Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Ideas for modes/scales behind funk/blues
- Thread starter CB3UK
- Start date
Well, strictly speaking, if they share too many of the same notes then Harmony doesn't happen; Unison happens.
Harmony happens when the lines combine to form intervals.
Sharing notes with the left hand and the right hand. Let's assume the right hands plays the melody and the left hand plays harmonzing notes, i.e. if they share some notes harmony happens and it sounds good..
video, explaininng which chord to use over the melody - Bing video
video, explaininng which chord to use over the melody - Bing video
Dirt simple is where I live.
video, explaininng which chord to use over the melody - Bing video
video, explaininng which chord to use over the melody - Bing video
Dirt simple is where I live.
Last edited:
Honestly It seems to me your issue needs less theory and more repertoire. You should dive deeply into the existing songs of your preferred genre, and learn a ton of the bass lines you dig. Break them down note by note, compare the notes to the chords of the tune, to the key, identify what arpeggios and scales are being outlined. Figure out how to play the same tune in different keys. It's all about building a large musical vocabulary. Each idea you dig into becomes a phrase in your musical toolkit. As mentioned there is no shortage of material for blues and funk.
Last edited:
Yeah, thats not a bad idea at all actually. I just need some new tools so to speak. Theory and knowledge arent the issue, I just find myself in a rut where i feel like I find myself overanalyzing my lines and want a fresh approach. We aren't a jam band, but there is certainly where we stretch out and have room. Trying to find new ways to say things so to speak when its my turn to step out.
Perhaps I'm misunderstanding your use of the word "share"
Hypothetical #1: Suppose both the left hand and the right hand are restricted to playing one of two pitches, let's say C and D.
Left hand plays D, right hand plays D. They're definitely sharing...but no "harmony" is happening there.
Left hand plays C, right hand plays C. They're definitely still sharing...but still no "harmony" is happening there.
Left hand plays D, right hand plays C. They're definitely sharing...because they're both borrowing from the same defined & restricted pitch class set. But is that "harmony"? Maybe... or maybe we need to define "harmony" as well as "sharing"?
Same for Left hand plays C, right hand plays D.
Hypothetical #2: Suppose the left hand is restricted to playing C, D, E, and Bb. And the right hand is restricted to playing Eb, Gb, and Ab.
Can we agree there's no "sharing" going on between left and right hands?
And yet...pretty much any combination of left and right hand pitch classes will yield "harmony". (Whether it is consonant harmony or dissonant harmony is a separate question.)
Just trying to make sure everyone's semantics are aligned.
Makes sense to me, Malcolm! For example if I play CEG chord with the left hand and CDEFGABC melody in the right hand, then I am creating "C Major harmony." You are always good at explaining this stuff.
