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02-09-2013, 10:03 AM
| | Registered User | | Join Date: Oct 2008 Location: Cape Fear! | | Bainbridge: Thanks for that musictheory.net link. Looks like a great site even if it is in treble clef. Fortunately I already know how to read that. Even so the info is great and well put together. |
02-10-2013, 04:51 AM
| | | | If you need practice with other clefs, go to the exercises page. No French violin clef or subbass clef, unfortunately, but I think what they have there will get the job done. |
02-10-2013, 07:56 AM
| | Registered User | | Join Date: Oct 2012 Location: Brisbane, Australia | | I'd forget about modes altogether. Chord inversions are important to understand for a guitarist, or a piano player, but playing bass, you're really just talking about harmony - the notes of the chords you're playing over - why overcomplicate it? Just my opinion of course (and you know what they say about those).  |
02-10-2013, 09:22 PM
| | | | ^ I think you got a little sidetracked. Chord inversions are especially important for bassists to understand. Take a I V I progression. You could get away with a bassline that goes 1 5 1, but do that for long enough and it'll sound like polka. A more melodic bassline would be something like 1 2 3, which would result in the chord progression I V6/4 I6. It's the same harmony, but the bass movement is not as straight. |
02-10-2013, 10:12 PM
| | | Quote:
Originally Posted by MarkMgibson  I'd forget about modes altogether. | Agreed. I'd wager that 90% of bassists here who ask about modes never actually play modal music. Quote:
Originally Posted by MarkMgibson Chord inversions are important to understand for a guitarist, or a piano player, but playing bass, you're really just talking about harmony - the notes of the chords you're playing over - why overcomplicate it? | Well, you knew this was coming. I have to vehemently disagree. The role of bass has come a long way since doo-wop, and we need to embrace the concept of voicings and inversions as a matter of course.
Given a simple chord progression of
CMaj7 GMaj7 Amin FMaj7 G7
simply playing the notes C G A F G is akin to regressing to the 1950s. Sure, in certain applications, it's the right line for the tune, but in most music today, we want to move the music and avoid "root boredom" for both ourselves and the audience. A "hipper" line would be:
C B A C B. A simple example of a very complicated subject.
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02-11-2013, 03:10 AM
| | Registered User | | Join Date: Oct 2012 Location: Brisbane, Australia | | Quote:
Originally Posted by FretlessMainly Agreed. I'd wager that 90% of bassists here who ask about modes never actually play modal music.
Well, you knew this was coming. I have to vehemently disagree. The role of bass has come a long way since doo-wop, and we need to embrace the concept of voicings and inversions as a matter of course.
Given a simple chord progression of
CMaj7 GMaj7 Amin FMaj7 G7
simply playing the notes C G A F G is akin to regressing to the 1950s. Sure, in certain applications, it's the right line for the tune, but in most music today, we want to move the music and avoid "root boredom" for both ourselves and the audience. A "hipper" line would be:
C B A C B. A simple example of a very complicated subject. | I don't disagree with you at all, maybe it's just the terminology that seems odd to me. Bass players don't often play chords, as such, so using the term "chord inversions" seems an odd way of describing what you're talking about. I just call that harmony (or chord tones), but I know terms and teaching methods differ in terms of time and location.
On a guitar, a chord inversion usually means playing a chord with the bass note other than the root. On a piano, it means little, as chords are played that way so often. For a bass player, I'm not sure what the term means, but then I'm not much a bass player, so maybe that's my fault. |
02-11-2013, 03:53 AM
|  | Registered User | | Join Date: Jan 2013 Location: London, UK | | | Bainbridge, thanks again man, informative as always!
Its great to have people with your knowledge posting on TB! |
02-11-2013, 04:56 AM
| | Registered User | | Join Date: Oct 2008 Location: Cape Fear! | | Quote:
Originally Posted by FretlessMainly Agreed. I'd wager that 90% of bassists here who ask about modes never actually play modal music.
Well, you knew this was coming. I have to vehemently disagree. The role of bass has come a long way since doo-wop, and we need to embrace the concept of voicings and inversions as a matter of course.
Given a simple chord progression of
CMaj7 GMaj7 Amin FMaj7 G7
simply playing the notes C G A F G is akin to regressing to the 1950s. Sure, in certain applications, it's the right line for the tune, but in most music today, we want to move the music and avoid "root boredom" for both ourselves and the audience. A "hipper" line would be:
C B A C B. A simple example of a very complicated subject. | Thank you for that. I am a root player that is trying to figure out how to get out of the box for anything but fills and licks! | | Thread Tools | Search this Thread | | | | 
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