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Gospel Instruments => Bass Guitar => Topic started by: thomas1168 on July 25, 2006, 07:58:36 PM
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Now we will learn about "key construction". Key construction in its most basic sense is simply to give a name to each one of the chromatics in any chosen key. Since there are twelve chromatics there will be twelve steps in key construction. These twelve steps must be memorized in order, and again there is no way around this. If you look closely at them, you will see a pattern in their order, and this makes them fairly easy to remember.
*note : if you do not know what an "interval" is, refer to the glossary for a definition of the term.
What we have here is a collection of intervals, each with their own name. Every chromatic note in the key we are in will have its own name as well as some type of designation as to what kind of note it is. You'll see that we have some major notes, some minor notes, two are called perfects, and we have one called diminished. The perfect 4th and the perfect 5th ARE major intervals.
The twelve intervals in key construction are as follows :
Root
Minor 2nd
Major 2nd
Minor 3rd
Major 3rd
Perfect 4th
Diminished 5th
Perfect 5th
Minor 6th
Major 6th
Minor 7th
Major 7th
Root (octave)
Once you have learned and memorized these twelve intervals in order we can look at what this means. The twelve steps of key construction will help us name any note in an octave that we may be talking about, and will show us where the Ionian mode (major scale) comes from.
In this lesson we will start to learn about the standard modes. These are the seven note scales that we learned and memorized the names of in a previous lesson. If you have not already completed the lessons preceding this one, you should do so before going into this lesson.
First, we will learn the mode called "ionian". This scale is very widely known as the "major scale". Most people already know a mode and they don't even know it, but if you have ever been taught or have heard the "do, re, mi, fa, so, la, ti, do" scale that they teach in most grade schools, then you have a head start.
The "Do, Re, Mi, Fa, So, La, Ti, Do" thing that you have probably heard in the past is actually the ionian mode. Notice it is a seven note scale, and if you are familiar with it, that it has a certain sound. This is a "major" scale and has the "major" sound. Very bright, happy, upbeat, sweet sounding, just the kind of scale you would want to use to write a pretty love song or a children's song. If that's not what you want to write, keep reading because this must be learned just the same.
Now, lets find out where this ionain mode comes from. You do remember your twelve steps of key construction right ? We can find the major scale (ionian mode) simply by using all of the "major intervals". This means that for whatever key we are in, if we use the root, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, major 7th and then root again, we will get the ionian mode (the major scale). I will show a diagram here to show you.
Finding The Ionian Mode Using Key Construction :
Key Construction____________Major Intervals_________Ionian Mode
1. Root ~~~~~~~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~~> DO
2. Minor 2nd
3. Major 2nd ~~~~~~~~~~~~~~~~~~~> Major 2nd ~~~~~~~~~~~> RE
4. Minor 3rd
5. Major 3rd ~~~~~~~~~~~~~~~~~~~> Major 3rd ~~~~~~~~~~~~> MI
6. Perfect 4th ~~~~~~~~~~~~~~~~~~> Perfect 4th ~~~~~~~~~~~> FA
7. Diminished 5th
8. Perfect 5th ~~~~~~~~~~~~~~~~~~> Perfect 5th ~~~~~~~~~~~> SO
9. Minor 6th
10. Major 6th ~~~~~~~~~~~~~~~~~~~> Major 6th ~~~~~~~~~~~> LA
11. Minor 7th
12. Major 7th ~~~~~~~~~~~~~~~~~~~> Major 7th ~~~~~~~~~~~> TI
1. Root (octave) ~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~> DO
Notice that this shows us a pattern of intervals to arrive at the major scale or ionian mode. From the root to the major second was a "whole-step". Then we made another whole step to get to the major 3rd. But, from the major 3rd to the perfect 4th there was only a "half-step". If you follow this pattern you will see that to get the ionian scale or mode in any key, you would just apply the proper order of whole and half steps.
The order of intervals (steps) go like this :
Whole, Whole, Half, Whole, Whole, Whole, Half
*note : this is very important and must be learned
If you start on ANY note and move forward following this pattern of intervals, you will find the "ionian mode" (or the major scale) in your chosen key (the note you started on).
In the next lesson we will discuss more about this and actually try a few examples to show you how it works.
Now we are going to use what we learned in the previous lesson and find the ionian mode in any key we choose. If you did not complete the previous lesson then turn around and go there. This one will not do you any good unless you have already learned and memorized the previous lesson.
The first thing we will need to do is to choose a key for our scale. For simplicity in the first example we will use the key of A. So we are going to go ahead and write down all of the chromatics in the key of A. This means we will write out all 12 notes starting with A all the way to the next A.
A, A#, B, C, C#, D, D#, E, F, F#, G, G#, A
Now that we have our chromatics in the key of A, we will extract all of the major intervals from "key construction".
Finding The Ionian Mode Using Key Construction :
Chromatics____________Major Intervals_________Ionian Mode (key of A)
1. A ~~~~~~~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~~> A
2. A#
3. B ~~~~~~~~~~~~~~~~~~~> Major 2nd ~~~~~~~~~~~~~> B
4. C
5. C# ~~~~~~~~~~~~~~~~~~> Major 3rd ~~~~~~~~~~~~~> C#
6. D ~~~~~~~~~~~~~~~~~~~> Perfect 4th ~~~~~~~~~~~~> D
7. D#
8. E ~~~~~~~~~~~~~~~~~~~> Perfect 5th ~~~~~~~~~~~~> E
9. F
10. F# ~~~~~~~~~~~~~~~~~~> Major 6th ~~~~~~~~~~~~> F#
11. G
12. G# ~~~~~~~~~~~~~~~~~~> Major 7th ~~~~~~~~~~~~> G#
1. A (octave) ~~~~~~~~~~~~~~~> Root ~~~~~~~~~~~~~~> A
What we did here was to use all of the major intervals from key construction and applied them to an actual set of chromatics (key of A in this case). We could have used the chromatics in any key and this would still work the same. If our chromatics started with F and went to the next F at octave, the same intervals would have given us all the right notes for F ionian (major).
Again, since these are the steps key construction tells us we have to use to arrive at all the major intervals, we found this scale using this interval formula :
Whole, Whole, Half, Whole, Whole, Whole, Half
So by simply taking the chromatics in any key you choose and applying the W,W,H,W,W,W,H intervals you can find the major scale in any key. I would like you to try some on your own now and see how you do. I will give you the answers to a couple of them so that you can check your work. If you get both of these two correct on your own then your are doing it correctly and should be able to find all 12 without trouble.
F# ionian F#, G#, A#, B, C#, D#, F, F#
C ionian C, D, E, F, G, A, B, C
Once you have figured all this out we can go on to learning about the other modes. Make sure that you understand this and can find the scale successfully in any key. Check yourself by comparing your answers to the two I have posted above. Since there are only twelve different notes in all, there are only 12 possible ionian scales you could find. You should have no problem finding all of them using this technique.
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HOPE THIS IS HELPING SOME OF YOU I HAVE BEEN STUDING FOR YEARS AND STILL GO OVER THIS ON A REGULAR BASSIS
AND PLEASE VISIT DWBASS
HE POST SOME REALLY GREAT THINGS TO PRACTICE THESE ARE ALLL STYLE YOU WILL NEED TO HAVE UNDER YOUR THUMB TH BE A ACOMPLISHED BASS PLAYER
THOMAS
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Thank you Thomas!... I see you are a true musician and a teacher. Keep bringing I am listening and learning...
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Ok next lesson READY
NOTE : YOU CAN LEARN EVERY FUNKY VICTOR , MARCUS JACO ECT. BASS LINE OUT THERE AND STILL WANDER WHY AM I NOT PROGRESSING TO THAT NEXT LEVEL. YOU WILL TEAR UP MARCUS AND THEN YOU WILL BE AT CHURCH AND THE MINISTER OF MUSIC WILL SAY OK THIS IS SOMTHING OF MINE PLAY A Eb PENTITONIC SCALE AND YOUR (OR I WAS) COMPLETELY LOST OF COURSE I PICKED IT UP AFTER HE SHOWED ME BUT I QUICKLY RELILIZED THAT ALL I WAS DOING ON THE BASS IS BEING A PARROT ONLY PLAYING WHAT I HEAR OTHERS PLAY AND IF I DID NOT HEAR A LINE SOMEONE ALREADY CREATED I WAS LOST
SO AFTER I REALLY LEARNED ABOUT MUSIC I COULD UNDERSTAND THE TOTAL CONSTRUCTION OF A BASS LINE OF MUSIC PERIOD
I HAVE BEEN IN THIS POSITION MYSELF SO TO YOU BEGINNERS PLEASE LISTEN TO SOMETHING THAT I HAVE STRUGGLED THROUGH.
SCALES MODES AND TRIADS ARE ESSENTIAL IF YOU PLAN ON BEING A REAL PLAYER EXAMPLE LISTEN TO DWBASS HE HAS PROVIDED EXAMPLES OF ALOT OF DIFFERENT STYLES OF PLAYING AND YOU CAN HEAR THE KNOWLEDGE IN HIS PLAYING
ALSO UNDERSTAND BECAUSE YOU LEARN ALL OF YOUR SCALES ALL OF A SUDDEN YOU WILL BE THIS AWSOME PLAYER OF COURSE NOT
PLAY THEM IN 3 OCTAVES UP AND DOWN THE NECK
MAKE THE MUSICAL ALMOST LIKE A SOLO BUT AT FIRST DO NOT DEVIATE FROM THE SCALE OR MODE YOU ARE IN
I CALL THIS THE GEORGE BENSON EXERCISE
SING / HUM OR LIKE I EXPLAINED IN THE LESSON USE DO RE ME
THIS IS VERY VERY VERY IMPORTANT
SING YOUR SACLES UP AND DOWN THE NECK OUT LOUD I DID NOT LIKE IT AT FIRST MYSELF BUT MAN AFTER A COUPLE YEARS OF PRACTICE YOU WILL BE A HOME IN THE CAR ECT AND THINKING OF SOMETHING MUSICAL HUM IT TO YOURSELF AND WITH OUT EVEN TOUCHING THAT BASS YOU KNOW WHAT KEY YOUR IN MODE YOUR IN
NOW IF THIS NOT YOUR THING THEN GOOD LUCK KEEP PLAYIN
THOMAS
OK ENOUGH HERE WE GO
Now that you know where the ionian mode comes from and how to find it, we can go on and learn about the rest of the modes. There are seven of them all together, one mode for each of the seven notes in ionian. Their names must be memorized in the proper order.
The seven modes are :
1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian
7. Locrian
All seven modes are actually right inside of Ionian because after all, they are only different modes of that one scale. We will learn about the six other modes together by comparing them to Ionian.
have already mentioned that the other six modes are right there inside Ionian, so you may be wondering where. We have already learned that the "doe, re, mi, fa, so, la, ti, doe" thing you learned in grade school was the ionian mode. In this scale using our fictional key of "DOE", the root note or key would be "DOE". So we could call this "DOE Ionian", as it would be the Ionian scale in the key of "DOE".
"Doe Ionian"
Doe, Re, Mi, Fa, So, La, Ti, Doe
As long as this scale is in the key of "doe" it will be ionian (or the major scale). This is because we know the intervals between these notes are W,W,H,W,W,W,H. And anytime we use those intervals in that order we will get the ionian mode, regardless of what key we are in (even if its a made up key like this one).
But what happens if we use all the same notes but start with the "Re" note and end with the next "Re" note ?
Now our scale would be :
re, mi, fa, so, la, ti, do, re
This would be a completely different scale and we would call it "Re Dorian".
Now you may be asking yourself "if we are using all the same notes as before, why isn't it "re ionian" ?". I will answer that question. Lets think about the intervals that it took to get the sound of the Ionian scale. If the notes are all still the same, then so are their intervals of W,W,H,W,W,W,H. The only problem is that if we are starting on the second note, the intervals are now W,H,W,W,W,H,W.
By starting at the second note we are changing the key of our scale to "Re", and the intervals between the notes will be different. If the intervals are different it will no longer sound like the major scale because it isn't. It is now "Re Dorian". Remember, music notes just go around and around repeating themselves every octave. What makes different scales sound different is their intervals, the space between the notes.
So if we start and stop playing at a different place, the intervals between the notes are now different, and thus we have a different scale. This will become clearer and be more thoroughly explained in coming lessons.
So the 7 modes of this scale would be :
"Do" Ionian
"Re" Dorian
"Mi" Phrygian
"Fa" Lydian
"So" Mixolydian
"La" Aeolian
"Ti" Locrian
If all of these notes are played using the E as your root note, then you will be playing E Aeolian.
As we talked about in the previous lesson, every modal scale you play actually contains seven different scales in seven different keys. Notice how the first note of Ionian falls on the G note. That would make that position G Ionian, and if you played all of the same notes for E Aeolian but used the G note as the root, the whole entire thing would become G Ionian. So what we have here is E Aeolian and six other modes that fall into different keys.
So E Aeolian actually includes these seven scales in thier respective keys :
1. E Aeolian
2. F# Locrian
3. G Ionian
4. A Dorian
5. B Phrygian
6. C Lydian
7. D Mixolydian
I WILL POST THE LAYOUT TODAY OF THE FRET BOARD A JPEG THIS WILL BBE POSTED AS A 6 STRING SO 4 5 AND 6 STRING PLAYERS CAN DOWNLOAD IT
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I agree. I know my scales, modes... However, at a point I was stuck, my fingers knew were to go and ears were in left field. Started out saying and singing the notes aloud ---stopped! Now, I am back to it. Thank you for your passion.
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thanks for the knowledge you're spitting, thomas .... a nice refresher ...
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I WILL POST THE LAYOUT TODAY OF THE FRET BOARD A JPEG THIS WILL BBE POSTED AS A 6 STRING SO 4 5 AND 6 STRING PLAYERS CAN DOWNLOAD IT
sits patiently waiting...
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Alright Thomas couldn't upload these so I did it for him...
Thomas - you'll probably want to explain these as well...
E AOLIAN
(http://img150.imageshack.us/img150/5817/eaeolianwq4.jpg)
MODE1
(http://img224.imageshack.us/img224/804/mode1hy0.jpg)
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What's Up
Thanks man this is some good stuff, I'm in the intermediate stage of my playing and trying to take in all I can get. I still have to try and work my way through some of this info so I may have some questions later. However I'm trying to educate myself on the circle of fifths so any info on that subject will be greatly appreciated.
Thanks God Bless
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THANKS FRET THERE ARE 12 MORE TO POST I WILL SEND THEM TO YOU THANKS AGAIN
Ok, I know some of you have been waiting for this one so here it is. On this page THE POST ABOVE BY FRET , you'll see all of the modes as you would play them on your guitar to make up a certain key.
I am going to show all of the modes in the key of E Aeolian first since it is a popular scale for blues, rock, and many other styles of music. I am not going to explain how the diagrams work here as you should understand them by the time you get to this lesson. If you do not understand the diagrams, there is a lesson on them in the first section.
