Notes

The element of "notes" is the primary focus of conventional music theory. In The Music Lesson, Victor's character describes "music theory" as "note theory".

Since so much has already been said about notes, it doesn't make sense to replicate that here. It makes more sense to encourage people to study music/note theory, and to offer suggestions to get beyond theory and explore the concept of groove.

My favorite book on theory is Harmony and Theory as published by The Musicians Institute. I also like Writing Hit Songs by Jai Josefs. The title strikes me as corny, but the content is very good.

Having a good foundation in note theory is important. Many people think that learning theory will interfere with their creativity. I've only experienced the opposite. There is no reason a musician can't be both very creative and very knowledgeable. As a minimum, be sure you have a good understanding of major diatonic harmony. Major diatonic harmony is very foundational, and very easy to learn. It's too useful and simple to not know. You should know how to build triads and seventh chords that are harmonized with any degree of the major scale. TODO: Find a decent source in the internet

By now, hopefully the idea of learning theory makes sense. Victor likes to point out to bass players that even after studying theory, we still have problems grooving.

I think of groove is a feeling of "rightness", where everything fits together. A big element of groove is time and rhythm, but groove goes deeper into the other elements of music. Some people define groove as "a feeling that makes your body want to move". That's not a bad definition, but to me it is somewhat superficial, since it depends on the listener's personal preferences.

Victor stresses that you feel the groove of the song before you place your hands on the instrument. That way you know that the first note you are going to play is going to groove, whether it is in key or not.

Here are some exercises to get beyond "note theory" and work on "groove theory"

Ex1 - Chromatic Scale

This exercise helps to tune your ear to the tension and release achieved by playing and changing various tones. By using the chromatic scale, you open up the possibility of using notes outside of diatonic harmony. You ain't gotta use perfect English to make a point. Likewise, you can play "wrong" notes to create a mood or convey emotion.

Approach

Lay down a track to outline a one-chord groove in a particular key. Use a major 7, dominate 7 or minor 7 chord. Play a chromatic scale over the groove. First, pay attention to how each note makes you feel, then think about how that note relates to the underlying chord structure. Finally, think about how changing to the next note makes you feel. Does it feel like it creates or releases tension? The chord tones should have the greatest feeling of releasing tension. Notes on either side of the chord tones (other than major7 to root) have the greatest feeling of creating tension. Note that 1/2 step up or down from any out-of-key note is an in-key note. Have fun, and make the chromatic scale a groove.

Tips and Warnings

Take it slow. The goal is not to make great music, but to open your ears to the possibilities created by playing outside of harmony.

Make it groove. Go back and forth between notes, especially if it sounds wrong to your ears. Note how the notes sound less wrong as they repeat. This is called "massaging the notes".

Next Steps

Repeat this exercise over major 7, minor 7, dominate 7, and minor 7 b5 chords. Note how different intervals work against different chords.

Ex2 - Note Minimalization

This exercise gets you away the idea that you have to play every note in a particular scale or key. Even when trying to be free from the idea of "right" notes, we can still get tripped up on thinking we have to play every note.

Approach

Solo over a groove or drum track. Limit yourself to 2 - 5 notes, or even just one note. Explore the possibilities offered by 2-10 (i.e. dynamics, space, articulation, tone, phrasing, rhythm, etc.). As an example, limit yourself to the root, 2nd, and 3rd of the key. As you progress, add or remove notes as you please, but keep the total number of notes minimalized.

Ex3 - Sound Check

This is a sneaky way to get in some groove practice. Life is busy, so we need to take the opportunity where we can. This exercise assumes you are gigging regularly, so much of your playing time is consumed by running your repertoire, so there is not a lot of opportunity for spontaneous playing.

Approach

Be the first to the gig and be ready to set up quickly. As the other guys are setting up and checking their gear, listen to what they are doing and try to groove with them. You can also groove with the Jukebox if there is one playing.

Tips and Warnings

The other guys are probably not thinking groove, so they probably won't stick with an idea for long.

You may annoy other people.