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b5/C?

#5
Of course, rules are there to be broken and you can play what you like - although don't expect it to sound like a decent bass line! ;)
If you want to sound like a bass player, you should be outlining the chord changes - you can't just play anything from within the key centre!!
 
#6
Garrett Mireles said:
I just meant if like, the guitars were playing Cmaj arpeggios and I felt like playing a double stop, would the F/B combo fit into that progression.

Basicly, would it still count as Cmaj, aside from sus4 and whatnot.
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Ok...that helps. Well, I never agree the the 4th is an avoid tone...depends on how you use it and what is resolves to. If the guitars are playing arpeggios then you should stick to the outlining of the chord as Bruce suggested.

But the real question is how does the FB double stop sound with the guitars...if you like what you hear go for it. Also, try some other combinations just to see how they might sound.

Matt
 
#10
Phil Smith said:
The real question is how does it sound against the other things that are being played. The context and the intent are more important than any of the so-called rules.
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Of course that's right - but the original poster asked the question : "would that be legit?" - which to me, says he wants to know about the "rules" - no matter how irrelevant they may seem in the context....? :hmm:

I mean, if he doesn't know what the rules are in the first place - he won't be able to deliberately break them!! ;)
 
#13
Slot said:
Go ahead then ....play a 4 against a 3 .....it'll sound like absolute rubbish ....its weak as pizz :P
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I think this is a valid point in Jazz, as Jazz pianists tend to build chord voicings on 3rd and 7th and emphasise these notes, so the 4th in a major chord will clash with the 3rd - semi-tone away.

In rock music, it's not necessarily the case, as guitarists - especially bad ones, tend to utilise 4ths, as they are easier to play!! ;)
 
#14
Howard K said:
yeah, agreed, i dont really get all this avoid note rubbish, i think the only avoid notes are the ones you dont want to play!
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Before you say you don't get it, go to a piano and voice a Maj7 chord, and play a perfect 4th with it. You'll see why it's an avoid note....
 
#17
Howard K said:
The 4 is an avoid tone in a major chord? Really?
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Sorry, missed this one.

yep.

Except in the case of a Lydian situation. #4/11 is A-ok. Lydian has no 'avoid' tones

And the 4 in natural Major is ok for passing tones, but passing tones and double stops held out in a low register are a different ball game.


Im not fond of the term "avoid note" either, it makes it sound illegal, when its not. But its called it for a reason, ie it sounds crapola and weak if not used with caution
 
#18
lemur821 said:
As a double stop, it would be questionable in almost any situation. A tritone, as it's called, is very dissonant, so handle with care.
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Tritones can sound great as double stops, depending how they're played. While I wouldn't use the one listed above (it's getting close to lower interval limits in that register), the always great G#/D at the 13th and 12th fret sounds great to imply the E7 chord. (the tritone is the 3rd and 7th of the chord...)
 

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