So without further delay, here is the complete key of E Aeolian :
note : this is very important and must be learned
If you start on ANY note and move forward following this pattern of intervals, you will find the "ionian mode" (or the major scale) in your chosen key (the note you started on).
all of these notes are played using the E as your root note, then you will be playing E Aeolian.
As we talked about in the previous lesson, every modal scale you play actually contains seven different scales in seven different keys. Notice how the first note of Ionian falls on the G note. That would make that position G Ionian, and if you played all of the same notes for E Aeolian but used the G note as the root, the whole entire thing would become G Ionian. So what we have here is E Aeolian and six other modes that fall into different keys.
So E Aeolian actually includes these seven scales in thier respective keys :
1. E Aeolian
2. F# Locrian
3. G Ionian
4. A Dorian
5. B Phrygian
6. C Lydian
7. D MixolydiaN
THE LETTER REPRSENT THE MODE IN THE KEY OF E
A=AEOLIAN
I = IONIAN ECT.
AS IN MODE 1 EXAMP Notice the optional notes, you must choose one or the other. The notes with the dots in them are NOT the root notes, but rather "optional" notes. There are two in each position and they are the exact same note, so you must choose the one that is more comfortable for you and not
The 7 modal formulas will show us how the other scales relate to ionian. We will start off by assuming that ionian is :
1 2 3 4 5 6 7 1
One letter for each of the seven notes. By assuming this information, we can now label the other scales and have something to relate it to. I will explain further below.
The 7 modal formulas are :
IONIAN - 0 sharps, 0 flats 1 2 3 4 5 6 7 1
DORIAN - 2 flats 1 2 b3 4 5 6 b7 1
PHRYGIAN - 4 flats 1 b2 b3 4 5 b6 b7 1
LYDIAN - 1 sharp 1 2 3 #4 5 6 7 1
MIXOLYDIAN - 1 flat 1 2 3 4 5 6 b7 1
AEOLIAN - 3 flats 1 2 b3 4 5 b6 b7 1
LOCRIAN - 5 flats 1 b2 b3 4 b5 b6 b7 1
What this means is that to get dorian (which has two flats) you would take ionian and just flat the 3rd and 7th notes. This is because it will be all of the exact same notes as ionian EXCEPT for the 3rd and the 7th, as the chart above shows.
Its a good idea to have these formulas memorized, but I found them difficult to memorize this way. We will go on to "the order of flats" as covering that now seems to make this easier to remember.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, etc
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Now that we have looked at what this all means to the 'lehman', we can go on and learn a little more about the details of how this works.
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
So if you can remember the order that the flats come in, memorizing the modal formulas becomes much easier. Once you learn the order of flats, you should have a much better understanding of what makes each scale different, and why each one sounds the way it does.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, GOSPEL
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Now that we have looked at what this all means to the 'lehman', we can go on and learn a little more about the details of how this works.
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
So if you can remember the order that the flats come in, memorizing the modal formulas becomes much easier. Once you learn the order of flats, you should have a much better understanding of what makes each scale different, and why each one sounds the way it does.
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TO MAKE SOME OF YOU UNDERSTAND WHY
WHY IS MY MAN SPENDING HOUR TYPING
WHEN I SHOULD BE PRACTICING MYSELF)
BECAUSE I PROMISED MY SELF AFTER I STARTED PLAYING AND ALL THE AWSOME BASS PLAYERS I KNEW WOULD NOT SHARE A THING AND MOST OF THEM WERE CHURCH BASSIST NOT THAT SHOULD MAKE A DIFFERENCE BUT TO ME I FELT IT SHOULD BECAUSE THEY WERE DOING IT TO WORSHIP GOD NOT FOR THEIR GLORY
BUT I WAS WRONG DISAPOINTED AND BITTER SO I PROMISED MY SELF I WOULD BE 360 DEGREES DIFFERENT SO THERE IT IS
I HAD TO GO TO BERKLEE FOR ALL THIS
WOULD HAVE I JUST STUDIED UNDER A GREAT BASSIST INSTEAD OF SCHOOL OF COURSE I WOULD BUT LIKE I SAID ABOVE
THE GUYS I KNEW I HEARD
I DONT KNOW WHAT I AM PLAYING I JUST PLAY LIE LIE LIE
THERE IS A LEVEL THAT YOU CAN NOT REACH WITH OUT UNDERSTANDING THEORY YOU MAY NOTE BE ABLE TO SIT AND WRITE OUT SHEET MUSIC LIKE MOZART BUT YOU UNDERSTAND MUSIC
IT IS A GIFT
I HATE THIS ONE GOD GIVE US ALL TALENTS BUT HE EXPECTS US TO ALSO DEVELOP THEM
I REALLY DONT HAVE THE TIME TO TEACH
NOW IN SOME CASES THAT COULD BE TRUE BUT 9 OUT OF 10 TIMES THAT PERSON IS SELFISH OR INSECURE WITH THEM SELF REGARDLESS OF THEIR PLAYING ABITITY
IT WOULD TAKE ME 15 MINUTES TO TEACH ANYONE ABOUT SCALES AND MODES AND TAKE YOU 5-6 MONTHS TO REALLY GET IT DOWN MABYE WITH ACOUPLE QUESTIONS HERE AND THERE
SO 45 MIN OUT OF SOMEONES TIME IN 6 MONTHS WELL YOU UNDERSTAND
I PLAY ALL BY EAR
AND SOME PLAYER DO BUT I URGE YOU I YOU DO PLAY WELL BY EAR THAT YOU WILL STILL LEARN YOUR THEORY
LIKE VICTOR W SAYS WOULD YOU SPEAK ENGLISH WITHOUT KNOWING HOW TO READ OR WRITE IT
YOU COULD BUT IMAGINE HOW MUCH MORE YOU WOULD UNDERSTAND ENGLISH IF YOU CAN DO ALL THREE
OK ENOUGH THE EXAMPLES I GAVE ARE PEOPLE YOU SHOULD AVOID FOR YOUR OWN GOOD
MY FIRST TEACHER PLAYED FOR JANET JACKSON OFF AND ON BAD DUDE
BUT EVERY THING HE DID HE WOULD NOT EXPLAIN AND HE MAKE IT MAGICAL SO COMPLICATED
IT DISCOURAGED ME AND HURT MY PLAYING FOR YEARS
NOW THAT I UNDERSTAND THEORY HE WAS ONLY DOING WHAT 1000 OTHER PLAYER DO STANDARD MODES SCALED ECT
RECORD YOURSELF RECORD YOURSELF RECORD YOURSELF
SO To put all this knowledge to good use, you'll want to start using these scales to write original music, improvise solos any time you want, and play along with any cover song you choose.
In order to do that, you'll have to understand how everything fits together. We'll start off by assuming we are writing a new song using our scales. Pick a scale that you like, in any key you want. Lets say I am going to write a song using E aeolian. Have a look at the E aeolian scale below.
I can use any of these notes to construct my song. Try playing an E minor chord here or a G major, you'll notice all of the notes needed for these chords are present in the scale. I'll go into chords in more detail in the chord lessons, but for now just know that you can use any of the notes shown in the E Aeolian diagram above. Remember, in order for our song to be in E aeolian, the E note here must be our root note.
Lets say my song uses E for the root note, and it also uses a G, A, C, D. You can put any of these notes together in any way you choose to make up your rhythym. As long as the notes you choose are part of this scale, you are on the right track. If you want to know if a particular chord will work, just try it and see if it contains the proper notes. You'll notice that with this scale you can use the E minor, G major, A minor, C major and D major, they will all work here without stepping out of the scale notes. The reason why it is a mixture of major and minor chords will be covered in the lessons on chords.
IF YOU WANT TO KEEP GOIN CAUSE WE CAN STOP ANY TIME
Once I have come up with some riffs and rhythym parts using these notes, I know I have a song that follows this scale. That means that I can now solo at will over it using this scale, because all of the notes in my rhythyms match perfectly with all of the notes I am using to play leads. The beauty of this is that I can now play all over the guitar neck at any time, and with proper phrasing technique, almost everything I do will work perfectly.
Being able to improvise leads freely over a rhythym without ever making a mistake : priceless...
You should also be able to use any of the available notes here to find harmony and melody ideas that will work perfectly. Experiment a little and I think you will be amazed at the possibilities, especially because you will understand what you are playing and will be able to come up with new things more easily and improvise things on the fly successfully
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I have nothing but respect for you man. Awesome. My mentor (Drums) and I were speaking in-depth about people whom have the knowledge to pass along and will not. Each one teach one is not a part of their regime. This is so very true Thomas. I thank you brother for sharing.
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I really appreciate what you have and will share!! I have already printed this thread to disect. :)
I know how you feel thomas. I'm mostly self-taught and if someone asked me do I teach, I usually tell them that I'm not a teacher, but if they'd like, I could teach them what I know to get them started.
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You should seriously consider putting all of this into a book. You could reach a lot more people.
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Bless you man , thanks
but I take mostly all of this from my berklee course book and my private instruction notes
and clinics see at school If say Victor comes WHICH HE HAS it is not like bass dat 98 he will just solo
the guest artist will play and say OK I PLAYED A E AOLIAN MODE I PLAYED A F# CHRD HERE AND TOTAL EXPLAIN WHY thats where I those explaination of sound come in happy sad ect I got that from other books violin guitar upright bass
BUT I TELL EVERYONE EVERY I MEAN ALL THE BAD PLAYERS I MET OT MEET AND THERES ALLOT AT SCHOOL ASK THEM WHAT HOW WHY AND THEY ALL I MEAN ALL SAY MODES
THANKS I REALLY WAS THINKING OF WRITING A MUSIC BOOK ON THE ELEMENT OF LEARNING THAT WAS MY HARDEST CHALLENGE
HOW TO PRACTICE WHAT TO PRACTICE HOW TO CLEAR YOU MIND WHEN YOU PRACTICE FOCUS
AS YOU CAN SEE I TAKE THIS A BIT SERIOUS
THANKS
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So now that you know how to play all these scales, I'll bet you are wondering how to make it work with the music you are playing. Maybe you've tried to play some of your scales along with the songs you play a church and it just doesn't sound that good. Well now it's time to learn how to determine the proper scale for a particular song or chord progression, and put all these scales to use in your regular playing. This lesson will show you how to figure out what scale will work best with whatever music you choose. Imagine knowing every note all over the neck that works perfectly with the music you are playing with, that is what this lesson is all about.
For bass players this will help you choose the perfect scale for soloing over anything you choose, and for bass/guitar players, this will help you choose the group of perfect notes to use with the riff your guitarist just wrote, etc. For everyone, it will mean a deeper understanding of the music. When you know every single note all over the guitar or bass neck that will work perfectly with the music, and the root note, you can phrase endlessly at will, improvising riffs and solos on the fly.
To accomplish this, we'll need to use simple deduction. If you remember your Sherlock Holmes, you'll have no problem with this. The idea is to see what notes are being used by the rhythm, and those will show you what scale the song is based on.
In order to accomplish this, you will need to be familiar with the modes and their intervals. For the sake of keeping things simple at first, we will only analyze things using single notes, and we will assume all of the examples use one of the standard modes that we've already learned. There are other scales besides the ones we've learned so far, and most of that will be covered in the advanced section for reasons that will be explained there. For now we'll assume all of our examples are one of the modes we have already learned. We will cover chords and more advanced analyzing after learning the basic method.
The first thing you'll want to do is determine the root note. If you know the notes then you are ready to go to the next step, if not, then you must use your ear to get you started. You can do this quickly by fretting a note on the low E string while listening to a song, and sliding up or down playing each note until you find that one note that sounds better than all the rest. The root note will usually have the characteristic of being the one note that always sounds better, and works with the song almost regardless of when you play it. This is not a guaranteed science because success depends on your ear, but when you try it you should hear what I am talking about.
Once you have determined the root note of the song, you should start learning the other notes involved in the music. Again, if you know the notes used then this is not needed and you may go to the next step. If not, we'll have to go back to using our ear and searching for notes used in the rhythm. Find all of them that you can, as the more you find the easier it will be to analyze.
The next step would be to take the root note and all these notes that are used, and start to decide what it can be and what it can not be. In many cases it is easiest to first figure out what scales it can't be. If none of this makes any sense, don't worry, you will see diagrams and examples of what I am talking about in the next lesson.
Now that you know all of your notes that we need to analyze, lets go to the next lesson and see some examples of what we need to do
For the first example, lets assume that you have determined the song is in the key of E, and also uses the F, G, A, B and C notes.
bass guitar piano any and every part played in the song.
This one is almost analyzed for us already and I'll bet you can see what it looks like. The first and easiest way to analyze this is to simply look at the pattern. You may see what modal position it looks like.
Is there any way the scale for a song using these notes could be E Ionian ? It should be clear why this could not be E Ionian but I will explain. If you already know the intervals for each scale (and you should), you would know that E Ionian would start with the E note, and then be followed by F# and G#. So it could not be the E major scale as our scale uses F and G. Simply imagine playing the Ionian position starting on the E and you'll see that it would not work.
LOOK AT SOME ISREAL SONGS HE DOES A LOT IN THE KEY OF E I WOULD BET THAT HIS FAVORITE KEY
THIS IS A GREAT EXERCISE REJOICE ADD OR SUBTRACT NOTES THAT ARE NOT LISTED ABOVE AN DO THE VERY SAME EXERCISE
COULD HE BE USING A E AOLIAN SCALE
POST IT LET ME KNOW WHAT YOU COME UP WITH
ANYWAY LET CONTINUE
WE ARE TAKING ABOUT THE EXAMPLE EFGABC
So what else can we determine here using the same method ? We can see that this scale starts off with the root, minor 2nd, and the minor 3rd. If you know your modes and their intervals, you will see that there are only two modes that this example could be. The minor 2nd here is the key to this, as this note is only present in two of our modes. These modes would be Phrygian and Locrian. Every other mode that you have learned used the major 2nd, except for Phrygian and Locrian.
So which of these two is it ? The Locrian position would be root (E), minor 2 (F), minor 3 (G), perf 4 (A), dim 5 (A#), minor 6 (C). That clearly couldn't be it, because this scale does not use the A# note, it uses the B. Phrygian would use all of the same notes as locrian except for that A# where phrygian would use the B.
So there you have it, this would be E Phrygian based on the notes we see being used. Since we have a lot of the notes being used, you may have recognized the phrygian position here already. In the next one, we will work with fewer notes to make it a little less recognizable. If you still don't understand how this is done, don't worry JUST EMAIL ME YOU WILL GET IT.
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PLEASE BE PAITENT WITH ME I AM IN THE PROCESS OF PUTTING TOGETHER SOME GOOD AUDIO CLIPS EXAMPLE THE CAN BE TAKRN FROM PRACTICE TO PLAYING AND UNDERSTOOD IN YOUR EVERY DAY PLAYING
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You are the bomb man...I have known my modes for a while but I never could figure out how to connect them with the chords being played...Thanks for makin it simpler. God Bless and I can't wait to see the rest of the lesson. ;D
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PLEASE BE PAITENT WITH ME I AM IN THE PROCESS OF PUTTING TOGETHER SOME GOOD AUDIO CLIPS EXAMPLE THE CAN BE TAKRN FROM PRACTICE TO PLAYING AND UNDERSTOOD IN YOUR EVERY DAY PLAYING
Patiently waiting. Hurry up! lol j/k... Patiently waiting.
