Trying to learn theory using Hal Leonard's Complete Edition book. On pg 17 under"The Shift", # 21 shows a measure with two 1/2 notes, the 1st= G flat and the 2nd= F. Would the F be a flat as well since it's in the same measure? If so, why wouldn't it be shown as a E with a natural sign before it? I'm confused!
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HAL LEONARD BASS METHOD QUESTION
- Thread starter eeziebass
- Start date
I don't have my book on me right now, but from what I recall...
1st half note = G flat or F sharp => 2nd Fret E-string
2nd note = F => 1st Fret E-string
Unless there's some kind of accidental on there, there is no reason why the F should be shifted down a semi-tone.
I'll double check when I get home.
1st half note = G flat or F sharp => 2nd Fret E-string
2nd note = F => 1st Fret E-string
Unless there's some kind of accidental on there, there is no reason why the F should be shifted down a semi-tone.
I'll double check when I get home.
It's a fingering/reading exercise (not theory), just take the notes as they are.
If you play the exercise you'll see the logic of the sequence, the notes go up and then down. The enphasis is getting your fingers in shape and to learn where the notes are.
The first part of the book is mostly about learning notes on the fretboard, reading and fingering exercises, but little to nothing about intervals, scales, etc. It's hard to make sense of these beginning exercises (and explaining them) without basic theory, which is a flaw of this method imo.
If you really want to understand what you are doing you need to learn a bit more of theory: intervals and the major scale.
Otherwise just obey the method blindly for the time being, until more is revealed.
There are tons of resources on the net, you can try this one: http://www.studybass.com/lessons/basics/the-musical-alphabet/
If you play the exercise you'll see the logic of the sequence, the notes go up and then down. The enphasis is getting your fingers in shape and to learn where the notes are.
The first part of the book is mostly about learning notes on the fretboard, reading and fingering exercises, but little to nothing about intervals, scales, etc. It's hard to make sense of these beginning exercises (and explaining them) without basic theory, which is a flaw of this method imo.
If you really want to understand what you are doing you need to learn a bit more of theory: intervals and the major scale.
Otherwise just obey the method blindly for the time being, until more is revealed.
There are tons of resources on the net, you can try this one: http://www.studybass.com/lessons/basics/the-musical-alphabet/
I'd have to take a look at the book when I get home, but is there a key signature and does the key signature call for a flat F? If no to either then you don't flatten the F. You only flatten a note if the sheet music says it's flat for that measure or the key signature says it is. Otherwise just assume that it's natural.
Also, theory is good to learn, but at the beginning stage you don't want to frustrate someone with so much theory that they get turned off from playing. That's why Friedland's book eases the player into scales and theory rather than plops it down on their lap.
Also, theory is good to learn, but at the beginning stage you don't want to frustrate someone with so much theory that they get turned off from playing. That's why Friedland's book eases the player into scales and theory rather than plops it down on their lap.
Granted, but it depends on the person, in my case I always want to understand what or why I'm doing something, or I may get frustrated.
If eeziebass is inclined that way then he better do his homework. Otherwise he can follow the book without questioning.
I don't have the same Complete Edition as you but I do have Book 1 and looking at example 21:
Assuming the layout of the books is the same, at the top of the page it says a sharp or flat placed in front of a note affects every note on the same line or space in that measure.
The F that follows the G flat is not on the same line or space as the G flat so is not affected.
So to be fair to Ed Friedland he does provide the bit of theory that covers the situation.
Clear as mud?
Kevin
Assuming the layout of the books is the same, at the top of the page it says a sharp or flat placed in front of a note affects every note on the same line or space in that measure.
The F that follows the G flat is not on the same line or space as the G flat so is not affected.
So to be fair to Ed Friedland he does provide the bit of theory that covers the situation.
Clear as mud?
Kevin
