once You Agree

If you agree to perform for free, you shouldn’t bring that up again for that project, whether it’s a show or an album. An agreement is an agreement.  In some places it’s a verbal contract. Asking to be paid, or complaining that you’re not being paid, is not only putting the other person in a terrible position, but is just not right.

Of great importance is that contributing your services for free does not mean being unprofessional or acquiring special privileges unless those were also agreed upon in advance.  For example, a singer who was very far behind on the recording schedule once resentfully told me he’d take as long as he damn well pleased to complete the project because “you aren’t paying me”.  He wasn’t around much longer.

Coda

It always pays to behave professionally and like an adult, even if you are neither. Money is a frequent subject bands can fight over, so being upfront about expectations and the reasons for everything will help you keep projects moving forward while not ruining your relationships with people.

Evaluating Artist Feedback, Part 1

Whether a musician, author, or other artist, we’ve all received feedback on our work.  Obtaining meaningful feedback is an art all its own.  Sometimes we have to work at it, deciphering comments to figure out what someone means, so I’ve written some observations about this, with examples. Defining Helpful Feedback First we should define what […]

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Evaluating Artist Feedback, Part 2

This is part two of the blog about evaluating feedback on your writing or other artistic pursuits. Read part 1 here. Biased Feedback A person giving negative feedback can be biased in some way. We can sometimes tell from their words. I have some examples here: A CD reviewer once slammed my instrumental guitar CD, […]

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Got Tendonitis? What To Do

Like most guitarists, I never thought I’d get tendonitis, not to mention several times. One side effect is that, since launching my music career, I’ve fielded hundreds of questions about it. These range from how to avoid it, diagnose it, get treatment (and from whom), do home therapy, and continue with playing – and more […]

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Music Degrees and Rock Guitarists, Part 1

Many guitar players learn music theory and consider a degree in music, but wonder what they will gain from a traditional four-year degree and whether it’s worth it. The answer isn’t the same for everyone, but here’s what I can tell you about prerequisites, what you’ll learn, what the experience is good for as a […]

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Music Degrees and Rock Guitarists, Part 2

Read Part 1 here. Earning a traditional four-year degree in music, and specifically classical guitar, can make guitarists better at rock music, but it usually takes some effort to transport what you’ve learned from the classical concert hall to the rock arena. The possible benefits to this education include:   Knowing how to write variations […]

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Musicians and the Etiquette of Not Being Paid

Sometimes musicians are asked to perform without being paid, whether live or on an album.  The request can come from a venue, other bands, or musicians, and can stipulate (or not) what they get instead. I can’t address every situation here but can give some perspective on what is okay and not okay to say […]

0 comments
Feb 212015
 

Many guitar players learn music theory and consider a degree in music, but wonder what they will gain from a traditional four-year degree and whether it’s worth it. The answer isn’t the same for everyone, but here’s what I can tell you about prerequisites, what you’ll learn, what the experience is good for as a rock player, classical player, and composer, and what you can do with the degree and knowledge after.

Since I did not attend schools like the Guitar Institute of Technology (GIT) or Berkelee, no comparison is being made here, but this does not reflect a bias.

My Background

My pre-college experience with rock guitar was typical in that I generally ignored theory. Even when taught to me, I had little use for it and quickly forgot it. Then I took some courses at the local junior college and found it interesting, but as a budding classical musician, not a rocker. It still seemed largely useless except modes and progressions.

After two years of classes, I finally succeeded in merging classical theory into my rock playing. This means embedding progressions, structural elements and key changes, theme and variation, and two and three-part writing (on a single guitar). It also made it much easier to write melodies and solos, and to achieve what I wanted. I was suddenly a much better guitarist and composer. Two years later I graduated with a Bachelors of Music in classical guitar, Magna Cum Laude.

Colleges: Junior Vs. Full
English: Music theory circle of fifths diagram

English: Music theory circle of fifths diagram (Photo credit: Wikipedia)

Junior (or two-year) colleges are a good alternative to full four-year universities, for several reasons. They cost less, for one, but such schools are full of people who aren’t sure if the path they are pursuing is right for them. This makes it easier to change your mind and major. You can change specialties within the music curriculum or drop music altogether with less red tape. You don’t even have to follow the curriculum in order and can pick and choose courses, such as pursuing music theory but not ear training. Of course, if you become serious later, you will have some making up to do, but at least you can explore without committing. At some schools, you can even take music courses without being a music major. An audition may not be required, either.

At a four-year university, music teachers generally assume you are preparing for a future as a professional musician. There is more pressure and strict adherence to requirements. The caliber of musicians around you will be higher, but don’t assume the other students know so much more than you. Many know little about chord theory, modes, key changes, musical form, counterpoint, music history, and orchestration. Sure, there’s always that “violinist since age three guy”, but many started as teenagers and are as casual about it as you. This won’t be true at Juilliard, but the average school has average musicians, too. Don’t be intimidated. Remember, the whole point is to get educated. If they already know so much, why would they be there?

