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Okay, so I saw this thread being ignored...there were lurkers who had looked at it but noone had responded.....so I took a shot. I figured that someone would join in and fully explain the thing.
I am not the most studied member here regarding theory, but my ear works. I knew the song had to be in the key of A....if it was anything in the mainstream of American music thought and practice. If the song were written in musical staff, the chord would show an accidental,right? The analysis of why we might choose to write that accidental in there (or simply play the chord in that context if we don't 'write' music in formal staff notation)and utilize the chord is another ballgame, in a way. You don't have to analyze to play, but you do have to 'hear' it. The analysis is just the description of the 'why' for what we do musically. IT may not be necessary to some of us, but it is enriching in many ways.
I learned somethings....modal interchange, modal borrowing, bVII....that will be useful for me. JOe-Bob and I probably would just play the song and know that it worked. ACademic approaches to things go further in the quest for explanation and analysis....the whys, wheres, hows, etc. of musical developement. That must be what JOE Bob finds a bit disconcerting. I don't find it to be a case of 'over thinking'. IT is simply fully developed understanding....way beyond just playing it... to fully understanding how our music has developed. These academic understandings of what people have created with our ears and the instruments through which we communicate may not be necessary, but they can be enriching to those who need or want to understand things on that level.
Therefore, as Klasaine, notes, we on the TDPRI have a 'Tips, THeory, and Technique Forum' where we can share and learn concerning this aspect of music. I appreciate this forum and these discussions.
Thanks to me fellow members for helping me understand and communicate better musically.
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