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thomas1168,
You my brotha are setting the standard. I've seen wayyyy to many times where guys won't share info because they don't want someone to be as good as them. And that's exactly what it boils down to. THey want to be the only one in the spot light.
You have put that aside and have shown that you are a TRUE God fearing musician. We all appreciate it.
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I haven't posted in a while because I haven't seen alot of new and useful stuff.
Dude! you are the man!
God bless you and your ministry.
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Wow. Thats alot of info to process thanks for the post thomas. :D
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Thomas
For the first example, lets assume that you have determined the song is in the key of E, and also uses the F, G, A, B and C notes.
bass guitar piano any and every part played in the song.
This one is almost analyzed for us already and I'll bet you can see what it looks like. The first and easiest way to analyze this is to simply look at the pattern. You may see what modal position it looks like.
Is there any way the scale for a song using these notes could be E Ionian ? It should be clear why this could not be E Ionian but I will explain. If you already know the intervals for each scale (and you should), you would know that E Ionian would start with the E note, and then be followed by F# and G#. So it could not be the E major scale as our scale uses F and G. Simply imagine playing the Ionian position starting on the E and you'll see that it would not work.
WE ARE TAKING ABOUT THE EXAMPLE EFGABC
So what else can we determine here using the same method ? We can see that this scale starts off with the root, minor 2nd, and the minor 3rd. If you know your modes and their intervals, you will see that there are only two modes that this example could be. The minor 2nd here is the key to this, as this note is only present in two of our modes. These modes would be Phrygian and Locrian. Every other mode that you have learned used the major 2nd, except for Phrygian and Locrian.
So which of these two is it ? The Locrian position would be root (E), minor 2 (F), minor 3 (G), perf 4 (A), dim 5 (A#), minor 6 (C). That clearly couldn't be it, because this scale does not use the A# note, it uses the B. Phrygian would use all of the same notes as locrian except for that A# where phrygian would use the B.
So there you have it, this would be E Phrygian based on the notes we see being used. Since we have a lot of the notes being used, you may have recognized the phrygian position here already. In the next one, we will work with fewer notes to make it a little less recognizable. If you still don't understand how this is done, don't worry JUST EMAIL ME YOU WILL GET IT.
Thomas,
A big thank you for taking the time to share your knowledge with me/us. Just wow! I'm sitting here in awe because I can't tell you how many books, videos, and CDs I've gone through trying to get an understanding on the modes and how to use them, not to metion my time spent searching the Internet, and none of that stuff brought it home like you just did. It's no doubt that this will help alot of us aspiring bassis. I can really feel your passion in what you’re doing to help others along. May the Lord bless thee and keep thee... Thanks again and I'm looking forward to your next lessons!
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Thanks man, good stuff. some of us will pick up on it faster than others, so please keep posting and going deeper. this is exactly what i was looking for.
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I am going to recomend to my students to join LGM because if posts like this! I only teach 3 kids on a one-to-one bassis and I teach practically as my teaching notes are not best explained, not as good as all of this! Stuff like this would really benefit them for sure.
Thomas...you the man! Great learning materials...thanks for sharing.
I REALLY DONT HAVE THE TIME TO TEACH
NOW IN SOME CASES THAT COULD BE TRUE BUT 9 OUT OF 10 TIMES THAT PERSON IS SELFISH OR INSECURE WITH THEM SELF REGARDLESS OF THEIR PLAYING ABITITY
IT WOULD TAKE ME 15 MINUTES TO TEACH ANYONE ABOUT SCALES AND MODES AND TAKE YOU 5-6 MONTHS TO REALLY GET IT DOWN MABYE WITH ACOUPLE QUESTIONS HERE AND THERE
SO 45 MIN OUT OF SOMEONES TIME IN 6 MONTHS WELL YOU UNDERSTAND
Oh, I love this one! Guys, please hear me when I say this...if someone comes to for advice or encouragement and you have the knowledge or experience to help them out please be humble and gracious to do so. It doesn't matter if you only know a couple of scales or if you are a seasoned pro, if you are able to give good advice and improve someones musicianship so that they can be fruitful. I know giving the time can be a royal pain and it is not always possible to do so, but remember how you got to where you have got to in your skills and knowledge...other people helping you when you searched for it. I am personally very shy and I talk with a speach impediment, but God still uses me even though I sometimes think I am not a great teacher because what I think of my short comings. God will honour your whatever time you can give and will bless you and whomever may come to you for help. We're all family under God and we need to support each other as good famillies do.
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Hello Everyone,
Thank you for all of your awsome responses. I am only doing what everyone should be being a good shepard (trying).
I just got back from NY studio sessions nightmare
BUT IT GAVE ME A AWSOME IDEA FOR MY NEXT LESSON PLAYING BASS KEYBOARDS AND LAYERING LIVE BASS TO ACCENT
BUT IT WAS A LONG HARD TRIP AND THE PRODUCERS WAS NOT SAVED AND SEEMED TO ALMOST ACT LIKE A DEVIL EVERYTIME I MENTIONED GOD
GIVE ME A COUPLE DAYS TO RECOUP BEFORE THE NEXT LESSON
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NOW WE WILL START TO LOOK AT THE MOST COMMON CHORDS THAT WE WILL PLAY OUR MODES AROUND
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EXCELLENT POST. Keep the info coming ladies and gents!
God Bless,
-J
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Lesson 3 - Chords and Bass Lines
In Lesson 1, we talked about using the root note of a chord to define the
chord, and in Lesson 2 we talked about using leading tones to move from
one chord root to the next. In this lesson, we'll talk about playing notes
from the chords other than the root notes, and about using them to construct
bass figures that you can play over several different chords.
To repeat the definition from Lesson 1, a chord is any group of three or
more notes being played simultaneously. The simplest ones are groups of
exactly three notes: more complex ones are built by adding extra notes to one
of the basic ones. There are four three-note chords, but only two of them are
used in most forms of music, major chords and minor chords. (The other two,
augmented and diminshed chords, are used mostly in jazz and classical music. I
won't mention them again in this lesson, although they'll reappear in a later
lesson.)
A major chord consists of three notes; the root note, a note which is two
whole steps above the root (called the third), and another note which is one
and one-half steps above the third (called the fifth). It may seem odd to call
the notes third and fifth instead of second and third; but there's a reason
for it, which I'll explain in the next lesson. To give an example, the three
note C, E, and G make up a C major chord. E, the third, is two whole steps
above the root note, C: and G, the fifth, is 1.5 steps above the E. If you
wanted to play these notes on your bass, you might finger them like this:
G------------
D------2--5--
A---3--------
E------------
and you'd get a C major chord. In fact, the pattern:
-----(N-1)--(N+2)--
--N----------------
2 1 4
on any two consecutive strings will produce a major chord, and this is a
fingering that you can use over and over again in your bass lines. (The
numbers below the staff indicate fingerings: use your middle finger to play
the root, your index finger for the third, and your pinkie for the fifth. Then
you can reach all three notes without moving your left hand.)
A minor chord is similar to a major chord, but the intervals are reversed:
that is, the third is 1.5 steps above the root, and the fifth is two steps
above the third. Thus, the notes C-Eb-G make up a C minor chord. Note that the
root and the fifth are the same: only the third differs, and that's what makes
the two chords sound different when played on a guitar. You can play a C minor
chord like this:
G------------
D---------5--
A---3--6-----
E------------
and in general the pattern:
------------(N+2)--
--N--(N+3)-----------
1 4 3
produces the notes of a minor chord, and you can play all three without moving
your left hand.
In the past lessons we've used the root note of a chord to define it, but now
we have three notes of the chord that we can use to define it. We can play
just the root, as we've been doing, and that is sufficient; or we can play two
or three of them, if we like. Here's a bass line that does the latter: it's
the line from "Twist and Shout", which has been played by a lot of bands
including the Beatles. It also happens to be the bass line for "La Bamba" by
Ritchie Valens, by a strange twist of fate. Think of it as whichever one you
like.
C major F major G major F major
q e e e e e e e q. e e e e e
G--------------2--5----|---------------------|
D-----2--5--3--------5-|-5--r--0--3--3--2--0-| repeat
A--3------------------\_/--------------------|
E----------------------|---------------------|
Cmon and shake it up baby (shake it up baby)
Twist and Shout (twist and shout)
You can see the outline of the C major chord in the first half-measure, just
as we wrote it above. You can also see the outline of the F major chord in the
second half of the first measure: it's the same pattern played one string
higher. For the G, we hit only one note, the root, and hold it: then we play
the root of the F chord, followed by a leading sequence back down to the C
major chord, where the phrase repeats.
You can also play two of the notes of the chord, rather than all three. The
bass line that is at the heart of almost all country music does that: it plays
the root and fifth on alternating beats.
(all notes are quarter notes)
C major F major C major
G-------------|-------------|------------|-------5--r-|----
D-----r--5--r-|-----r--5--r-|-3--r-------|-3--r-------|----
A--3----------|--3----------|-------3--r-|------------|--3-
E-------------|-------------|------------|------------|----
It alternates root-fifth-root-fifth-root-fifth. Doesn't actually do much else,
but it does serve to outline the chord being played at all times. Because of
its simplicity and power, it's one of the most heavily used ideas for bass
lines in all of popular music; besides country music, bluegrass music, some
folk music, and occasional bits of rock and jazz use it as well. It does,
however, get boring after a while: you might like to use some leading notes to
jazz it up a little bit. One bass line that does so is the one from the song
"Wipeout" by the Beach Boys. It goes like this:
(all notes are 8th notes)
E major
G----------|------------------------|------------------------|
D-----0--1-|-2--2--2--0--------0--1-|-2--2--2--0--------0--1-|
A--2-------|-------------2--2-------|-------------2--2-------|
E----------|------------------------|------------------------|
A major
G-------------------------|-------------------0--1-|-2--2--2--0--------0--1-|
D--2--2--2--0--------0--1-|-2--2--2--0-----2-------|-------------2--2-------|
A--------------2--2-------|-------------2----------|------------------------|
E-------------------------|------------------------|------------------------|
E major
G--2--2--2--0-------------|------------------------|-------------------2--3-|
D--------------2-----0--1-|-2--2--2--0--------0--1-|-2--2--2--0-----4-------|
A-----------------2-------|-------------2--2-------|-------------2----------|
E-------------------------|------------------------|------------------------|
B major A major E major
G--4--4--4--2--------0--1-|-2--2--2--0-------------|------------------------|
D--------------4--2-------|-------------2-----0--1-|-2--2--2--0--------0--1-|
A-------------------------|----------------2-------|-------------2--2-------|
E-------------------------|------------------------|------------------------|
B major
G-------------------------|
D--2-----------------0--1-|
A-----2--2--2--2--2-------| repeat
E-------------------------|
This line plays the root three times, a leading note down to the fifth played
twice, and then a two-note leading sequence back to the root. It's playing
exactly the same figure under each chord: (root-root-root-lead-fifth-fifth-
lead-lead) are always played, in that order. The leading tones make it much
more driving that it would be if only roots and fifths were played: try it and
see.
It's very common to do as this bass line does; play the same pattern under
each chord, changing the pattern up and down the fingerboard to keep the root
in the right place, but otherwise not varying the line at all. When the bass
line has this form, the pattern is often called a bass figure (or bass
pattern, or bass riff) and a lot of rock music relies heavily on such figures.
This figure is a pretty simple one: we'll run into some more simple ones later
in this lesson and into some more complex ones in later lessons.
In addition to the simple three-note chords, there are a number of four-note
chords, and also five-, six-, and seven-note chords as well. Of this vast
array of chords, only a few four-note chords are widely used outside of jazz,
and I'm only going to talk about those chords. They're made by adding one more
note onto a basic three note chord. The most commonly used four-note chord is
made by starting with a major chord and adding the note 1.5 steps above the
fifth. For example, starting with a C major chord, whose fifth is G, you would
add the note Bb, which is three half-steps above G. The following chord (which
is made of the notes C-E-G-Bb) is called a seventh chord, or a dominant chord,
and the new note is called the seventh note. You can play C7 like this:
G-----------3--
D-----2--5-----
A--3-----------
E--------------
and in general you can add the 7th note to the major scale pattern I gave
earlier, like this:
--------------------N--
-----(N-1)--(N+2)------
--N--------------------
2 1 4 2
and get the four notes of any 7th chord you like. Seventh chords are easily
the most commonly used four-note chord. You can also make a minor seventh
chord, by starting with a minor chord instead of a major chord. For example,
the C minor 7 chord is made of the notes C, Eb, G, and Bb, and you can play
one like this:
G-----------3--
D--------5-----
A--3--6--------
E--------------
(I'll let you work out the general pattern for this one). The minor 7th chord
isn't used much in rock music (although see Gallows Pole, by Led Zeppelin, for
an interesting example of it) but it is very common in jazz music.
Another note you can add to a major chord is the note that is one whole step
above the fifth of the chord. This note is called the 6th note, and a chord
that contains it is called a 6th chord. For example, a C6 chord is made up of
the notes C, E, and G, plus the new note A (one step above G). This chord is
fingered as follows:
G-----------2--
D-----2--5-----
A--3-----------
E--------------
and it's the second most common four-note chord, after the 7th chord. The
single most widely used bass line in recorded music is based on it: if you
have ever listened to any kind of blues music, you've heard this line
somewhere. The most widely know song that uses it is probably "Johnny B.
Goode" by Chuck Berry, but there are literally thousands of songs, in all
keys, all styles and all tempos, that use it. It looks like this:
(all notes are quarter notes)
C major 6
G-----------2-|-5--2-------|----------2-|-5--2-------|
D-----2--5----|-------5--2-|----2--5----|-------5--2-|
A--3----------|------------|-3----------|------------|
E-------------|------------|------------|------------|
F major 6 C major 6
G-------------|------------|----------2-|-5--2-------|
D-----------0-|-3--0-------|----2--5----|-------5--2-|
A-----0--3----|-------3--0-|-3----------|------------|
E--1----------|------------|------------|------------|
G major 6 C major 6
G-------------|------------|----------2-|-5--2-------|
D-----------2-|-5--2-------|----2--5----|-------5--2-|
A-----2--5----|-------5--2-|-3----------|------------|
E--3----------|------------|------------|------------|
It's based on a very simple figure: start on the root, run up the C6 chord to
the high root, then run back down again. The figure is played under three
different chords: C, F, and G, and it lasts twelve bars. The general pattern
is known as the twelve-bar blues, and it's probably the most widely used song
form in popular music. Note, for example, that Wipeout (transcribed above) is
on the same pattern, using the chords E, A, and B instead. (It uses a
different figure, but the same pattern of chords, and the same method of
repeating one figure under each chord.)
