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Groove Master
Commercial User
- Apr 22, 2011
- 1,808
- 1,291
- Disclosures
- Author of Groove 101, Slap 101 and Technique 101
That is the problem here. 10 pages of nothing when it was already answered on post #2......
The Phrygians were an important empire, reaching their peak under the famous King Midas. later, they got their butts kicked and were annexed by the Lydians. The Lydians demoted their 2nds, 3rds, 6ths and 7ths, but the 5ths remained unscathed. And so, Phyrgia became a minor province.
I've only recently gotten involved with theory discussions, but I think I've noticed a pattern:
- Only a few electric bassists actually know enough about theory to answer the questions.
- Correct answers get ignored.
- People with some theory knowledge are giving partial or downright wrong answers that outnumber correct answers.
Respectfully, I have to disagree. The 'lingo', as you put it, has evolved to describe things in the most succinct way - descibing things any other way for the purpose of simplification actually causes confusion, as we see pretty much every time these questions arise. It's better in the long run to go back and clear up the basics first, IMHO.
Yes to your main points, but if you've ever seen the roasting most EB players get over there on the DB side you'll understand folks' reluctance to go there... Perhaps they've seen the way we end up turning on ourselves rather than showing a willingness to learn that dampens their enthusiasm for EB players...
That's TB Bass Guitar Forum in a nutshell. Lots of different "experts" floating around here. Music theory 101 questions should be pretty black and white, but there are folks here that want to debate whether you need any musical training at all to play well, so it follows it is hard to cut through the static.
On the positive side, I had a speaker question and I was blown away by the high level of technical competence over in that forum. Most of the players over there even agreed that player X was the person who's opinion count on that technical matter. Maybe something like that will happen over here.
BTW, this site blows me away for excellent theory info that you can use. Invalid Link Removed
Oh, yes.
One of the most important things to remember going "to the other side"
, is that MOST of those DB participants are working as Music teachers, professors, etc...; therefore, they have a VERY "stubborn(?)" and superbly-crystallized, and neatly stacked excellent Music knowledge (of the PAST) - Music theory is their Bread and Butter - and, usually, any new ideas are TOTALLY rejected and laughed at, with one or two exceptions of TB members - Chris Fitzgerald and Don Kasper.By the way, what is the key signature of a 12 Bar Blues in F(7)?
[QUOTE="Whousedtoplay,
By the way, what is the key signature of a 12 Bar Blues in F(7)?[/QUOTE]
I remember that thread. 1flat
By the way, what is the key signature of a 12 Bar Blues in F(7)?
[/QUOTE]I remember that thread. 1flat
At least, a lot more people there actually know what they are talking about.One of the most important things to remember going "to the other side"
Usually (and this thread is no exception) the correct answer is given in the first few replies. But it's still fun to continue the conversation. I like these theory discussions. It's so interesting to see how someone else can have a fundamentally different understanding of a concept. Even questions that seem totally "obvious" to me, like "What is the key signature of an F Major blues?" (F Major, obviously) or "What do you call an Eb Major scale starting on G?" (Eb Major, duh!) have provoked some really unexpected and fascinating ideas. I enjoy geeking out on this stuff and am glad we have a venue to do that.
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As I've said, most of those excellent DB players are not only playing some "serious" Jazz but also are working as Music Teachers, professors, etc... And those highly-skillful and experienced have their strong opinions about this or that Music "fact". Let's say, Don does not like "chromatic" notes.
Here is Don's another statement about the bass line from Ella Fitzgerald' "All the things you are".
"I just listened to Ella's 1964 recording (the Nelson Riddle version) m.#8 above (m.32 of the form) is a clear Bb7 (transposed to the usual key of Abmaj).
So the bassist is clearly outlining a Bb tonality (Bb,C,D,Bb/D).
It makes NO sense whatsoever to transcribe and analyze bass lines without knowing EXACTLY what (chord/voicing/harmony) is occurring at that very moment."
Music theory discussions here often remind me of the eastern parable of the blind men and the elephant.
Typically there's only 7 out of 12 notes to be considered
but there's thousands of ways to consider them
no one view can be completely true in all cases
the more you generalize ("if it sounds good it is good")
the less pragmatic and useful the answer is
that's why context matters the most.
Typically there's only 7 out of 12 notes to be considered
but there's thousands of ways to consider them
no one view can be completely true in all cases
the more you generalize ("if it sounds good it is good")
the less pragmatic and useful the answer is
that's why context matters the most.
You are a fun "destroyer".
What about other 175 emotional comments?drool
Just think about those "disenfranchised" TB members.
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