Prerequisites for Admission to Music College

This changes depending on the college, but four-year schools generally require an audition on your instrument regardless of what your major is (guitar, composition, music education, etc.) because they still want to know how good a musician you are. This is a stumbling block for rock guitarists, since a frequent requirement is to play three classical guitar pieces, one from each of the romantic, classical, and modern eras. You can’t go in there and play “Eruption”. One way around this is to start at a junior college, where an audition is often not required.

There is no prerequisite for reading music, so you can still be admitted if you can’t read at all. You’ll learn to read fluently during the constant music theory exercises and classes such as chorus, ear training, and your private guitar lessons, which provide no escape from the treble and bass clefs. With time, your ability to manipulate pitches will soar astronomically as a result.

During guitar lessons, you may have to memorize the music phrase by phrase. I did this for a long time and only used sheet music as a reminder of where I was in the piece. Your teacher will not expect you to simply start playing music put in front of you, even after 4 years. It’s just not realistic for most, though you will get faster. Guitar music is more challenging because the same notes can be played in different places, so you generally have to figure out what chord you’re going to be holding at every moment (the music does not have chord charts on it), which is one reason your instructor exists. Remember, you are there to learn, not to pretend you already know.

No knowledge of music theory or even the genre is assumed, and schools generally teach you from the ground up, from what a major chord is to who Beethoven was and where he fits in history.

Typical Curriculum

It can be safely said that the music curriculum neatly divides itself into the first two years and the last two years. One reason for this is that there are typically two years (four semesters) of music theory and ear training, which are basic courses along with class piano. You also have your private lesson (guitar) and large ensemble (chorus). The last two years are the more interesting and complicated courses: counterpoint, musical form, conducting, music history, and orchestration (guitar and chorus continuing). These are not the same everywhere, so check with the school.

Deutsch:

Deutsch: (Photo credit: Wikipedia)

Music Theory is a general term that lumps together many subjects but is all the nuts and bolts of notes. It explains and demonstrates key signatures, time signatures, scales (and alternate versions called modes), intervals, chords, keys, modulation (key changes), music notation, and how to write simple two, three, and four-part harmony. It starts simple and continuously builds on its own knowledge. It is typically four semesters long and the first one can feel the most difficult not just because you’re starting, but because there’s more memorization and less practical “hands-on” application. In my experience, the second, third, and fourth semesters were more similar to each other, with increasingly complicated chords and key changes.

Ear Training and Sight Singing is the most feared course ever invented and goes on for four semesters. Welcome to your own personal “American Idol” experience. This course goes in parallel to music theory partly because as you learn about something in theory, you are now trained to recognize what it sounds like. The teacher will perform things on the piano, such as a scale, mode, interval, chord, melody, rhythm, or phrase of chords, and you’re expected to write down what it was accurately (after hearing it maybe three times). That’s the easy part. What frightens everyone is that you have to demonstrate that you know what a melody on paper sounds like by singing it from your desk while everyone listens. Don’t worry, you normally get to practice as much as two-dozen melodies outside of class. The saving grace here is that everyone is as petrified as you, and this is how freshmen music students bond. Misery loves company. To practice, it is advisable to work with a piano, which is one reason you’re taking class piano.

Class Piano is usually required because it’s expected that all music professionals will have at least a passing familiarity with how to play a piano. It can be one or two years. You are generally in a room full of other players, each with your own electric piano that you can’t hear unless you put on the headphones. You won’t be expected to play great piano music, but if you think that’s a relief, consider this: you’ll probably end up playing stuff like “Mary Had a Little Lamb” harmonized with a couple chords. If you find this as horrible as I did, you may opt for private piano lessons, which while harder on the hands, is kinder on your soul. You’ll need permission, however, and possibly an audition. You may also have to face a performance “jury” as described below.

Playing guitar

Playing guitar (Photo credit: hugochisholm)

Guitar is the heart of your degree, so you’ll have an hour-long private lesson with your classical guitar teacher for four years. You’ll learn technique, exercises, etudes, and representative pieces of the classical guitar repertoire from the 16th-century to today. It gets harder and more demanding as you progress. At the end of each semester, you’ll face a “jury”: three faculty members who have a list of what pieces and exercises you are prepared to play. For ten minutes, they can make you play anything off the list. There are other performance requirements, such as a solo junior recital (30 minutes), a solo senior recital (60 minutes), and a small ensemble performance (such as a four movements sonata with at least one other performer). One of the greatest advantages here is that you will learn the notes on the guitar neck, at least below the ninth fret, fluently.

Chorus (Large Ensemble): As a guitarist, for your large ensemble requirement, you will be thrown into the college chorus for four years because the orchestra doesn’t have a place for you. The college chorus is made up of voice majors, theater majors, and “the others”: people who either don’t play an orchestral instrument well enough to be in the orchestra, or whose instrument won’t be in the orchestra very often (such as a harpist or even piano majors). Through practice, it is relatively easy to sing even complicated music at the same time as a group. The voice teachers seldom single out “the others” to sing alone. They know who you are and have some mercy, but they do expect to see you trying and gradually succeeding.

