Do you need to know theory to arrange?

Someone recently sent me an article from Daniel Deutsch that discusses how to teach composing and improvisation.  I can’t find a copy online so I can’t link to it, but it was published in Georgia Music News in the Spring 2010.

I liked the article a lot for several reasons.  For example, the very fact that Deutsch considers these skills to be important is commendable.  In general, younger students do not get taught composing/improvisation.  If they do, it is a very small part of their musical education, which is rather inevitably mostly focused on reproducing classical music.

Deutsch says that every music student can compose if put in the right environment.  I don’t have reams of data to back me up, but I would tend to agree.  Musicians don’t compose because they have never been taught to and/or they have never been in an environment where it is encouraged.

I want to focus on an area of interest.  He says “theory may not be the best starting place for creative composition” and “a more authentic approach begins with idea, emotion, and meaning.”

You could read the whole article to get an idea of where he is coming from here and I see his point.  Especially with young children, oppressive rules (theory) can get in the way of creativity.  And let’s face it; if no one breaks the rules, we can’t progress.  Show me a great composer and I will show you a rule breaker.

But I don’t think Deutsch is saying that theory is unimportant.  He is just saying not to dump it on children too fast and turn them off to the idea of composing.

Especially in today’s society, I think we need to avoid the trap of devaluing theory.  I get tired of everything being blamed on postmodernism, but I think there is a danger of postmodern thinking in this area.

Here is what I mean.  Theory is essentially a rulebook to follow.  It is the technical side of music.  It is not necessarily easy to learn and takes a lot of effort.

We have too many musicians writing music today that know nothing about the technical side of music.  They actually disdain that side of music.  Watch those singing competitions on TV and you will see their attitude.  When told that their music is not so great, they respond with “that’s just your opinion” as if their own ignorant opinion is worth as much as the opinion of a successful music producer with 20 years experience.

Here is a personal confession.  When I don’t understand something, I have a tendency to try to devalue it or reject it.  For example, if I read an article that is over my head, I might try to convince myself that the author is detached from reality, too smart for her own good, etc.

I am hardly alone. That is the way humans are.  Because of that truth, I would guess that the top reason musicians reject theory is because they don’t understand it and have convinced themselves that they don’t need to know it.  They continue to compose at a level far below their potential.

Don’t fall into that trap.  Even if you compose/improvise well today without a good working knowledge of theory, you would be far better if you knew theory.

Recently, I read an intriguing book about the builders of cathedrals in Europe during the 1200’s.  I was struck by many things.  The builders may not have known what we know today about load-bearing walls, but they nevertheless built masterpieces that are still standing.  Those builders had to know the technical side of building.  On the other hand, the cathedrals are absolutely stunning. Those builders were artists as well.

As time went on, more and more, there was a conflict between the artistic side of building and the technical side.  For example, thin walls with lots of windows are attractive but early builders did not understand how you could make cathedrals hundreds of feet high with thin walls.  The rulebook told them that a building of a certain height needed walls of a certain width.

Eventually, builders began breaking the rules and discovering how a tall cathedral could still have thin walls and lots of windows.  But you can be assured that those builders were not ignorant of the old rules of building.  They just improved and added to the rules.

Music is the same way.  We need rules (theory) to tell us what we can do but we cannot let the rules stifle creativity.  I don’t think that has to happen. With the right mindset, theory is not constraining; it is liberating.  Understanding theory well helps you know what will work.  It gives you tools that you might not have thought of on your own.  Eventually, as you play inside the sandbox, you start meandering a bit outside the sandbox.  That is perfectly fine.

So, if you are trying to teach children to compose, perhaps the first step should not be teaching them advanced theory. But if you are serious about teaching composing, theory has to come into play sooner rather than later. 

That is not to say that you always have to follow the rules of theory.  That is unhealthy too.  Break all the rules you want.  Just know which rules you are breaking.