One last point on chords in bass lines. In all of the above examples, the
first note played in each chord is the root note. Thus, we're still using the
root note to define each chord: the other notes of the chord are just helping
to flesh it out once we've already stated the main outline. Most music never
does anything else, but occasionally (most commonly in jazz) a note other than
the root will be the first (or only) note played under a given chord.
Borrowing some terms from classical music, we say that a chord is in "root
position" if the root is played first. We say that it's in "first inversion"
if the third is used to define the chord change, and in "second inversion" if
the fifth is the first note played. Second inversion is rarely used: first
inversion is usually used when playing a two-chord sequence twice in a row.
Thus, instead of playing:
F Bb F Bb
G-------------|------------|
D--------3--3-|-------3--3-|
A--1--1-------|-1--1-------|
E-------------|------------|
you might instead play:
F Bb F Bb
G-------------|------------|
D--------3--3-|-------7--7-|
A--1--1-------|-5--5-------|
E-------------|------------|
playing the chords in first inversion in the second measure, just to add
variety to the line.
For more complex chords used in jazz, you can usually play just about
any chord note you like out of them, although it's still a good idea to
start with the root note for the sake of identifying the chord. However,
for some chords, the root note doesn't sound very good under the chord;
usually this happens when another note in the chord is very dissonant
with the root. Common chords than do this include Cb5 (C flat 5) and
Cb9 (C flat 9) (or any other root note of course). In such cases you
usually do best to try first inversion, ie playing the third of the chord
on the first beat, and then moving off to either the root, or to the
dissonant note, as the case may be. I'll talk more about playing under
strange chords when I talk about scales in a later lesson.
Occasionally, a composer will specify a particular note for the bass when
writing a chord. Such chords might be referred to as "C major with an A
in the bass" which is exactly what you think - the guitar/piano plays the
C major chord but the bassist ignores that and plays the A. Chords like
that are usually written "C/A", where the letter before the slash indicates
the chord and the letter after the slash indicates the bass note. It's usually
done to give the impression that a different chord is being played. In this
example, the C major chord consists of the notes C E G ; but when the A is
added in the bass, you get the four notes A C E G which is an A minor 7th
chord. However, if the chord was written Amin7, then the guitar and piano
would probably play the A note as well, and if the composer doesn't want that
to happen for some reason, he can write "C/A" and get the desired effect.
This format can also be used to force inversions: for example, you might
see the chord "G/B" which means G major with B in the bass. This just means
that the composer wants the G chord in first inversion: you should almost
always respect the composer's wishes in such cases.
I'll end this lesson with one more (short) example of using several notes from
a chord to create a bass line. This line is based on a one-measure pattern,
and that pattern repeats, no changes, for about 5 minutes under the solos in
the middle of the song. The measure contains two chords, A minor and E7, and
each note in the line comes from one of those two chords. The song is "Light
My Fire" by the Doors, and this time I have to apologize for using a line that
was played on keyboards instead of on bass... it's too good a line to pass up!
Most bands that play this song play the line on bass anyway, so we can forgive
Mr. Manzarek some chutzpah in this case.
A minor E7
q e e q e e
G-------------------|
D--------2-----0--2-| repeat, and repeat again!
A--0--3-----2-------|
E-------------------|
That's all there is to it, and this one measure is played for most of the
song. The first three notes are A, C, and E, the A minor chord, and the last
three notes are B, D, and E, which are the fifth, 7th, and root, respectively,
of the E7 chord.
In the next lesson I'll talk about scales, and I'll talk about what a key is,
and how the key that a song is in determines which chords are used in that
song.
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Yo Thomas, this is amazing. :o I really think that you shouild consider a hand book maybe even working with some of the more learned bass players here at LGM. You guys are really doing great for the Lord be proud b/c you make Him look good.
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So you’re cool with C7, right? But what happens when you see a C79 chord coming at you?
Or, worse yet, an F#b9/13 or—Jaco help you—an Eb7#9/b9? All of these chords are derived from the same scale—and it’s why, my FELLOW LGM friendS, you really need to know your way around the diminished scale.
the diminished scale is an eight-note scale built symmetrically in a half-step, whole-step pattern.the
AS WE JUST LEARNED OUR MODES
this time let’s look at its counterpart, the “half-whole.” Look at Ex. 1 and check out how it is constructed.
There are several “hidden” chords lurking inside the diminished scale. In addition to the C7 chord, you can also find the notes of the E7, G7, and A7 chords. There is a Cdim7 chord (C, E, G, A) contained in the scale as well as a Ddim7 chord (D, E, G, B). These two diminished chords on top of each other give this scale one of its names from the bebop era: the double-diminished scale. Most players today refer to this scale as the half-step/whole-step diminished scale.
Ex. 2 is based on the first section of the Duke Ellington standard “Caravan.” In this progression, the C79 is acting as the V chord, or the dominant sound that will eventually resolve to Fm7, the I chord, in bar 13. To get this progression in your ear, check out Oscar Pettiford with Thelonious Monk (Thelonious Monk Plays Duke Ellington, Riverside), Art Blakey & the Jazz Messengers (Caravan, Riverside), or any of the original Ellington versions of the tune.
The example starts on the root, C, and moves up the diminished scale to D (the 9) on beat three in bar 2. Bar 5 moves down the scale, emphasizing the F# (the #4), E (the 3rd), and D (the 9). In bar 8, the line begins on C but moves to a descending G triad arpeggio. Beat three lands on G, and then outlines the descending G triad arpeggio again. This is a common technique: By superimposing other chords contained in the scale, like the G triad on top of the C7, you can emphasize the complex color of the diminished sound.
Bar 11 begins on the 9 and #9 (D and E) and then moves downward in a typical scale pattern in 3rds. In bar 13, the progression finally resolves to Fm7, the I chord—ah, home base. Recognize the scale on the Fm7 chord? Right—it’s the plain ol’ funky F minor blues scale.
Start slowly and learn the theory and sound of the diminished scale. Once you master this scale, you’ll have a new vocabulary at your disposal. Next time we’ll take another look at the extremely useful—but hard to deal with—minor 7 5 chord.
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. There is a Cdim7 chord (C, E, G, A) contained in the scale as well as a Ddim7 chord (D, E, G, B).
C-E-G-A makes up the C6 chord.
C-Eb-Gb-A makes up the C Dim7 chord
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Y7OYR RIGHT ON JUST THE NAME THANKS FOR THE EMAIL MAN
APPRICATE YOU BRO
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NEXT WE ARE ADVANCED CHORDS TETRA CHORDS ALTER INVERSIONNS
AND HOW TO PLAY WITH A FAKE BOOK
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every one pray for me i want to learn all those thing but having a hard time understanding them in short i"m just lost need help badly never took a lesson is self taught need help badly and pray for me please thanks ?/?
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every one pray for me i want to learn all those thing but having a hard time understanding them in short i"m just lost need help badly never took a lesson is self taught need help badly and pray for me please thanks ?/?
if you need additional help following what thomas is posting send me an IM and i'll help walk you through it.
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YOU WILL HAVE TO BUY A BEGINNER BASS PLAYER BOOK
THE THEORY THAT I AM TEACHING IS A LITTLE ADVANCED FOR A BEGINNER
YOU CAN PRAY FOR UNDERSTANDING BUT THE HARD WORK AND EFFORT IS STILL ON YOU
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THIS IS THE END RESULT OF WHAT I AM POSTING
PLEASE DO NOT MAKE THE MISTAKE I MAKE
PUT THAT BASS DOWN FOR A MINUTE AND GET ON THAT KEYBOARD PIANO YOU CAN PLAY SCALES FOR THE NEXT 20 YEARS IF YOU ARE NOT CONNECTING
learning basic and advanced jazz theory and applying it to the piano
*Getting two or three principal jazz chord voicings "into the hands"
*Working toward automatic response to chord symbols forvoicings using flashcards and exercises.
*learning which jazz scales and modes fit which chord families
*learning swing, ballad and Latin performance styles
*building improvisation skills using MODES SCALES BROKEN CHORDS
*learning techniques and concepts about how to practice efficiently.
JAZZ AND GOSPEL ARE ALMOST IDENTICAL IN THE VOICING I CHOOSE JAZZ BECAUSE OF THE COLORFULL CHORDS
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Thomas...this is heavy stuff man. Do you know what you're doing to the these cats. I consider myself advanced and I'm reading it like twice like the Bareans of the bible to make sure it lines up with what i've been taught.
Awesome periods of instruction.
I'm a scales, modes junky but I've been hesitant to dive into melodic minors because I can't see there application. It's really hard to practice them to without hearing chord changes so that I can outline them. Any advice on how to approach melodic minors?
I may be off base here but I know that aeolian is the natural minor. When playing the major scale, I know what notes to use based on the modes and where I am in the progress i.e. If I'm on the 6th of CMaj7 I'm at A and I'd use the aeolian. My question is what modes do we play when we playin the Cmin7. For example, I want to know all the notes that will outline every (inversion I guess you would call it). Or I would like to know what modes to play with the minor scale. IS THIS WHERE YOU USE MELODIC MINORS?
Another question: In your post you were talking about playing on other than the root (paraphrasing). Are you speaking in terms of following the chord progression or substituting notes where the root is normally played. If it the second idea, then I'll have to think about that and try it.
I know I asked a lot of questions, if I had to chose one that would be a "Ah Ha" moment, it would probably be the first question.
Thanks for your help,
T.J.
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NO MAN THAT WHAT I AM HERE FOR QUESTIONS THE MORE I TEACH THE MORE I DISCOVER MYSELF
LISTEN MAN WHEN I FIRST STARTED PLAYING THESE CATS MOSTLY CHURCH BASSISTS SOME THAT ARE NATIONAL NOW WOULD JUST DOG ME WITH STUFF LIKE
ITS A NATURAL GIFT
I DONT KNOW WHAT I AM DOING I JUST PLAY
BASICLY NONSENSE LIES
I COULD SLAP FROM THE JUMP MY GIRLFRIEND BROTHER PLAYED WITH THE TIME JANET CHUCKII BOOKER AND WOULD TEACH ME HOW TO SLAP LIKE CRAZY ALL THE TRICKS RUNS ECT STUFF THAT I WILL BE SENDING YOU FROM THE OTHER POST BUT ANYWAY THE CHURCH GUYS THAT I WANTED TO LEARN FROM I GUESS THE WERE INTIMIDATED OR WHATEVER
SO I PROMISED MYSELF I WOULD NEVER BE LIKE THAT I WOULD SHARE
SO WITH THAT SAID
OK
PICK ANY MELODIC MINOR SCALE
BUILD A 3-4 CHORD PROGRESSION FROM THAT SCALE FOR NOW USING ONLY THE SCALE NOTES
NOW LETS SAY THE KEY OF A
PLAY AROUND THE CHORDS STAYING IN THE MELODIC SCALE
FROM YOUR 1 2 3 4 5 6 7 8VA
GIVE ME A MINUTE AND I WILL WRITE A DETAILED EXPLAINATION
EXAMPLE
CHORD A C E B
NOW WHILE PLAYING THAT CHORD
PLAY AROUND AND PLAY A THEN C THEN E THEN B
BY CHANGING THE BASS NOTE YOU CAN ADD COLOR OR INVERT THE CHORD DEPENDING ON THE APPLICATION
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YO MAN
lot has been written about the so called “modes “ of the Melodic Minor Scale. Although not strictly modes per say, these are really the scales that occur when you build stepwise scales from the notes of the MMS (Melodic Minor Scale). The names for these scales vary and I’m not sure it really matters what you call them but rather that you be familiar with what they are and where they can be applied. Here there are along with a few possibilities for use over chord changes.
· 1. C melodic minor :C-D-Eb-F-G-A-B-C
· 2- D phrygian (w natural 6th) : D-Eb-F-G-A-B-C-D
· 3- Eb lydian augmented: Eb-F-G-A-B-C-D-Eb
· 4- F lydian dominant: F-G-A-B-C-D-Eb-F
· 5- G mixolydian (w b6th): G-A-B-C-D-Eb-F-G
· 6- A aeolian (w b5): A-B-C-D-Eb-F-G-A
· 7- B altered dominant: B-C-D-Eb-F-G-A-B
Any of these scales will fit these various chords:
Cmin7, Cmin(maj7), F7(#11), D7(b9), B7(alt), Ab7(b9), Ami7(b5), Ebmaj7(#5).
As usual there are more possibilities but these are a good start. Experiment with scales and find your own ways to apply them to harmony.
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YO MAN
lot has been written about the so called “modes “ of the Melodic Minor Scale. Although not strictly modes per say, these are really the scales that occur when you build stepwise scales from the notes of the MMS (Melodic Minor Scale). The names for these scales vary and I’m not sure it really matters what you call them but rather that you be familiar with what they are and where they can be applied. Here there are along with a few possibilities for use over chord changes.
· 1. C melodic minor :C-D-Eb-F-G-A-B-C
· 2- D phrygian (w natural 6th) : D-Eb-F-G-A-B-C-D
· 3- Eb lydian augmented: Eb-F-G-A-B-C-D-Eb
· 4- F lydian dominant: F-G-A-B-C-D-Eb-F
· 5- G mixolydian (w b6th): G-A-B-C-D-Eb-F-G
· 6- A aeolian (w b5): A-B-C-D-Eb-F-G-A
· 7- B altered dominant: B-C-D-Eb-F-G-A-B
Any of these scales will fit these various chords:
Cmin7, Cmin(maj7), F7(#11), D7(b9), B7(alt), Ab7(b9), Ami7(b5), Ebmaj7(#5).
As usual there are more possibilities but these are a good start. Experiment with scales and find your own ways to apply them to harmony.
now that's what I'm talking about. I often wondered about this and ran across these in my Jazz Theory book a couple of weeks back, but never dug into it.
Time try some of this out ;D New scales and chords make me happy
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Thanks Thomas...Where are you located in the states? You're taking LGM to another level. I'm like you I share what I can. The hunger has to be there though.
I describe like this..."I'm eating soup with a fork hungry... ;)" Thanks peeps. I'm going to get in my studio and break down some of these chords this weekend.
T
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:)
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IM IN THE ALT
VIA LA
VIA PHOENIX
VIA NEW YORK
VIA PITTSBURGH
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i'm sorry if you think i'm a slow bass player i'm learning how to read music but i just started last year can you please explain to me the whole concept of music theory?
there is only 1 god
thx
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can you please explain to me the whole concept of music theory?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Music theory is a field of study that involves an investigation of the many diverse elements of a music, including the development and methodology for analyzing, hearing, understanding, and composing music. While musicology may include any statement, belief, or conception of or about music, music theory is limited to (1) discussions concerning synchronic (or diachronic) events of a specific composition (or compositions) and (2) abstract music-theoretic issues (e.g., set theory, group theory, tonal tension theory, etc.). A person who practices music theory is a music theorist.
Some music theorists attempt to explain the compositional techniques composers use by establishing rules and patterns. Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing, and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, music theory works are both descriptive and prescriptive, that is they both attempt to define practice and to influence later practice. Thus, music theory generally lags behind practice in important ways, but also points towards future exploration and performance.
