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Minor scale/mode theory question
- Thread starter Phaidrus
- Start date
It's an audiotool called Spectralayers which is included in Cubase. It's basically a frequency analysis tool in form of a heatmap. The Y-Axis shows the frequency\note (seen on the right border). X-Axis shows time (upper boarder). The louder a note\ frequencys the brighter it gets. However, it can do much more than that.
Re. modes and the old school roots dub gang: don't underestimate the breadth and depth of music knowledge in the Caribbean.
Not "some". It's me.
That Eb is a SOUND EFFECT and it's clearly pronounced as a NOTE.
And my comment clearly indicate the time on that track.
It's upsetting about my "bass brethren".
I'm not here to fight lame battles.
Listen, brethren.
Groove Master
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- Apr 22, 2011
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Yes indeed. Perfectly clear when you listen to the whole thing.
Or if there's a desire to look at it modally, it could be called D aeolian.
Or if there's a desire to look at it modally, it could be called D aeolian.
Don't encourage them.
LOL...I found the modes fun to learn but useless on a gig. I do know folks who use them but it often sounds like it. Chord theory is the way to go for less classically-based styles.Don't encourage them.
Right off the bat, I don't know of anything but much of Carol Kaye's information. Basically it's the idea that chords tell you exactly what to play on the strong beats, and everything else is a matter of taste when you use them. It involves learning the fretboard up and down and how chords are formed and how they can relate to other chords. Learn the basics first before you proceed onto further study. Readimg music and/or knowing how to plunk around on a keyboard helps immensely.
If you haven't learned them, yes. But if you have, time to move onto more complex chords like augmented, diminished, and suspended chords. It can get a little complex at times, and if it gets too strange, I generally stick to the root
If you haven't learned them, yes. But if you have, time to move onto more complex chords like augmented, diminished, and suspended chords. It can get a little complex at times, and if it gets too strange, I generally stick to the root
Yes, the root saves!
This is a terrible example to use to learn music theory. Just saying.
Here is a simple example I would suggest transcribing and kearning how jazz theory can make you a better bass player. Post your questions here.
Here is a simple example I would suggest transcribing and kearning how jazz theory can make you a better bass player. Post your questions here.
Read the chord from left to right and get as many chord tones into the bass line as your skill level will allow -- or the song needs.If you haven't learned them, yes. But if you have, time to move onto more complex chords like augmented, diminished, and suspended chords. It can get a little complex at times, and if it gets too strange, I generally stick to the root
A good ole root or root five will play a lot of bass.
Nice convenient list. One point, though: Some of the dim7 chords are technically misspelled. For instance, Cdim7 is technically C Eb Gb Bbb, and Fdim7 is F Ab Cb Ebb. (See also Gdim7, Ddim7, and Bbdim7.)
I know lots of folks don't like seeing Fb and Cb, and scarcely anyone ever wants to see a double flat, let alone write one, but these things do exist. Showing the correct (if tiresome) spellings would clarify the way in which the chords are derived. Maybe the more convenient enharmonic spelling(s) could be added in parentheses after the clunky correct ones.
Just don't make everyone lose their mind by telling them that if you learn modes, you also learn how to construct chords.