Variacija1

Variacija1 (Photo credit: Wikipedia)

Counterpoint is two or more independent melodies and is often two different semesters: vocal or 16th-century counterpoint, which is different from instrumental or 18th-century counterpoint. You may only have to take the latter, which is more relevant. The four-part writing you did in music theory helped prepare you for this. There are rules for how the “voices” can move, and it gets harder as you reach three and four-part counterpoint. You will likely have to write things like a canon, invention, or fugue, though they only have to be technically correct, not musically enjoyable. Of great importance here is learning to spot variations on the theme through analysis of written music. If you’re a composer, seeing how the greats did this will greatly augment your ability to create more material out of your original idea. This is one of the most valuable things to gain from a music degree.

Musical Form explains the internal structure of all those things you’ve heard about: canon, fugue, sonata, symphony, and so on. These are larger scale structures that are made up of many smaller forms, all the way down to the phrase. Naturally, you start learning the simple ones and work your way up. These structures are defined by chord progressions, key changes, and variations. The elements of these structures can be used in rock music without the musical form itself, and can be extremely useful.

Conducting will give you an appreciation of the conductor’s job in training an orchestra to perform to his interpretation, but won’t help you much.

Music History is condensed into two semesters for an overview and frame of reference for everything you’re learning. You’ll listen to a lot of music so you understand what music of various periods sounds like. This is less technical, and on the level of personal enrichment, is possibly the most rewarding course. Now when you hear a snippet of classical music somewhere, you know it sounded like a Beethoven symphony, and what the significance of that music is, not to mention that if you wanted to hear the whole thing, you at least stand a prayer of finding a CD of it.

Orchestration will certainly challenge your reading ability. There are at least twelve staffs and three clefs, plus transposing instruments (the note on the page might say C, but it’s really a B flat). You’ll learn the instrument ranges and how to orchestrate for each group (strings, woodwinds, brass) and combine them. This may help not your rock music, except for seeing how material can be spread across multiple instruments, but will change the way you hear symphonies. You may have to orchestrate something and get to hear the school orchestra play it. You may even get to conduct it yourself.

A Better Rocker?
Music Theory Notes-e4

Music Theory Notes-e4

For a rock guitarist, there are so many benefits to a music degree that this section became a second article titled Music Degrees and Rock Guitarists, Part 2. This is a second major focal point aside from the content of a typical music degree. These benefits in the next article include:

  •   Knowing how to write variations
  •   Effective use of keys
  •   Writing multiple parts, including dual leads and harmony more easily
  •   More sophisticated arranging of guitar parts
  •   Being able to create much more emotional, complicated, or sophisticated music
  •   Significantly easier writing of lead guitar that is more melodic and does what you want it to
After College

Some think that the only point of a degree it to later get a job, especially in that field. While this is true in the practical sense, you are an artist, too, and if you never hold a music related day job again, you can still benefit enormously from your training. How many other fields can claim that?

Still, possible jobs include composing, arranging (orchestration), performing paid gigs (such as weddings), and teaching private lessons. To teach at any formal institution such as high school or college, you’ll need a music education degree instead of a classical guitar one. If you want to teach college level courses, you’ll need a master’s degree and probably a doctorate, but positions are rare due to the tenure of existing music professors. Many working musicians hold multiple jobs and have little job security, so if this isn’t for you, what then?

That’s where working in another field comes in, a prospect that leads many to snidely claim a music degree is useless, but this is nonsense. For starters, a degree is a degree. You’ve still proven to prospective employers that you’re mature enough to see it through. Don’t discount this. It’s important. Do you think people go to college just to have specified knowledge? They don’t. Many people change careers several times throughout their lives and don’t have a degree in the field in which they are now working. The fact that you’ve got a degree can be actually more important than what the degree is in, and if nothing else in college appeals to you, a music degree is far better than no degree at all.

Coda

People like to make fun of music degrees, but at the risk of being ridiculed, I’m very proud of my degree, my experience, my musical knowledge, my understanding of a truly specialized field that few understand (which makes me feel quite privileged and lucky), and most importantly, that I am able to do one of my most cherished things in my life so much better than before. I was always surprised when other music students complained about their music classes when I took more music courses than required. Maybe I’m just a geek (yes, I did do the extra credit stuff), but I thought the details of music were fascinating. I had always been an average student, but my love of music made me graduate with honors. And yes, it is an honor, one that I wear on my sleeve, thank you very much.

Be sure to read Music Degrees and Rock Guitarists, Part 2.

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Evaluating Artist Feedback, Part 2

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Music Degrees and Rock Guitarists, Part 1

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Music Degrees and Rock Guitarists, Part 2

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Musicians and the Etiquette of Not Being Paid

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