Performers study music theory in order to be able to understand the relationships that a composer expects to be understood in the notation, and composers study music theory in order to be able to understand how to produce effects and to structure their own works. Composers may study music theory in order to guide their precompositional and compositional decisions. Broadly speaking, music theory in the Western tradition focuses on harmony and counterpoint, and then uses these to explain large scale structure and the creation of melody.
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YAZAKAR
NO MAN I DONT THINK ANYTHING BUT
BUT THERE ARE SOME THINGS YOU HAVE TO GET ON YOURSELF
I POSTED YOU A MESSAGE A COUPLE OF DAYS AGO GO BY A BEGGINER BASS BOOK AND STUDY IT
STUDY IT STUDY IT STUDY IT
WILLIE L POSTED AND AWSOME STATEMENT ( I AM HUNGRY)
THAT SAYS IT ALL
ARE YOU REALLY HUNGRY TO PLAY BASS
YES OR NO
MAN IF NO YOU ARE JUST WASTING TIME MAN YOU CAN BE GETTING GOOD AT SOMETHING ELSE
NOW IF YOU7 ARE HUNGRY YOU WOULD BE SAYING SOMETHING LIKE
I BOUGHT 4 BOOKS ON HOW TO PLAY BASS AND THIS BOOK SAYS THAT ?
AND I AM TRYING TO PLAY THIS?
DO YOU GO TO SCHOOL
STUDING MATH WHEN YOU START ALGEBRA YOU WILL NOT UNDERSTAND RIGHT OF THE BAT HOW TO DO COMPLEX PROBLEMS
YOU HAVE TO GO THROUGH THE STEP BY STEP PROCESS
THIS IS THE SAME I AM TEACHING ADVANCED CALCULUS SO TO SAY
MAN YOU HAVE TO LEARN HOW TO THE BASICS BASICS YOURSELF
THAT IS THE ONLY WAY YOU ARE GOING TO LEARN
NOW WHEN YOU GO AND GET SOME BASS BOOKS IF YOU HAVE ANY QUESTIONS I WILL EXPLAIN IN FULL DETAIL
BUT THYE QUESTIONS YOU ARE ASKING ARE TOO BROAD
AND THERE ARE GREAT PEOPLE ON THIS SITE THAT WILL ANSWER ANY QUESTION BLESS THEM
BUT I AM TRYING TO BE A REAL TEACHER AND YOUU ARE ONLY DOING YOURSELF A DISSERVICE BY NOT STUDING SEARCHING FOR YOURSELF
ON THAT BASIC LEVEL
ADVANCED THEORY IS A DIFFERENT THING
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Thomas is serious man.... Yall cats better quit playing.
Mr. T...when I get to MY BOOK by Scott Hubbell "Fretboard Alchemy" I'll give you quotes from it and we'll see about this melodic minor stuff.
Interesting note that I learned about using the modes with Minor Scale
The start over...
Aeolian
Locrian
Ionian
Dorian
Phrygian
Lydian
Mixolydian
This opens up more of the fretboard to me and allows me to take the relative minor to another level. I notice something that I found on my own too. The 3rd in the minor scale is the relative major. Wow! man...light bulb moment. These are the things we bassist dream about...light bulb moments.
Keep sharing the love,
P.S. True teachers are bust you in the mouthe type teachers.
I love that...keep it up.
T.J.
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TRULEY APPRICIATE YOU WILLIE
THANK YOU
THAT IS WHAT ALL THIS TYPING IS ABOUT I HAD THAT BULB MOMENT
I AM LOOKING FOR ONE MY SELF
ANOTHER GOOD BOOK SORT OF BASIC BUT I HAVE NEVER STOPPED GOING BACK TO IT
RUFUS REID THE EVOLVING BASSIST
AND WHAT I AM DOING NOW IS JU7ST WORKING OUT OF A REAL BOOK / FAKE BOOK
JUST LLOKING AT CHORD SYMBOLS AND PLAYING AND SOME OF THE JAZZ STANDARD HAVE SOME HEAVY CHORDS AND AT 145 TEMPO YOU ONLY HAVE SECONDS TO MAKE THAT CHOICE AM I GOING TO PLAT THE ROOT ONLY TH 3RD 5 6 7 SCALULAR OR CROMATIC WILL I ADD A b5 CHANGE THE CHORD ECT
ITS HARD MAN BECAUSE YOU HAVE TO THINK 16 BARS AHEAD AT ALL TIMES
AND I AM RECORDING SOME MELODIC MINOR STUFF I WILL POST IT
LISTEN TO PRINCE HE IS A MELODIC MINOR FREAK
AND HE WILL CHANGE THE WHOLE CHORD STRUCTURE UP WITH THE BASS JUST MESSING YOUR HEAD ALL UP
BUT THE SICK PART IS IT SOUNDS SO SIMPLISTIC BUT IT IS SERIOUS
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OK WILLIE MAN
I PUT DOWN MELODIC MINOR VOCALS FOR YOU AND IT LIT A FIRE TO GET THE THING/SONG DONE WITH
NOW
NOW HERE THE TEST TELL ME WHAT CHORDS THAT I POSTED ABOVE ARE BEING SUNG (HARMONY)
http://media.learngospelmusic.com/displayimage.php?album=randon&cat94445&pos=-1826 (http://media.learngospelmusic.com/displayimage.php?album=randon&cat94445&pos=-1826)
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Thomas is serious man.... Yall cats better quit playing.
Mr. T...when I get to MY BOOK by Scott Hubbell "Fretboard Alchemy" I'll give you quotes from it and we'll see about this melodic minor stuff.
Interesting note that I learned about using the modes with Minor Scale
The start over...
Aeolian
Locrian
Ionian
Dorian
Phrygian
Lydian
Mixolydian
This opens up more of the fretboard to me and allows me to take the relative minor to another level. I notice something that I found on my own too. The 3rd in the minor scale is the relative major. Wow! man...light bulb moment. These are the things we bassist dream about...light bulb moments.
Keep sharing the love,
P.S. True teachers are bust you in the mouthe type teachers.
I love that...keep it up.
T.J.
HAHAHAHA>....LIGHT BULB just went off in my head. This works ofr Aeloian (The natural minor)HOWEVER there's a little twist with the harmonic minor and/or melodic minor modes.
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(as I'm taking notes)...Ruffus Reid "The Evolving Bassist" - Check
Assignment - I go P&W rehearsal, Choir tonight but I'll be until about 1 a.m. Japan time. working this assignment.
T.J.
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MORE ON THE MELODIC SCALES (MINOR)
The melodic scale can be represented by these notes: c, d, e, f, g, a, b.
The melodic scale is proper, and, like the diatonic scale, it is smooth with only two sizes of second (major and minor second). This makes the scale particularly suitable for melodic purposes, including improvisation. The two tonal scales which can be derived from it are, however, amongst the least effective and convincing at providing a tonic of all the tonal scales.
Two of the other modes of this scale are very familiar in jazz circles as melodic modes used as the basis for improvisation (or indeed composition) over dominant seventh type chords. These two modes are usually called the lydian dominant scale and altered scale.
These two jazz modes and the two tonal harmonic scales are listed below. They are all taken from the same melodic scale (c, d, e, f, g, a, b) and the name of each scale is listed next to its home note. It should be stressed here that neither the lydian dominant scale nor the altered scale has a tonic triad on its home note, because that is the root of the (unstable) dominant chord over which it is used. The term "home note" is used only to indicate that this note is the most convenient reference point of the scale since it matches the root of the chord over which it is used.
Home note Name of mode
e
f f lydian dominant (or lydian flat 7)
c c (ascending) melodic minor
g g (descending) melodic major
d
a
b b altered
The melodic scale above has two triads which are capable of functioning as tonics: c minor and G major, so these are the tonics of the two tonally effective modes of the melodic scale - the (ascending) melodic minor scale and the (descending) melodic major scale.
Both of these scales can be understood to be melodic "improvements" of the harmonic minor and harmonic major scales respectively, although the strength of the tonic in both these melodic scales is weaker than in their harmonic counterparts.
The melodic minor scale
The melodic minor scale is represented numerically (relative to the major scale):
1 2 3 4 5 6 7 Notes
i ii III+ IV V vi0 vii0 Chords
So if the tonic is c, the notes and chords of this scale are:
c d e f g a b Hear these notes
c d E+ F G a0 b0 Hear these chords
There are semitones (minor seconds) between the 2nd and 3rd degrees and between the 7th and 8th degrees, and wholetones (major seconds) between all the other adjacent degrees. Using this formula the melodic minor scale can be built on any note.
The scale is most frequently encountered as a temporary substitution for the harmonic minor scale in order to smooth the melodic line from the sixth to the seventh degree without disturbing the tonic function on i.
In common practice classical it is rarely used in isolation for any extended period of time. This is largely because its tonic is not so effective as that of the harmonic minor scale. Repeated use of ii or IV in a minor mode tend to make the tonic sound like a slightly artificial alteration of a major tonic.
The melodic major scale
The melodic major scale is spelled (relative to the major scale):
1 2 3 4 5 6 7 Notes
I ii0 iii0 iv v VI+ VII Chords
If c is our tonic then the notes and chords in this scale are:
c d e f g a b Hear these notes
C d0 e0 f g A+ B Hear these chords
It is so named because it is a mirror of the (ascending) melodic minor scale. In the melodic minor scale the 6th and 7th degrees of the diatonic aeolian mode are sharpened, in the melodic major scale the 6th and 7th degrees of the diatonic major scale are flattened.
What a strange, wonderful and under-used scale this is ! It has a very usable (if a little unstable) tonic function on I.
To me it evokes Eastern European folk melodies, with its yearning flattened sixth and its mellow and relaxed flattened seventh degree,
but it has been mostly ignored by classical composers.
Perhaps this is a reflection of the incorrect theoretical belief that the dominant (V) chord has to be major, for the I (i) to have any tonic function.
But the melodic major scale proves this to be nothing more than PERSONAL PREF.
In this scale the leading tone is not the 7 (which resolves to 1), but the 6 which resolves to fifth of the tonic triad. This leading tone is found in the subdominant (iv), so here the subdominant takes on the role that is usually taken on by the dominant in the major and minor scales. Certainly, alternating between v and I will displace the tonicity of the latter triad, but providing that iv is interposed between them, the minor dominant is fairly safe.
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(http://)
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NEXT WE START THE HARMONIC SCALES
THIS WILL TAKE US IN SOME SERIOUS JAZZ
AND MOST OH THE BETTER GOSPEL OUT THERE
T
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NEXT WE START THE HARMONIC SCALES
THIS WILL TAKE US IN SOME SERIOUS JAZZ
AND MOST OH THE BETTER GOSPEL OUT THERE
T
man you're getting after my heart now :)
I just started digging into the Melodic MInor Scales and man you can get some TASTY passing tones from these bad boys!!!!!
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I CAN STAY IN MELODIC
I WILL DIG SOME JAZZ UP THAT REALLY USES MELODIC
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I CALL THESE JAZZ SCALES
Dorian Flat 2
Lydian Sharp 5
Mixolydian Sharp 4
Mixolydian Flat 6
Minor Flat 5
Locrian Flat 4
What Is A Jazz Scale?
Jazz scales are used by improvisers to convey complex harmonies common in Jazz.
The names of the jazz scales imply that they are based on the modes, with certain scale degrees altered. If you know the modes you can learn the jazz scales.
The jazz scales are based on the ascending melodic minor scale. Just as the modes were based on the major scale starting on different scale degrees, the jazz scales are based on the melodic minor scale, starting on different scale degrees
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PLEASE NOTE SOME OF THE SCALES I WILL BE REPEATING OVER AND OVER
SO DONT GET CONFUSSED
IE MIXOLYDIAN b6
USED IN JAZZ GOSPEL YOU NAME IT VERY POPULAR MODE/SCALE
I CALL IT A JAZZ SCALE
I FIND IT IS EASY FOR NE TO CLASSIFY THEM
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OK BEFORE I MOVE ON AND IT IS HARD TO BECAUSE YOU WILL BE PLAYING AND EXPERIMENTING WITH MODES FOREVER IT IS A ENDLESS PROCESS
BUT THINK OF IT AS BEING A PAINTER YOU LOVE THE COLOR GREEN
BUT HOW DO YOU GET TO GREEN YOU MIX BLUE AND YELLOW
SAME CONCEPT WITH MODES AND SCALES
ONCE YOU LEARN ALL OF YOUR COLORS/SOUNDS YOU WILL BE ABLE TO CHOOSE AT WILL WHAT YOU WANT TO HEAR
AND THE AWSOME THING IS YOU WILL KNOW WHAT YOU ARE DOING AND BELIEVE ME THAT IS SOMETHING TO BE PROUD OF I KNOW A LOT OF GOOD PLAYERS THAT DO NOT
THINK OF IT THIS WAY
IMAGINE A COLLEGE PROFESSOR THAT GIVE LECTURES NOT BEING ABLE TO READ
HEAR IS WHAT I AM PRESSING TOWARD IF YOU ARE NOT WITH THIS GO POST ON WHAT KIND OF BASS YOU LIKE AND ALL THAT MEANINGLESS NONSENSE
For Professional GOSPEL Musicians: NOTICE I STRESS PROFESSIONAL
Quickly locate and fill in the holes and gaps in your knowledge and skills that are hidden factors holding you back. WE ARE WORKING THIS
Greatly expand and fine-tune your ears for effortless hearing with your ears, imagination and by sight.
Learn about what a well-developed ear really is, and conquer the “ear-training-bottleneck” and what holds even advanced players back from realizing their full potential tonally.
Take your chops out the roof. Learn the little-known secrets of virtuosity and how to develop your technique to what ever degree of mastery you want.
THIS WILL BE OUR NEXT STUDY
Learn how to cop any style readily.
Develop the most vital musical ability to a much higher level — rhythm!
Learn to play what you really hear and feel.
Find out exactly what it’ll take to achieve the level of playing or composing ability that your real musical goals require.
Learn how to improvise fluently through any changes (without thinking!)
Learn the real scoop on substitute chords and their dimensions of use.
Learn how to really move listeners and communicate, rather than just playing “notes.”
Learn what makes for a beautiful melody and be able to improvise such fluently.
Master all aspects of tonality and harmony.
PEACE AND GOD BLESS YOU THAT THE ENEMY CAN NOT TAKE YOUR DRIVE TO EXCELLENCE THAT LAZINESS AND EXCUSES ARE CAST DOWN THAT EVERY DROP OF KNOWLEDGE IS UTILIZED AND RETAINED FOR HE COMMANDS US TO EXCELL
LIFE LESSON 2
I HAVE BATTLED THE ENEMY FOR YEARS AND WILL THE REST OF MY LIFE BUT THE LAZINESS AREA WAS HIS IN I WAS ALWAYS GOOD EVEN WHEN I HAD JUST STARTED SO THAT WOULD BE USED TO ITS FULL DISTRACTION
IT TOOK SOME PAINFULL EXPERIENCES TO BREAK THE BONDAGE AND PRAYER AND TRUTH
EXAMPLES
A FRIEND THAT STARTED 3 YEARS AFTER ME GOT A GIG WITH A NATIONAL GROUP 2 YEAR BEFORE I STARTED TO TOUR
THE LAZINESS STARTS TO INFECT YOUR WHOLE LIFE FAMILY FINANCE ECT.
