Major 7 double stops

[Xanthis]

Seem to be having a small problem with major 7 double stops, when I do them I get a wobbly sort of sound like a vibrato or tremolo effect. It doesn't happen with any other interval and no one has mentioned it anywhere else so have you guys experienced this or is it something in my setup?

 

[Pacman]

It more than likely is because you're playing them too low in pitch. Try them in a higher register.

 

[Xanthis]

It happens all over the neck no matter what position, I don't mean that it gets muddy and undefined it sounds like a trem effect but only when both strings sound, if I mute one of the strings the effect stops and I just get a clean note

 

[FatStringer52]

Two things you might want to check out:

1) Is your bass properly intonated? The slight dissonance between the root and the Maj7 may be exaggerated if the intonation is off.

2) How high is your string action? If the string action is too high, you might be pulling it out of tune when you fret a note.

Just a couple of things for you to check and eliminate!

Hopefully, you'll get it solved soon . . .

 

[ProbablyTooLoud]

If you play that as a double stop with the root it will sound dissonant. There's nothing wrong with your bass. Try it on a piano or any app where there are basic interval lessons. You'll hear it there, too.

Intervals | Music Appreciation 1.

 

[Xanthis]

Just set the intonation, was only off by a few cents anyway still does it, then I saw probablytooloud post. I've just tried it on guitar and piano as well and they also pulse the same. 17 years playing and that's the first time I've heard it pulse, must be getting sensitive hearing in my old age

 

[LBS-bass]

If you play that as a double stop with the root it will sound dissonant. There's nothing wrong with your bass. Try it on a piano or any app where there are basic interval lessons. You'll hear it there, too.

Intervals | Music Appreciation 1.

This. You realize that if you play that major 7th note an octave lower it is a half step below your root. Playing a B with a C root will not harmonize well no matter where you play the B. It's not going to sound anything but dissonant played by itself.

 

[Les Fret]

Seem to be having a small problem with major 7 double stops, when I do them I get a wobbly sort of sound like a vibrato or tremolo effect. It doesn't happen with any other interval and no one has mentioned it anywhere else so have you guys experienced this or is it something in my setup?

Add the third to it and it will sound less dissonant.

 

[thunesBARROW]

Only play octaves and fifths. Avoid tritones as they may summon the devil.

 

[Richard_K]

Having the notes spread out helps to define the chord sound. For a Maj7, the root, 5th and 7th sound good together and they are not too difficult to finger/play simultaneously--left hand chord shape.

 

[Richard_K]

Although with the 1, V, IIV, I guess it would not be a double stop.

 

[blastoff]

just play the inversion which will be a minor 2nd ​

 

[Les Fret]

just play the inversion which will be a minor 2nd ​

Which sounds even more dissonant

 

[cheapimitation]

The wobble is due to coincident partials, and the speed of the wobble is dependent on range, strings, and tuning. These wobbles are most commonly called beats in tuning theory. Fretted basses are generally constructed to approach equal temperament, and no interval in ET is without beats (though octaves can be tuned close to sounding pure, and perfects fifths have a pretty slow beat).

 

[BBQisgood]

Seem to be having a small problem with major 7 double stops, when I do them I get a wobbly sort of sound like a vibrato or tremolo effect. It doesn't happen with any other interval and no one has mentioned it anywhere else so have you guys experienced this or is it something in my setup?

These are likely interference beats, or perhaps what would be a Tartini tone at a higher frequency.

Beats. From Physclips

edit: tune your g string up a half step and play it with an open a. You’ll hear the effect change if you tune back to g and then down to f#, it will change again.

 

[Ekulati]

Why do you think you need to play Maj7 double stops?

Sounds like you need to learn some to theory. And not from the internet...

 

[juggahnaught]

As others have said, this is natural. A lot of it has to do with the temperament of the instrument, but major and minor sevenths are notorious for having this problem simply due to the interval. You'll notice the same effect to a lesser extent with thirds and sixths in equal-tempered tuning. There are ways to fix this via tuning and intonation, but this will bring other problems with it.

Additionally - as others have said - the higher you play the interval, the less intrusive it will be. However, if you are playing an extended-range instrument with more than four strings, you can actually play a root and the seventh an octave above. On a five-string tuned BEADG, for instance, your root would fall on the B string (under your index finger) and the seventh would fall on the G string (under your pinky, four frets up). This is actually a part of a Maj7 voicing that I really like - root-fifth-third-seventh, with the third and seventh being in the octave above (starting on the tenth). It's very consonant.

If you play only a four-string, you're out of luck unless you also fret with your plucking hand or use tapping techniques.

Hope this helps.

Why do you think you need to play Maj7 double stops?

Sounds like you need to learn some to theory. And not from the internet...

Dude - if someone's trying to improve and move forward and stuff like this is all you can say, then you're the one who needs to learn something, not the OP. Attitudes like this don't help anyone and are just the worst.

 

[Xanthis]

The reason I need a maj7 double stop is because I'm rearranging classical pieces for solo bass, can't just get the piano to play it when it isn't there.

 

[thunesBARROW]

Maybe try a six string bass, or ADGC tuning. The thinner C string might provide a clearer timbre when you’re playing up high on the neck.

 

[Ekulati]

As others have said, this is natural. A lot of it has to do with the temperament of the instrument, but major and minor sevenths are notorious for having this problem simply due to the interval. You'll notice the same effect to a lesser extent with thirds and sixths in equal-tempered tuning. There are ways to fix this via tuning and intonation, but this will bring other problems with it.

Additionally - as others have said - the higher you play the interval, the less intrusive it will be. However, if you are playing an extended-range instrument with more than four strings, you can actually play a root and the seventh an octave above. On a five-string tuned BEADG, for instance, your root would fall on the B string (under your index finger) and the seventh would fall on the G string (under your pinky, four frets up). This is actually a part of a Maj7 voicing that I really like - root-fifth-third-seventh, with the third and seventh being in the octave above (starting on the tenth). It's very consonant.

If you play only a four-string, you're out of luck unless you also fret with your plucking hand or use tapping techniques.

Hope this helps.



Dude - if someone's trying to improve and move forward and stuff like this is all you can say, then you're the one who needs to learn something, not the OP. Attitudes like this don't help anyone and are just the worst.

Sorry but I've been playing and studying music for 53 years, have two music degrees, have taught theory in the UC (that's university of California) system, played music of many styles from classical to jazz, etc. played with a Grammy nominated artist, and not only on bass. And I have never encountered a Maj7 double stop in the bass voice of any standard (non avant garde, non experimental...) music.

I suppose it could be useful as some sort of chops building technical exercise but I can think of dozens of other exercises to work on before a Maj7 double stop. But yes, folks who can play those will get the gigs that require it.