[Dixielandjazz] Music theory---square one

[Ken Gates]

Listmates---
I'm the guy who posed the original question that started this thread.  The original
question was---(shortened)---"Can someone name an example of an aspect of
music theory that enabled playing skill to a higher level?".

The question was NOT-- Is knowing music theory valuable or necessary?
NOR --- What are beginning steps in learning to improvise?

Here is why I asked.  A few years ago I acquired a clarinet---just to see  if I
could make music.  So---self taught--by trial and error---I suppose much like the
early pioneers in early 20th century-- my ear has brought me to a certain skill level.
Yes, I can improvise something listenable---as long as the tune is not too complicated
and the tempo not at breakneck tempo.  So far so good.

Then I began to acquire chord sheets so that I can jam with some guitar playing friends.
I then began to learn sometiing about chords.  So I've learned how to construct any
chord on a keyboard by using the numbering system.  Then I got curious as to what
are slash chords, why the notes of a Fm6 chord are the same as a Dm7b5---is there
a reason to name it differently?  And more important---something about the sequence
of chords and why certain chords usually follow certain chords. All this is in very
elementary theory books.

I realized that maybe a little of this knowledge was causing some slight improvement in
 level of playing skill, but couldn't really identify what it was. (I now think it had to do 
with
ear training while playing the chords on the keyboard.).  I learned some more--
"Harmony & Theory"---by Wyatt & Schroeder---very interesting stuff---but, of course,
elementary compared to what will be learned to earn a degree at Berklee (or name your
favorite school).

Although my musical goals are modest, I would like to play better.  Realizing that my innate
ability has reached it's limit, I look to those of musical knowledge for advice.  From books,
internet, talking to musicians, and asking questions of the knowledge and opinions of DJML.

I have received quite a number of responses from list mates of the original question.  Some
months ago, from a different question, I received several valuable emails from Paul
Edgerton concerning guide tones.  This was VERY helpful.  It provided a different way of
listening to music and hearing the guide tones---as a starting point for a series of
improvised notes.  This enabled a better chance of playing something worthwhile on tunes
with more complicated chord structures.

So here we are with some differing opinions as to what does music theory include and is it
important?  Well and good---there will always be different takes on this.  Meanwhile,  I
hopefully learn something here and there that helps the climb to a higher plateau.

Thanks for listening--

Ken Gates