PRAY
GOD WITH SET YOU ON THE PATH BUT LET ME TELL YOU IT IS A HABIT A DISAPLINE IT IS VERY HARD ROAD TO PUSH THROUGH BUT ONCE YOU DO YOU WILL LOOK BACK AND NOT EVEN UNDERSTAND WHAT YOU WERE THINKING ALL OF THAT TIME
TRUTH
IF YOU WANT TO BE A PROFESSIONAL MUSICIAN AND YOU ARE NOT DOING ANYTHING WITH IT AFTER 5-7 YEARS YOU ARE JUST NOT WORKING HARD ENOUGH
AND TRUST ME I HAD ALL THE EXCUSES
FAMILY, KIDS, WORK , SCHOOL, ECT ECT ECT
MY WIFE WOULD SEE MY SOUL LIGHT UP WHEN WE WOULD GO VISIT FRIENDS WITH RECORD DEALS( NATIONAL)
AND ON THE WAY HOME I WOULD MAKE ALL THE EXCUSES WHY THAT WAS NOT ME
BECAUSE THOMAS YOU ARE LAZY YOU MESS AROUND WITH YOUR MOTORCYCLES TOO MUCH YOU WATCH TOO MUCH TV AND SHE WENT ON AND
ON BUT THAT BAD SEED HAD TAKEN A SERIOUS BLOW THAT DAY WITH ALL THE TRUTH FROM SOMEONE WHOM TRULEY CARES ( THE DEVIL IS A LIAR)
AND WANTED ME IN THE SELF PITY CONFUSION
ANY WAY 3 TOURS LATER A PUBLISHING DEAL AND MANY SONGS SOLD TO VARIOUS ARTISTS
I AM TAKING A BREAK TENDING TO THE LITTLE BABIES WHILE MY WIFE TAKES HER FIRST JOB IN 9 YEARS
AND KEEPING MY PROMISE ABOUT TEACHING
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Thomas,
Who'd you tour with?
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ISREAL I OPENED FOR HIM AND MARTHA ON THE WEST COAST YOUTH TOUR THAT WAS YEARS AGOS 2001
RIGHT WHEN HE HOOKED UP WITH ARRON AND TERRY
NORTH CHURCH LIVE FROM THE HANGER
GOSPEL EXPLOSION TOUR OUT OF DC ALL KINDS OF ARTISTS
AND ONE I STILL HAVE 2YEARS BEFORE I CAN EVEN SPEAK ABOUT IT CONF CLSE
BUT THAT WAS SO CRAZY WHEN I CAN I COULD WRITE A BOOK ABOUT THE DRAMA
NOW AS A SOUND ENGINEER SOUND STAGE LIGHT PRODUCTION MANAGER
AND GETTIN WITH THE BASS PLAYERS EVERY CHANCE I GOT
AND SOME OF THESE GROUPS ARE IN THE DAY
GETTIN OLD MAN 34
BB KING
GREEN DAY
NEW KIDS ON THE BLOCK
( THIS WAS INSANE I WOULD HAVE TO RUN AND IM NOT JOKING
26 EFFECT PROCESSORS
8 GRUNDORF BOXES 8 RACK FULL
LOOPED PROCESSING THE VOCALS TO GET A ALRIGHT SOUND)
JANET JACKSON
MARY J
BOBBY BROWN
TROOP
CHUCKI BOOKER ( STAGE LIGHTING TECH)
ONE OF THE TIGHTEST BAND YOU EVER HEARD
SPYRO G
THERE IS ALOT THAT I AM MISSING
THERE IS A LOT OF ALTERNATIVE GROUP THAT WERE SIGNED WITH SONY
I CAN NOT EVEN REMEMBER BUT THEY WERE ONE ALBUM GROUPS THAT DIED AFTER ONE SINGLE
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So I'm sure you met Scott Ambush.. I met him in March. Nasty player.
Look Thomas...I have to got back to the melodic minors.
Please help me priortorize. This is lot that you're throw but I'm willing to put in the work (hungry like a man eating soup with a fork...right!)
1. I will get them under my fingers and then go back to the post for application or read them while I'm getting them under my finges.
What would be great is if I has some chords to listen to. Just simple piano chords because my ear is quicker than my brain if that makes sense.
*Last note...if you have friends in the music biz that's looking for a young (31), mature (31), hard working (former U.S. Marine) bassist. Please toss my name in the pot.
Check me out at www.myspace.com/willie_el
T.J.
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LET ME THINK BEFORE I THROW JUST AND CHORDS OUT THERE ARE STANDARD CHORDS THAT SHOULD BE RECONIZED RIGHT AWAY
I WILL RECORD THEM ALMST LIKE A JAZZ PROGRESSION
I CAN MAKE SOME CALLS BUT YOU WILL HAVE TO HAVE A DEMO AVALIBLE
THE PEOPLE I STILL TAKE TO ARE OK FOR WORK
BUT THE DIRECTOR OF BANDS AT BERKLEE IS THE MAN FOR GETTING WORK
HE PUTS HALF OF THE TOUR BANDS TOGETHER FOR THE TOP 3 LABELS
GIVE ME A MINUTE FOR THE CHORDS
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NICE PLAYING ON YOUR SITE MAN YOUE THERE ALREADY
WHAT YOU TRYING TO DO MAN
IM WITH YOU MAN
LIKE THE POST SAYS
NEVER STOP LEARNING
THAT HOW YOU END UP THE NEXT MARCUS VESLEY WOOTEN ECT
PEACE
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Thanks but I'm not even close to where I wan to be. The last words to me from a close friend says your wealth lies where you passion is. Well my passion is bass guitar, eventually producing and owning my own label of gospel and soul artist. Keep us lifted in prayer.
T.J.
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Thanks but I'm not even close to where I wan to be
YOU SOUND JUST LIKE THE VOICE IN MY HEAD
IT IS THE DEVIL MAN
MAY SOUND A LITTLE CRAZY
HE LOVES FOR US TO FEEL UNWORTHY NOT GOOD ENOUGH UNSATISFIED WITH OUR LIVES, PLAYING ,JOB, FAMILY, ACCOMPLISHMENT,FINANCE
I HAVE WATCHED SOME GREAT OPPORTUNITIES PASS BY BECAUSE I WAS FEELING UNWORTHY SORRY FOR MY SELF OR JUST NOT GOOD ENOUGH
AND WHEN GOD RESTORED THE PEACE IN MY LIFE I FELT LIKE SUCH A FOOL
I SHOULD HAVE BEEN THINKING OF MY TALENTS
BUT ALL I THOUGHT OF WAS MY WEAKNESS
I AM NOT SAYING BE CONTENT AND DO NOT STRIVE TO BE BETTER BUT THERE IS A FINE LINE ON WANTING TO BE THE NEXT MARCUS
AND LETTING IT DESTROY YOU MENTALLY
OR GIVING THE DEVIL THAT (IN)
MAN YOU SOUND GREAT TO ME AND THAT ALL IM GOING TO SAY ABOUT THAT
PUT IT THIS WAY EVERY ARTIST EVERY ARTIST EVEN THE BIG DOGS
ARE NOT LISTENED TO BY EVERYONE
EVEN THE ALBUMS THAT WIN A GRAMMY HAVE SO SO SONGS ON THERE ALBUMS
YOU HEARD SOME OF MY R&B
I RECORDED, PLAY, WROTE, PRODUCED,
TRYING TO BE PRINCE PRODUCED, ARRANGED, COMPOSED, & PER4MED BY THOMAS
MAN YOU KNOW HOW MANY TIME PEOPLE SAID I STUNK (I WANT TO SA7 SOMETHING ELSE RESPECT FOR THE SITE)
WHEN YOU HAVE TIME YOU SHOULD RECORD A CD AND JUST GET IT OUT THERE MAN
I GOOD FRIEND TOLD ME
KEEP WAITING TO GET YOUR MUSIC OUT THERE UNTIL YOU REACH WHATEVER MYSTICAL, MAGICAL LEVEL THAT YOU ARE DREAMING UP IN YOUR HEAD ( AND HE SAID IT A LITTLE HARSHER)
YOU WILL BE WAITING YOUR WHOLE LIFE
YOU HAVE A COMPUTER FULL OF SOUND AND SOMETHING IS WRONG OR UNDONE OR NEEDS SOMETHING AND YOU LET THEM SIT THERE
IF I HAD 1 10TH OF YOUR TALENT I WOULD BE
I TOOK HIS ADVISE AND STARTED PUTTING STUFF OUT, CDS GIVING CHURCH NEW MUSIC TO USE ECT
NOW NOT FOR SONY RECORDS OR A GRAMMY OR TO BE THE NEXT MARCUS
FOR ME AND TO HONOR GOD FOR ALL THE BLESSING HE GAVE ME THE TALENTS HE LET ME BORROW FOR AWHILE
I WOULD LIKE TO QUOTE THE BIBLE NOW
BUT
?????? is there copyright restrictions on that book too!!!!!!!!!!!!!
YOU ALRESDY ARE BLESSED WILLIE
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ATTENTION LGM BASS PLAYERS
THIS MATERIAL IS FROM THE BERKLEE SCHOOL OF MUSIC
ATTENTION
THIS MATERIAL IS FROM THE BERKLEE SCHOOL OF MUSIC
NICE THING FOR YOU YOU DONT HAVE TO PAY OVER 20 GRAND A YEAR FOR THE KNOWLEDGE
ITS FREE BABY
?/? ?/? ?/? IS THAT WRONG :-\ :-\ :-\ :-\ :-\
OH I AM NOT YELLING
I REPEAT I AM NOT YELLING
IF I HAVE OFFENDED ANYONE WITH THESE EVIL >:(CAPS
PLEASE FORGIVE ME
GOD BLESS
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PLEASE NOTE LGM BASS PLAYERS
I HAVE GIVEN MYSELF PERMISSION TO TYPE MY NOTES, TELL MY EXPERIENCES AND GIVE ADVISE TO YOUNG PLAYER SO THEY SACE YEARS OF TIME FROM MY MISTAKES.
I THOMAS1168 GIVE PERMISSION TO THOMAS1168 TO SPEAK OF LIFE EXPERIENCES AND KNOWLEDGE
I AM STILL WORKING OUT THE FEES AND THE COPYRIGHT ISSUES WITH MYSELF :o :o :o :o :o
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PLEASE NOTE LGM BASS PLAYERS
I HAVE GIVEN MYSELF PERMISSION TO TYPE MY NOTES, TELL MY EXPERIENCES AND GIVE ADVISE TO YOUNG PLAYER SO THEY SACE YEARS OF TIME FROM MY MISTAKES.
I THOMAS1168 GIVE PERMISSION TO THOMAS1168 TO SPEAK OF LIFE EXPERIENCES AND KNOWLEDGE
I AM STILL WORKING OUT THE FEES AND THE COPYRIGHT ISSUES WITH MYSELF :o :o :o :o :o
don't forget to get it Notarize. Oh,forgot to mention you need another person to witness. ;)
Take your time do it right. That saying will make a nice song. You can make that into a song, before someone copy right it. :-* :-X
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PLEASE NOTE LGM BASS PLAYERS
I HAVE GIVEN MYSELF PERMISSION TO TYPE MY NOTES, TELL MY EXPERIENCES AND GIVE ADVISE TO YOUNG PLAYER SO THEY SACE YEARS OF TIME FROM MY MISTAKES.
I THOMAS1168 GIVE PERMISSION TO THOMAS1168 TO SPEAK OF LIFE EXPERIENCES AND KNOWLEDGE
I AM STILL WORKING OUT THE FEES AND THE COPYRIGHT ISSUES WITH MYSELF :o :o :o :o :o
I'm convinced this is the same person... Yet, I stand to be corrected...
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OK ALREADY,
BACK TO BUSINESS AND I AM CAPPING ;D
I HAVE RECORDED A SONG FOR MY MAN WILLIE AND I HAVE GOTTEN ALOT OF EMAIL ON SIMPLE BEGGINER BASS LINES NOW I IS A EASY LINE, AND I DID DO IT INTENTIONALY I DID NOT WANT TO OVER SHADOW THE VOCALS
BUT BUT BUT I WANTED THAT OLD SCHOOL FUNK BASS LINE FEEL
NOW I STARTED THIS THING IN MELODIC MINOR TO SHOW THE TONAL DYNAMICS OF THOSE AWSOME MODES SINCE WE HAVE BEEN TALKING ABOUT MELODIC
NOW ?/? ?/? ?/? ?/? ?/? ?/? ?/? ?/?
THE SONG STARTED TO GO IN A DIFFERNT DIRRECTION DUE TO THE BASS LINE A MELODIC HARMONIC PENTATONIC :-\ :-\ :-\
DARN BASS :-[
THE BASS IS MOSTLY IN A PENETONIC SCALE VERY SIMPLE GROOVE BUT FUNKY
NOW I WILL POST THIS SONG SOON
I HAVE SOME FINAL TOUCHES I AM A PERFECTIONIST FREAK IN THE STUDIO BUT I HAVE TO TRY AND PUT THAT ASIDE WHEN RECORDING A MP3 DEMO FOR PEOPLE JUST TO USE AS A EXAMPLE
IE MY WIFE IS TRIPPING ( WHAT IN THE WORLD HAVE ARE YOU DOING UP IN THE STUDIO ALL DAY THE YARD NEED DONE AND THE BATHROOM NEEDS FINISHED
YEA YEA YEA :-\ :-\ :-\ :-\ :-\ :-\ :-\
SO I HAD TO CUT IT ALLITTLE QUICK
GOD BLESS I WILL BE POSTING THIS ON A NEW THREAD SOMETIME TODAY
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Brother...I cutt my yard yesterday and she was still looking at me crazy while I was sitting here recording on my pc.
...amazing...
looking forward to the clip but don't stress cause I'm still in reading classes and practice songs for our P&W/Choir and getting ready for an upcoming workshop.
T
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I need to learn music theory, so if you have the time I will love to know the why of the music? e-mail back.
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OK
THE WHY
IF YOU REALLY WANT IT WHY DO YOU NOT HAVE SOME BOOKS
IF YOU ALREADY DO ASK SOME DIRECTION QUESTIONS
IF YOU DO NOT GET SOME BOOKS FOR YOUR INSTRUMENT OK
GOOD
NOW
WHAT I AM TEACHING IS INTERVALS
THE MUSICAL SPACING BETWEEN NOTES
THEY ALL HAVE DIFFERENT SOUNDS AND WHEN YOU START TO RECONIZE THOSE SOUNDS YOUR WILL UNDERSTAND HOW AND WHY THE ARTIST IS DOING WHAT THEY ARE DOING
MUSIC THEORY REALLY IS HARMONY, ARRANGING AND EAR TRAINING
ONCE YOU UNDERSTAND THE INNER WORKING AND THE PRINCIPAL CONCEPTS YOU WILL BE ABLE TO APPLY IT TO ALL MUSIC.
