I'm 26, I've been learning to play the piano for the last 4 years and I've just reached Grade 5, I can competently sight read, and I know all the major and minor scales and all the basic chords.
I can pick up a new piece fairly-quickly.

I'm also about to take Grade 5 theory and I predict I'll do pretty well in it.

I've put a lot of effort into this and all I am is frustrated.

I started learning the piano to benefit my music writing on computer. Going back to some of my earlier works where I wrote entirely by ear, they were so much more musical/emotional than the garbage I'm writing now. I've got WORSE.

I feel tied down to the scales now that I know them, where as before I was inadvertently dipping in and out of everything without realising and was so much better for it.

I don't understand what makes music sound the way it does or even how to write an effective melody. I feel nothing but blank when I sit down at a piano, and I see lesser students put a few chords in order and it sounds magic. I feel so dumb about the whole thing, like there isn't any music in me at all.

I know it's hyper advanced - but I went to see a Frank Zappa concert last night, that just blew me away - it was like they can use every note available, and still make it sound good.

I'm fed up of feeling musically empty and I need some guidance, an area to study that will help me get my head back into messing about musically.

Anything is appreciated.

Do you study scores of music you like?

Well, I get a few music books of bands I like sometimes at Christmas/Birthday or I buy them - I learn a few from each.

But it makes it even more frustrating that the simplicity of some songs is boggling, and why can't I make something simple and effective!

Without being mean, if you're trying to write a composition using only the limited compositional skills you have aquired by G5 theory, then they are going to be a lot less exciting than the compositions in which you are not restricted and are using purely musical initiative. G5 theory is a drop in the ocean compared to the vast possibilities of harmony/melody available. Even to a strictly tonal composer. There are so many different compositional techniques you probably are not familiar with eg voice leading/doubling, chromatically altered chords, suspensions etc.
I'm sure you write wonderful music but as I say: by sticking to G5 theory you are limiting yourself.
Does this make sense?

No, I fully understand and agree. I intend to go all the way!! I just feel a bit let down by what I have accomplished thus far. Any tips on areas to study and practice would be much appreciated.

Try analysing a piece of music you love and work out the chord progression - in terms of I - IV - iv or whatever - then try to compose something using the same progression.

Yes that's what I would suggest. I've got my grade 8 theory and I'm still amazed by some of the things composers manage with harmony.

Yes, I too suspect this is limiting you. This may be a simplistic suggestion but a lot of pop music is written around modes - you could have a go at identifying modes and using them in your compositions as well.

I'm wondering whether (when I get into doing "proper" composition) I'll just get stuck with the rules as I learn more. At the moment I just tend to pick random notes/chords and try to progress through them and form some sort of tune out of it which is more fun than following rules

Don't be 'fed up' , and don't be a slave to scales. They're useful and at one time or another every half decent pianist has had to go through them. However why don't you get WTC Bks 1 & 2 and start playing these instead of scales. They're progressive, in all the major/minor keys, contain lots of scales and arpeggios but in a 'tuneful' pleasing fashion and will improve you're overall pianistic skills and playability no end. I play at least two or three at random every morning and half a dozen in the evening before I get stuck into Beethoven/Chopin and the likes. For starters listen to Angela Hewitt's recordings, IMO , the best performer and performance in recent times and the benchmark for all budding Bach WTC " trainees"

Sorry to intrude but I must be looking in the wrong place if these are tuneful.....(came to a mutual decision with my teacher not to carry on trying to fight my way through)

Theory is just that and no more - music is sound and that is what we enjoy.
Carry on writing what you want to hear and only use theory when you feel that you've got yourself into a part of the composition from which you can't seem to proceed without better understanding or knowledge,
Remember: neither Beethoven nor the Beatles wrote anything 'in theory' - they got on and wrote something real and practical.
But in the meantime, continue your studies and gather information about passing notes, modulations and anything else that will extend (and not inhibit ) your ear

Theory is just that and no more - music is sound and that is what we enjoy.
Carry on writing what you want to hear and only use theory when you feel that you've got yourself into a part of the composition from which you can't seem to proceed without better understanding or knowledge,
Remember: neither Beethoven nor the Beatles wrote anything 'in theory' - they got on and wrote something real and practical.
But in the meantime, continue your studies and gather information about passing notes, modulations and anything else that will extend (and not inhibit ) your ear

So many inspiring replies.



It's nice to have fellow autodidactic support. Thanks everyone, I will continue the long climb towards 'adequate'.

lol

Studying harmony and counterpoint give one a vocabulary to understand those aspects of the music that you like. I did quite a lot of composition "within a style" and to a specification as part of my study of composition, in both cases trying to emulate the methods of established composers. When you have some idea of how they did it you can work out more easily how to use the same effects, or avoid them

I couldn't agree more.