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Bass chords/scales help

Since this is a theory thread, Id like to ask a theory related question before I open a new thread and I hope someone can answer.

I'm studying Aebersold's Nothin But Blues playalong and in one of the songs he suggests using a scale that I don't know.

The intervals go like this: RHWHWWWW and it should be played over a 7+9 chord. Can someone name that scale? Thanks
 
Since this is a theory thread, Id like to ask a theory related question before I open a new thread and I hope someone can answer.

I'm studying Aebersold's Nothin But Blues playalong and in one of the songs he suggests using a scale that I don't know.

The intervals go like this: RHWHWWWW and it should be played over a 7+9 chord. Can someone name that scale? Thanks

Altered Scale

http://en.wikipedia.org/wiki/Altered_scale
 
I've been told all about learning theory. Even got an e-mail from David Elefson telling me I should learn theory. But with that said, Most bass players don't know a whole lot about theory themselves. Take David Elefson for example, I don't believe he knew much about theory before he left Megadeth. When he left I believe he took some classes and learned music theory. Now that he is back in Megadeth he is more refined, more polished and some would say a waaay better player. I think he was great the way he played before.

BUT here is the reason all that technical, theory mumbojumbo is for the Jazz and Classical players. also for some Blues players and even some Rock players? In hard rock and heavy metal, all the technical, theory mumbojumbo just doesn't sound as good as that raw, unpolished, unrefined, untechniqued, untheoried sound. For example, take a look at Megadeth. Then take a look at any of the polished, technical, theoried players Like Malmsteen, Vai, Satriani, Blackmore, Les Paul, Eric Johnson, ect. With the exception of Blackmore All of the polished guys are solo acts. I don't think any of them have ever had a band. The theory is that no one wants a player like that in their band when they are first starting out. (However Megadeth now has Chris Broderick who is a classically trained, polished, theoried guitar player) Anyways, my question is this, who is the more popular act? Megadeth or the polished solo guys? Megadeth of course. And not many people site any of the polished guys as influences except maybe Blackmore and only because he was with Deep Purple and Rainbow of which are heavily influential bands. (Note: most of the famous guitar/bass player may be polished, refined, and theoried NOW but back in the day when they started in these bands they weren't polished, refined, and theoried. They were raw, unpolished, unrefined, and most of them probably didn't know theory from a hole in the wall)

With that being said, I took music lessons when I was a kid. I started out on the trombone in school and moved to the French Horn and then quit music in middle school and took up the guitar. I did lessons for a few years and then kind of went on my own. I switched to playing the bass after I realized how terrible of a guitar player I really am. I am all self taught on the bass as I've never really had the money for lessons. So I just learn through mostly the internet and watching video's and finding lessons and sites on how to play bass and I find what I want to know like the chords. The BIG problem that I have is finding other people to play with and I mean just sit down and play with without the worry of having to be really good. I've tried out for a few bands but most of them want me to be this polished, refined, bass player that can play like I was Jimi Hendrix or something. I think most bands nowadays lose site of whats really most important when playing in a band. Which is just playing music. I personally believe that it doesn't matter how good you are, if you fiddle around with your sound and practice together as a band you'll eventually come up with something and get better and get tighter and become a good band. Most bands I have tried out for don't think like that. They want someone to come in that can play everything in 5 minutes. They don't want someone they have to work with.

Ya know, I've read a lot of history on music and individual bands such as the Rolling Stones & KISS and what I have come to find out is that most rock bands before the 1980's were started because of the love of music. Didn't matter if anyone could play or not. They just wanted to play music. As long as you knew something, like a few chords on guitar or that you could hit one note on the bass, you were pretty much good to go. You got better as you played in the band and the band got better by playing together and practicing. But no one expected you to play like Jimi Hendrix or Cliff Burton. It was all about playing music and being in a band. Now days that attitude has gone out the window and in the trash. Never to be seen again it seems. I for one just don't like it. I really just want to play in a band and get better as a musician and not have all that technical mumbojumbo thrown at me right now. Is that even possible anymore?

Satriani is a great rhythm/lead player in a band setting. I dig his stuff with Chickenfoot. There's nothing sterile, academic, or overly polished there. Theory's the key that unlocks musical learning. Having a framework in which to analyze music harmonically from different genres provides a wellspring of novelty when you feel lazy or uninspired noodling around in pentatonic or blues scales. Even if you're a power-chord, eighth-note chugging rocker, knowing how to create dissonance and make chords resolve goes a long way toward writing music than can be both fun AND interesting to listen to. Balancing those is where the artistry comes in.