WHAT IS REALLY GREAT THAT YOU WILL HEAR THINGS IN MUSIC THAT YOU NEVER HEARD BEFORE
YOU WILL HAVE TO DEVELOP YOUR KNOWLEDGE OF SCALES , INTERVALS CHORDS
PLEASE VISIT THE MUSIC THEORY PART OF THIS SITE
POST BY T-BLOCK
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THOMAS, YOU ARE TRULY BLESSED TO BLESS OTHERS AND YOU WILL ALWAYS HAVE GOOD LUCK!
-
Thank you,
All I am doing is teaching right out me berklee books
God Bless
BUT THESE YOUNG CATS ALL THEY WANT TO DO IS TALK ABOUT EQUIPMENT
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Hey Thomas1168:
Is it O.K. if I copy the post that you put in this thread about theory? I am a beginning bass player and I want to know how to drive instead of just starting up the car...."If you know what I mean!" Please let me know....
-
That's what I have done.
-
YES UNDERTAKER I DO UNDERSTAND AS SOON AS I GET BACK I WILL START TO REPOST
I HAD TO POST THIS BECAUSE IT STILL HAS NOT REALLY SET IN YET
THIS WILL BE AWSOME I AM SURE THAT I WILL BRING BACK SOME AMAZING THINGS TO TEACH.
From: victorwooten
Subject: Victor Wooten
Date: August 23, 2006 1:12:07 AM EDT
To: starfishcoffee@numail.org
Congratulations! You have been accepted to attend the advanced bass study Weekend with Victor Wooten. You will soon receive information via USPS, or in the "snail mail". Please read it carefully and promptly send in your release form before the due date so that your slot won't be given away. We look forward to seeing you there!!
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OF COURSE YOU CAN ;D ;D ;D ;D
NOBODY HAS EXCLUSIVE RIGHTS ON MUSIC THEORY REGARDLESS OF WHAT ANYONE SAY ::) ::) ::)
YOU CAN SHARE MATERIAL OUT OF ANY BOOK (MUSIC MATH ENGISH SCIENCE) WITH ANY ONE AS LOG AS YOU DO NOT CHARGE FOR IT
OR YOU DO NOT MAKE COPIES TO SELL
I UPSETS ME THAT PEOPLE STILL HATE EVEN ON A GOSPEL SITE THAT SHOULD BE ALL ABOUT GIVING >:(
IT IS AWSOME THAT YOU ASKED BUT THIS IS FREE
MANNNNNNNNNNNNNNNNNNNNN ?/? ?/? ?/? ?/? ?/? ?/? ?/? ?/? ?/?
I WILL EMAIL SOME FILES WITH DIAGRAMS STRIAGHT TO YOU
AND I WILL SAY THIS TO EVERYONE WITH A NEGITIVE SPIRIT
NEVER EVER BURN YOUR BRIDGES
CHERI, BASSMANUNDERTAKER,WILLIE OR ANYONE CAN BE THE NEXT VICTOR WOOTEN
AND WHOM WILL THEY REMEMBER FOR THE HELP TO GET THERE
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OF COURSE YOU CAN ;D ;D ;D ;D
NOBODY HAS EXCLUSIVE RIGHTS ON MUSIC THEORY REGARDLESS OF WHAT ANYONE SAY ::) ::) ::)
YOU CAN SHARE MATERIAL OUT OF ANY BOOK (MUSIC MATH ENGISH SCIENCE) WITH ANY ONE AS LOG AS YOU DO NOT CHARGE FOR IT
OR YOU DO NOT MAKE COPIES TO SELL
I UPSETS ME THAT PEOPLE STILL HATE EVEN ON A GOSPEL SITE THAT SHOULD BE ALL ABOUT GIVING >:(
IT IS AWSOME THAT YOU ASKED BUT THIS IS FREE
MANNNNNNNNNNNNNNNNNNNNN ?/? ?/? ?/? ?/? ?/? ?/? ?/? ?/? ?/?
I WILL EMAIL SOME FILES WITH DIAGRAMS STRIAGHT TO YOU
AND I WILL SAY THIS TO EVERYONE WITH A NEGITIVE SPIRIT
NEVER EVER BURN YOUR BRIDGES
CHERI, BASSMANUNDERTAKER,WILLIE OR ANYONE CAN BE THE NEXT VICTOR WOOTEN
AND WHOM WILL THEY REMEMBER FOR THE HELP TO GET THERE
send me those diagrams too homie.
jeremy @ jrawls.net
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Wow, I step away for a short time and now that i'm back, this thread is 4 pages long and still going. This is great Thomas!!! Again, thank you sooo much for sharing. Pls include me in the emailed diagrams and such.
I'm gonna have to play catch-up on these posts. :) It's a good thing that the print function on this site allows us to print the entire thread in one printing.
ladykeke@gmail.com
:)
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FORGET THE DIAGRAMS (KIDDING)
DID YOU READ THE 3RD POST FROM LAST
THIS IS THE STUFF I AM LOOKING FOWARD TO POSTING ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D
LOOK AT WHO I GOT A EMAIL FROM
AM I BRAGGING
OHHHHHHHHHHHHHHHHHHHHHHH YEAHHHHHHHHHHHHHHHHHHHHHHHHHHH
-
SORRY NOT THE 3RD
JUST GO UP AND READ WHO I GAT A EMAIL FROM
-
Whenever you can....please send me something to get started on being a brand new "Bass Player"....I am interested in doing things the right way...anything can and will be helpful.
marriedmanjamall@hotmail.com
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YES UNDERTAKER I DO UNDERSTAND AS SOON AS I GET BACK I WILL START TO REPOST
I HAD TO POST THIS BECAUSE IT STILL HAS NOT REALLY SET IN YET
THIS WILL BE AWSOME I AM SURE THAT I WILL BRING BACK SOME AMAZING THINGS TO TEACH.
From: victorwooten
Subject: Victor Wooten
Date: August 23, 2006 1:12:07 AM EDT
To: starfishcoffee@numail.org
Congratulations! You have been accepted to attend the advanced bass study Weekend with Victor Wooten. You will soon receive information via USPS, or in the "snail mail". Please read it carefully and promptly send in your release form before the due date so that your slot won't be given away. We look forward to seeing you there!!
Thomas,
Congratulations on being selected to attend.....Wow! :o Evedience that hard work pays off. Prayerfully, mine will too! Because I'm not going to give up...... Like Willie mentioned in a previous post about being hungry and eating soup with a fork----That's me! Just plain ol' starvin and can't get that soup down fast enough.
Can't wait for you to share your experience with us. Lastly, if you don't mind, please include me in on the list of individuals you'll be sending the diagrams out to. I need all the help I can get.
jsmith428@cox.net
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Thomas,
I've read all of this thread becuase i wanna get better and learn something new every time i pick up my bass. i really do appreciate this site and the forum it's extremely helpfull!!!!! i've been playing for a couple years but i never took any lessons for bass although i took guitar lessons for a couple years when i was younger. so to make up for not taking lessons i'm trying to learn all the theory i can because that will help me out alot. i'm still trying to understand all of this stuff about modes and everything its taking a while for me to digest all the information in this thread alone (not to mention all the other threads). i'd like u to also send me those files and diagrams or w/e it is ur sending to these other bass players cause i too need all the help i can get!
hope its not a problem i see the list for this info is getting longer by the minute
THANKS!!!
p.s. my email is: dave_j_88@yahoo.com
o and that is a '' j '' not an " i "in between the underscores cause i know its hard to read and alot of ppl have gotten it wrong in the past.. i should probly change it but owell
thanks again
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Ok guys please give me a couple days to pull all of info together.
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Thomas
Thanks for all of your time and effort God is really going to bless you. I'm in the intermediate stage so need all the help I can get so whatever you're going to send out via e-mail can I get in line. My e-mail is moebassgrind6@hotmail.com, I can't sing so I want to praise God with my playing just wanting to get some help.I appreciate all that you are doing thanks again.
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I HAVE BEEN REALLY BUSY AND WILL BE FOR REST OF THE YEAR. I STILL WILL BE EMAILING THE DIAGRAMS TO THOSE OF YOUR THAT HAVE REQUESTED.
I HAVE SEEN ALOT OF (HELP, I NEED, LOOK AT THIS GEAR) POSTS NOT ONLY IN THE BASS FORUM, BUT ALL OVER THIS SITE ?/? ?/? AND HAD MEANT TO COMMENT ON IT.
AS A MUSICIAN ASK YOUR SELF WITH ALL HONESTY NO EXCUSES. WHERE AM I AT ?/? DO I REALLY WANT THIS, AM I HUNGRY FOR THIS ?/?(willie).
DO YOU HAVE A HARD TIME PICKING UP BASS LINES ( I DID)
IF SO THE VERY LAST THING YOU SHOULD BE DOING IS ASKING FOR A LINE :-[ IT WILL NOT TEACH YOU ANYTHING)
SPEND THE TIME LISTEN TO IT OVER AND OVER AND OVER UNTIL YOU GET IT. THIS IS CALLED AURAL PERCEPTION AND THIS IS CRITICAL
THE QUICK ROUTE I PROMISE WILL NOT MAKE YOU A BETTER PLAYER, IS THAT WANT YOU WANT TO DO FOR THE REST OF YOUR LIFE,
WOW HE IS GREAT WOW LISTEN TO HIM ?
OR ARE YOU GOING TO DECIDE I AM GOING TO BE BETTER THAN THAT ONE DAY AND I HAVE TO DO???????????? TO GET THERE.
YOU CAN IGNORE THIS GO BACK AND TALK ABOUT EQUIPMENT BUT I PROMISE YOU THIS IS FACT NOT ADVISE
YOUR EAR DOES NOT GET BETTER UNLESS YOU ARE CONSISTANTY LEARNING MUSIC ON YOUR INSTRUMENT, ALL INSTRUMENT (NOTE FOR NOTE)
THIS TEACHES YOU INTERVALS, KEY CHANGES, MELODY, HARMONY,
AND WHEN YOU FIGURE THAT SONG OUT AFTER HOUR,DAYS,WEEK
MAN IT FEELS AWSOME ( MAYBE THATS JUST ME )
THE REASON I AM SO ON SCALES AND MODES BECAUSE WHEN YOU CONSISTANTLY PLAY THEM YOU WILL START TO HEAR THINGS MUSICALY THAT YOU HAVE NOT BEFORE, THEN YOU WILL HEAR SOMETHING ELSE AND SO ON.
BUT YOU KNOW YOUR INSTRUMENT ALSO
HERE TEST YOURSELF 10 SECONDS
ON YOUR BASS PLAY EVERY (C) THAT IS ON YOUR NECK OCTAVES INCLUDED ALL THE WAY UP AND DOWN THE NECK JUST THE NOTE C
DO EVEN KNOW HOW MANY THERE ARE ON YOUR NECK 6- 8 -10 12 14 ????
IF YOU ARE THINKING ABOUT THIS OR DID NOT COMPLETE IT IN 10 SECONDS THEN YOU DO NOT KNOW YOUR FRET BOARD
A INTERVEIW WITH JACO P THEY ASK HIM "WHAT ADVISE WOULD YOU GIVE TO BEGINNERS" FRETBOARD KNOWLEDGE"
THIS IS JUST MY ADVISE TO YOU. IT IS A VERY HARD ROAD EVEN WHEN YOU ARE GOOD.
DO NOT BE FOOLED BY ANYONE IT WILL NOT JUST COME TO YOU. YOU WILL ONLY HAVE UNDER YOUR FINGERS WHAT YOU HAVE LEARNED.
IF I ASK YOU TO PLAY TENTHS (DOUBLE STOPS) UP AND DOWN YOUR NECK? AND YOU CAN NOT DO IT NOW. IF YOU DO NOT LEARN IT
6 -7 -8 YEARS FROM NOW YOU WILL STILL NOT BE ABLE TO DO IT.
I PRAY THAT I HAVE PLACED SOMEONE ON THE ROAD TO GREATNESS, DO NOT LET ANYONE EVER GET YOU LOST EVEN YOURSELF!
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I agree to the fullest. Discipline is a great tool when utilize to hammer out things...
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Yooooooooooo, congrats on that e-mail from Mr. Bass Man himself!!! I'm think I'm too excited for you. God has definately blessed you man. :o Oh yeah can you put me down for some of those diagrams my email is Nelvern.Samuel@verizon.net it would be greatly appreciated. Thank you man!!
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thomas1168, bless you brother! You have a huge passion for your instrument and your humble willingness to share your knowledge and experience to the rest of LGM is really inspiring. Keep up the good work bud!
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Thanks ANDJ, I am pumped about Victor, I know what I will learn with him will take years to become a part of my playing and a lot of work, but it is exciting just to be around someone with that kind of knowledge of the bass. And I will be bringing it back here to share.
-
Thanks ANDJ, I am pumped about Victor, I know what I will learn with him will take years to become a part of my playing and a lot of work, but it is exciting just to be around someone with that kind of knowledge of the bass. And I will be bringing it back here to share.
I will be listening, going out to buy me a new notebook. Thank you thomas1168 for sharing. I appreciate you. Peace...
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Thomas,
I would love to get my hands on some of those diagrams bro! raptur2000@hotmail.com
When and where is that Victor Wooten event going to be?
-
Let me know who is on the GAME AND WHO IS JUST WASTING TIME
AND I DO ALREDY KNOW WHOM IS JOKERS.
LEAVE A REPLY IF YOU LEARNED YOUR MODES IN AT LEAST 1 KEY AND IF YOU HEARD ANYTHING THAT YOU HAVE NOT BEFORE WITH THE CHORDS THAT I GAVE YOU.
HOW MANY GOT THE LOUIS JOHNSON BASS LINE DOWN , CLEAN ON TIME ECT
LET ME KNOW...
-
Let me know who is on the GAME AND WHO IS JUST WASTING TIME
AND I DO ALREDY KNOW WHOM IS JOKERS.
LEAVE A REPLY IF YOU LEARNED YOUR MODES IN AT LEAST 1 KEY AND IF YOU HEARD ANYTHING THAT YOU HAVE NOT BEFORE WITH THE CHORDS THAT I GAVE YOU.
HOW MANY GOT THE LOUIS JOHNSON BASS LINE DOWN , CLEAN ON TIME ECT
LET ME KNOW...
Raises hand.
I just finished learning my Melodic Minor Modes.
They definately are differnt sounding..lol.
I'll post them up sometime this week.
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COOL COOL COOL ;D :D ;D :D
AT LEAST SOMEONE IS DOING SOMETHING BESIDES POSTING CRAZY TOPICS
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COOL COOL COOL ;D :D ;D :D
AT LEAST SOMEONE IS DOING SOMETHING BESIDES POSTING CRAZY TOPICS
LOL!!! I hear ya!
-
GREAT JOB J ;D :D ;D :D ;D :D ;D :D ;D
THIS IS WHAT I AM TAKING ABOUT ::)
NOW IN 1 YEAR 2 YEARS WHATEVER WHEN MY MAN Jeremyr IS ON THAT NEXT LEVEL OF PLAYING.
