Deviating from the scale.

[Barfy]

Just this morning I was working on a bass line, in the (hexatonic?) minor blues scale, key of G#. It goes something like this:

G|----------------------------------------------------
D|----------------------------------------------------
A|-------------------------9-9--9-9-11---9----0------
E|---4--4-4-7---9-10--11------------------11---------

The last note (A) is minor second (b2). It ain't on the minor blues scale (it does feature prominently on the phrygian scale). Basically, I pluck the open A and let it sustain for a moment as my left hand travels back to G#.

Is this kosher?

Well, I'm presuming that it is, but I feel I need to know what the line is between "added flavor" and "pushing your luck."

Regarding the above bass line, ought I have the guitarist whack out some weird diminished A chord on the high strings to go with it, or something like that? Or could the guitarist stick strictly to the minor blues scale without that b2 sounding too sour?

My general question is this: I presume some deviation (like the above example) is fine, but when is it too much? Is it something one wouldn't want to make a habit out of?

[Earthday]

Scales aren't a rule, they're just a tool. It depends what the other instruments are doing and if it blends well with them. If it sounds good, it's good.

I can't say for sure without hearing it, but it could just be functioning as a chromatic approach note back to the G#.

[Barfy]

Originally Posted by Earthday

Scales aren't a rule, they're just a tool. It depends what the other instruments are doing and if it blends well with them. If it sounds good, it's good.

I can't say for sure without hearing it, but it could just be functioning as a chromatic approach note back to the G#.

Two fuctions: 1. what you just said, because that's how it started; 2. to hopefully make someone in the audience go or (as opposed to or ) when it hits them outta nowhere.

[JTE]

There are only two rules of music theory that are inviolate, and they're related closely to each other.

A. If it sounds right, it IS right
B. If it sounds wrong, it IS wrong.

All the "rules" of theory that we espouse are merely descriptions of things that work right most of the time. They help us to organize thoughts and to communicate to other musicians. There are "rules" about playing a minor third over a major chord, except any blues based stuff will break that rule. There are rules about playing parallel fifths, except anyone playing what are commonly called "power chords" violates that one all the time. See where this is going?

Now the interesting part is who's defining "right" and "wrong".

John

[standupright]

i just tried to play what you tabbed out and it's not making much sense to me. what type of blues pattern are you after and what style? where is what you tabbed located in within that?

[Barfy]

Well, I don't really know that it's too good for the blues. I don't have my bass with me right now (I'm @ work ), but from what I remember of this morning, it seems like I was unconsciously influenced by the Munsters theme... has that kind of "old B-grade horror" vibe to it. You know, evil clown tip-toeing down the hallway with a hatchet...

Also, I think I fudged the tabbing a bit.

It should go:



G|---------------------------------------------------------
D|---------------------------------------------------------
A|-----------------------------9-9--9-9---11---9-----0----
E|---4---4-4-7---9-10--11------------------------11-------

G# B C# D Eb F# 8 F# Eb A


Okay, that should be how it goes.

[CoffeeJanitor]

Originally Posted by Barfy

Well, I don't really know that it's too good for the blues. I don't have my bass with me right now (I'm @ work ), but from what I remember of this morning, it seems like I was unconsciously influenced by the Munsters theme... has that kind of "old B-grade horror" vibe to it. You know, evil clown tip-toeing down the hallway with a hatchet...

Also, I think I fudged the tabbing a bit.

It should go:



G|---------------------------------------------------------
D|---------------------------------------------------------
A|-----------------------------9-9--9-9---11---9-----0----
E|---4---4-4-7---9-10--11------------------------11-------

G# B C# D Eb F# 8 F# Eb A


Okay, that should be how it goes.

Hey man you do know that you don't have to go all the away up the neck, right? You can just map the rest of the line from C# on to the A and D strings.

If you're playing it like that to get a certain sound then all power to ya.

[Barfy]

Originally Posted by CoffeeJanitor

If you're playing it like that to get a certain sound then all power to ya.

I was in this instance.

1. Makes it easier to hit the A while transitioning back to the root. Or at least it felt that way.

2. My main bass is a fretless. I figured that maybe a wee slide between the root (fourth fret of E string) and the 4th (ninth fret), waving "hi" at the minor 3rd (seventh fret) as I pass by, is something that can be thrown in.

Also, generally speaking, I like how it sounds when I hit an open string while my left hand is poking around higher up on the fret board. You get that more thin, muted sound that then gets punctuated by a deep open sound out of the blue.

"dee-de-dee-dee-dee-de-DARNG" is how I would liken it.