More often than not, I feel like there's this strain of anti-intellectualism in rock, metal, etc. That knowing why certain things sound correct somehow sucks the magic out of the music. It drives me nuts. I remember reading an interview with the guitarist from Screaming Trees back in the 90's and the dude said he literally got "dizzy" looking at chord diagrams. Not knowing theory is music illiteracy. If you're proud of your illiteracy and can function in bands, then I suppose embrace it and have fun. Otherwise you're closing a lot of doors for growth. Knowing what goes into a C7 chord doesn't make you a sell-out, less "authentic", or whatever words of derision spill forth from the mouths of the darlings of the music critics.

I've brought chord progressions to practice where literally no one had any idea how to translate what I was saying into notes on their instruments. I wanted to punch them in their dicks. "Ummm...that sounds cool. Can you show me what shape that chord is?"

Or if I say, "Dude, I have this cool idea. It's in C and it follows a ii-V-I jazz progression. Follow me for the rhythm and changes."

"Man, we're not a jazz band. Listening to jazz makes my head hurt."

"No, no, no. We're not playing bop."

"Uhhh...yeah. I'm not a theory guy, but I'm pretty sure there are no notes called 2, 5, or 1. Whatever. Let's just jam."

I was apoplectic at this point.

Knowing the language of music makes it easy to concisely express ideas to other people in your band. It's invaluable.
 
I agree with some of the previous post, today you can find anything on the web, definitions, lessons etc etc BUT, understand theory and HOW TO APPLY in the "real" bass life is another planet.
Find a teacher that as the key and the way and the passion, to teach this path it's not easy but is definitely the right solution! if you had already the knowledge and the know how to apply it than you can go ahead but just after you're solid on it and that's is the real point of all the matter.
I found a good one that follow and gave me the right method to study and apply what I get step after step, pushing me to listen every music style because bass heroes and not only, can be found every where but always keeping in mind my own bass voice without pretend to be like someone else.
Harmony is the same for any instruments and players but understand the bass prospective is not easy and I can tell you that, for me was so frustrating before, sometimes I wasn't able to understand some basic concepts, it's just like build a tower without solid basis.
After you start the right path and you have someone that guide you, each finish line will turn in a starting point and you'll see how your improvements get real.
 
BUT here is the reason all that technical, theory mumbojumbo is for the Jazz and Classical players. also for some Blues players and even some Rock players? In hard rock and heavy metal, all the technical, theory mumbojumbo just doesn't sound as good as that raw, unpolished, unrefined, untechniqued, untheoried sound. For example, take a look at Megadeth. Then take a look at any of the polished, technical, theoried players Like Malmsteen, Vai, Satriani, Blackmore, Les Paul, Eric Johnson, ect. With the exception of Blackmore All of the polished guys are solo acts. I don't think any of them have ever had a band. The theory is that no one wants a player like that in their band when they are first starting out.

Why does it have to be one or the other? The people that consider theory mumbojumbo generally sound like ass, the people that use theory and ONLY theory to produce music sound way to predictable. It is the people that use both theory and creativity to produce exceptional music. Ignoring theory because it doesnt sound as raw is like ignoring mathematics and science when trying to design a spaceship that isnt as raw as the wright flyer. You wanna take music to the next level? Theory will allow you to, pounding away on the keyboard with no direction will give you a slim chance of succeeding in going to the next level.
 
Up until then I mostly played scales and always had a hard time playing the bass and coming up with good solid lines.

Stop playing scales for a while and play arpeggios in all keys over the entire fingerboard. Get the sound of Major 7, Dom 7, minor 7, minor major 7 and diminished arpeggios solidly in your head to the point you can sing them easily. I could explain why you should do this but doing it yourself will reveal why to your ears a millions times better than some doofus writing on the interweb is likely to.

Theory explains in common terms what you're hearing, it doesn't show you what to play.
 
OP, theory can be compared to the alphabet. It is a tool to use as you see fit. Since when did knowing the alphabet and how to spell a word, stop a writer from writing a "raw, unpolished, and/or unrefined" (to use your own words) novel ?

If people are not creative, that is not the fault of theory, but of their own limitations. Dont shoot the messanger. ;)