HOW MANY OF YOU WILL STILL BE ASKING
MMMMMMMMM how did you get there?
AAAAAAAAAAA I need help ?
OOOOOOOOOo I dont understand?
AND I AM NOT TRYING TO BE FUNNY.
THIS MAY GIVE YOU A BETTER UNDERSTANDING OF MY THOUGHT PROCESS.
I HAVE SMALL CHILDREN THAT I MAKE PRACTICE. THEY CRY TO MY WIFE , TO ME, HATE ME :-\ "DADDYS SO MEAN" >:(THATS RIGHT :D ;D :D ;D
SO YOU UNDERSTAND LET ME TELL A SHORT STORY and if you know me you are saying" when dont you thomas" ;D
I AM A BASS PLAYER ( LOVE MY BASS) IN MUSIC SCHOOL I COULD NOT READ MUSIC SO IN JAZZ BAND I COULD NOT PLAY BASS. (HAD TO BE ABLE TO READ)
MY PROFESSOR HAD TO HAVE ME IN CLASS SO......... HE PUT ME ON DRUMS,IT TOOK 3 YEARS UNTIL I COULD READ A CHART IN REAL TIME
NOW AT BERKLEE SO MANY BAD PLAYERS I NEVER DID MAKE FIRST CHAIR IN JAZZ, IN MY FUNK/R&B OH YES, BUT JAZZ NO .
BUT NOT ONLY DID I LEARN TO READ. I CAN PLAY DRUMS ?/?AT THE TIME, I WOULD THINK, GREAT. BIG DEAL :-\ :-\
WHILE THE PROFESSOR IS STANDING BEHIND ME WITH A CONDUCTORS STICK
1+E A 2+E A 3+E A 4+E A come on thomas timing, timing, "WHACK" hey OHHHHHHHHHH
I STILL PLAY SOMETIMES, BUT SO IT IS NOT A TOTAL WASTE "I DO NOT WANT TO PLAY DRUMS" SO MY 6 YEAR OLD PLAYS DRUMS, 5 YEAR OLD BASS
AND MY 11 KEYS (maybe I should start a band)
SORRY BACK TO THE KIDS THEIR MEAN DAD >:(
WELL A MONTH AGO AT MY 6YRS OLD ELEMENTARY SCHOOL THEY HAD A TALENT SHOW ?/? 1 GRADE TO 5 GRADE KIDS PLAYING ALL KINDS OF STUFF
WELL TO THE POINT>>>>>>>>>>>>>>>>>>>>>>>>>
MY SON WAS PLAYING LIKE THE KIDS IN 5TH HE IS IN 2ND. WHY BECAUSE INSTEAD OF WASTING TIME HE IS PRACTICING FOR AT LEAST 1 1/2 A DAY
HE DOES NOT LIKE ME NOW BUT HIS LITTLE ATTITUDE CHANGED AFTER THAT SHOW WHEN EVERYBODY WAS SAYING:
;D :D ;)WOW YOU ARE REALLY GOOD HOW OLD ARE YOU" WOW
NOW DOES HE LOOK AT PRACTICE DIFFERENT YES. NOW ?/? IM ALREADY GOOD DAD I DONT HAVE TO PRACTICE ANY MORE" REEEEEEEEEEEALY
BOY YOU BETTER GET BACK ON THAT SET :(
THIS HAS MANY MESSAGES IN THE STORY I USE IT FOR MY SELF JUST WANTED TO SHARE
? ARE YOU PLAYING FOR THE ATTENTION? because once you get to a certain level you will get it!
I did for a long time and do you know what it did for my playing NOTHING!!!! MADE ME WORSE DO I LOVE TO PLAY NOT PERFORM
? DO YOU FIGHT WITH YOURSELF TO PRACTICE!! I had to dicipline myself and still do I did not have what my son has.
? DO YOU MAKE EXCUSES FOR YOUR LEVEL OF PLAYING. still do to this day but am I stopping yes I am, should I be getting lessons from Victor Wooten or Playing at a show with him??????????
THINK ABOUT WHERE YOU NEED TO GO, ALOT OF THIS IS A MENTAL THING IT HAS NOTHING TO DO WITH YOUR BASS AT ALL.
GOD BLESS.
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Man I know how your son feels. I use to be the same way about piano practice. I didn't really appreciate what my mom made me do until a couple of years ago.
I'm moving onto harmonic minor modes next. I'm still having a tough time remember all the names for them, but it'll come with time and patience.
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Let me know who is on the GAME AND WHO IS JUST WASTING TIME
AND I DO ALREDY KNOW WHOM IS JOKERS.
LEAVE A REPLY IF YOU LEARNED YOUR MODES IN AT LEAST 1 KEY AND IF YOU HEARD ANYTHING THAT YOU HAVE NOT BEFORE WITH THE CHORDS THAT I GAVE YOU.
HOW MANY GOT THE LOUIS JOHNSON BASS LINE DOWN , CLEAN ON TIME ECT
LET ME KNOW...
I know all of my modes in all keys as well as melodic minor, harmonic minor, major and minor penatonic, etc. But the main problem that I am having is where and how do I apply it in a song. I have developed an ear to find the key a song is played in, and when I find it I can tell if it is using a major or minor by the 3rd and the 6th, but I still don't understand where Dorian or Aeolian would come to play in that other than what I would be playing anyway...how do we construct runs around the modes into the song? That is what I don't understand bc I could practice my modes all day long and all it sounds like to me are scales (which they are) but it all means nothing if I cant use it in my playing.
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TAKE A SONG FIGURE OUT WHAT KEY/MODE IT IS IN AND PLAY AROUND THE CHORDS
TRY THAT FIRST I WILL POST A EXAMPLE
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Modal theory is all about improv. For instance, the Dorian mode (AKA: 2nd mode) is sometimes called the "Dorian minor." Why? Because in jazz, the ii (minor second) chord is extremely common and most soloists (especially on the upright) will solo in the dorian mode above the minor chord. Also, the entire mode is only different from the natural minor scale by one note.
Knowing modal theory is not a way to avoid more classic theory, instead it is a useful tangent from classic theory. The more theory that you learn the more you will see how the modes tie together.
I put together a thread about basic modes. You dudes who practice modes all the time should give it a quick look and see if you think that it is simple enough for a beginner to study (and make sure that I didn't screw something up -I already caught one mistake on my own!).
http://www.learngospelmusic.com/forums/index.php/topic,32656.0.html
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Good looking out CardFanDan...
I gonna take a look at that thread... My co-worker just gave me "Gig Bag Book of Bass Scales" too, so I will take a look at it when I get home as well.
Thanks again.
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THANKS FRET THERE ARE 12 MORE TO POST I WILL SEND THEM TO YOU THANKS AGAIN
Ok, I know some of you have been waiting for this one so here it is. On this page THE POST ABOVE BY FRET , you'll see all of the modes as you would play them on your guitar to make up a certain key.
I am going to show all of the modes in the key of E Aeolian first since it is a popular scale for blues, rock, and many other styles of music. I am not going to explain how the diagrams work here as you should understand them by the time you get to this lesson. If you do not understand the diagrams, there is a lesson on them in the first section.
So without further delay, here is the complete key of E Aeolian :
note : this is very important and must be learned
If you start on ANY note and move forward following this pattern of intervals, you will find the "ionian mode" (or the major scale) in your chosen key (the note you started on).
all of these notes are played using the E as your root note, then you will be playing E Aeolian.
As we talked about in the previous lesson, every modal scale you play actually contains seven different scales in seven different keys. Notice how the first note of Ionian falls on the G note. That would make that position G Ionian, and if you played all of the same notes for E Aeolian but used the G note as the root, the whole entire thing would become G Ionian. So what we have here is E Aeolian and six other modes that fall into different keys.
So E Aeolian actually includes these seven scales in thier respective keys :
1. E Aeolian
2. F# Locrian
3. G Ionian
4. A Dorian
5. B Phrygian
6. C Lydian
7. D MixolydiaN
THE LETTER REPRSENT THE MODE IN THE KEY OF E
A=AEOLIAN
I = IONIAN ECT.
AS IN MODE 1 EXAMP Notice the optional notes, you must choose one or the other. The notes with the dots in them are NOT the root notes, but rather "optional" notes. There are two in each position and they are the exact same note, so you must choose the one that is more comfortable for you and not
The 7 modal formulas will show us how the other scales relate to ionian. We will start off by assuming that ionian is :
1 2 3 4 5 6 7 1
One letter for each of the seven notes. By assuming this information, we can now label the other scales and have something to relate it to. I will explain further below.
The 7 modal formulas are :
IONIAN - 0 sharps, 0 flats 1 2 3 4 5 6 7 1
DORIAN - 2 flats 1 2 b3 4 5 6 b7 1
PHRYGIAN - 4 flats 1 b2 b3 4 5 b6 b7 1
LYDIAN - 1 sharp 1 2 3 #4 5 6 7 1
MIXOLYDIAN - 1 flat 1 2 3 4 5 6 b7 1
AEOLIAN - 3 flats 1 2 b3 4 5 b6 b7 1
LOCRIAN - 5 flats 1 b2 b3 4 b5 b6 b7 1
What this means is that to get dorian (which has two flats) you would take ionian and just flat the 3rd and 7th notes. This is because it will be all of the exact same notes as ionian EXCEPT for the 3rd and the 7th, as the chart above shows.
Its a good idea to have these formulas memorized, but I found them difficult to memorize this way. We will go on to "the order of flats" as covering that now seems to make this easier to remember.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, etc
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Now that we have looked at what this all means to the 'lehman', we can go on and learn a little more about the details of how this works.
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
So if you can remember the order that the flats come in, memorizing the modal formulas becomes much easier. Once you learn the order of flats, you should have a much better understanding of what makes each scale different, and why each one sounds the way it does.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, GOSPEL
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
PLEASE AND I AM ASKING NICELY PLEASE DO NOT HI JACK SOMEONES THREAD THAT IS WHAT CREATE TOPIC MEANS
I WOULD LOVE THE HELP BUT MODES WERE ON THE 1 PAGE OF THIS I AM MOVING FROM MELODIC MINOR TO HARMONIC
LAST POST WAS MELODIC MINOR
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Hello Thomas1168 I been trying to play the 4-string bass for over 2-years now I've taken one one lessons and I play in my church I also purchase a few books on how to play the bass guitar. I go on the net all the time looking for ways to learn more. I really feel that I'm missing something because I don't understand what tells me which notes to play, Example: If a song is in the key of C, based on the C-scale how do I know which notes to play in that scale?? I'm clueless. I always said that if I could learn how to figure out what to play then I wouldn't have to ask the key board player for notes. Can some body please help the brother out.
God bless
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WELCOME TO LGM
WHAT I AM POSTING HERE IS MORE ADVANCED, GO THE THE MUSIC THOERY POSTS ON THIS WEB SITE AND LOOK FOR POSTS BY T-BLOCK AWSOME POSTS ON BASIC MUSIC THEORY. THERE ARE FORMULAS TO BUILDING ALL OF YOUR SCALES NOT MATTER WHAT KEY YOU ARE IN.
LOOK AT T-BLOCKS POST THEY ARE GREAT
GOD BLESS
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I dont like alot of stickys but I will make this post one for a little while for the new people. Alot of information here.
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Man this thread is still going...gotta be some kind of record.
Thomas....
Just wanted you to know I ain't gone know where. If you look at my myspace calendar you'll see why.
I have to focus on upcoming events between know and December. September - P&W conference, October Franklin Grahm (Billy's son) rally, Noveber - Franklin Grahm - actuall event with One Accord. Not to mention every Sunday at church and Fridays with my own band. I'm gonna focus on playing with my friends for the rest of the year because I'm moving to Vegas in December and a lot of these cats I won't get to see again.
I have from January to March to polish up on technique, theory, reading etc because I have audition in January at UNLV. March I'll be at Gerald Veasley's Bass BootCamp. Gouche and Fitzgerald or one of the two should be there. Gerald just asked Maurice to come so that should be interesting. After March I plan on having a coming out party (not official) but I plan on seriously looking to get out there. I will travel to the bay area hopefully to get with Mr. Forrest (Gerald) from gospel chops. Gouche does some open sheds and I plan on hooking up with a few Bass BootCamp Alums to cutt and get cutt. After a full year I think I'll be ready to work with some artist.
So I have a plan, it's just moving from another country has it's own challenges, physically, mentally and spiritually.
Yall keep us lifted up in prayer!
T.J.
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March I'll be at Gerald Veasley's Bass BootCamp. Gouche and Fitzgerald or one of the two should be there. Gerald just asked Maurice to come so that should be interesting.
T.J.
I plan on going myself.
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Cool you'll have lots of fun. It's the most intense three days of bass'n I've ever expierenced. Hopefully a few more LGMers will represent. I've been hastling Gerald to get a gospel bassist to come. On the short list is:
Thaddeus Tribbett
Andrew Gouche
Maurice Fitzgerald
I'll keep you all posted on who's coming. I know that Adam Nitti, Bakithi Kamulu (spelled wrong), Gary Willis, Doug Wimbish, Jeff Schmidtz, Micheal Manring and few other bassist will be there. Besides, you'll learn enough from other campers. Last year Scott Ambush came through and Irvin Fryer formerly of the Philadelphia Eagles came through to minister to us...and he did minister. The bassist for his church in Jersey comes to camp every year too. Two years ago Victor Wooten came through and shocked everyone. I wasn't there for that one but I heard it was crazy. Because I give Gerald such a hard time he may get some current Eagles to come through just to spite me so we'll see. It's well worth the money!
T.J.
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Cool you'll have lots of fun. It's the most intense three days of bass'n I've ever expierenced. Hopefully a few more LGMers will represent. I've been hastling Gerald to get a gospel bassist to come. On the short list is:
Thaddeus Tribbett
Andrew Gouche
Maurice Fitzgerald
I'll keep you all posted on who's coming. I know that Adam Nitti, Bakithi Kamulu (spelled wrong), Gary Willis, Doug Wimbish, Jeff Schmidtz, Micheal Manring and few other bassist will be there. Besides, you'll learn enough from other campers. Last year Scott Ambush came through and Irvin Fryer formerly of the Philadelphia Eagles came through to minister to us...and he did minister. The bassist for his church in Jersey comes to camp every year too. Two years ago Victor Wooten came through and shocked everyone. I wasn't there for that one but I heard it was crazy. Because I give Gerald such a hard time he may get some current Eagles to come through just to spite me so we'll see. It's well worth the money!
T.J.
Definitely keep us posted on this ... I wanted to go last year, but it didn't work out. I can start saving now. ;D
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Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, etc
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
WoW ... this is good to know. I never thought of modes in this way. I was working on modes lastnight while watchin Norm Stockton's DVD. Thanks Thomas!!!
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Thank you Thomas!... I see you are a true musician and a teacher. Keep bringing I am listening and learning...
all right just finished lesson one, I already knew it but it was presented in a different way and I learned a few more things :)