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So what do YOU call this scale?

#87
Spin Doctor said:
You might as well pile on
Click to expand...

Hey Spin! Long time, no see.


My take on this scale is it has 8 notes, and three consecutive half steps.
The sweet spot for scales is 5 to 7 notes or 8 if you spread em out as a symetrical scale.
Less than 5 notes leaves too many gaps, 9 to 12 notes is too crowded and gives you ore than 2 consecutive semitones.

Having three consecutive notes presents problems harmonically that are beyond my pay grade.. I prefer to think of these scales as a parent scale with an added passing tone, rather than a brand new scale.

So a Bebop Dominant Scale as a dominant scale with an added passing note (the Maj 7).

I believe theory is something I use to improve my understanding of the music. I was trying to construct better basslines for Duke Ellington and theory explained why what I discovered sounded good. Another bass player might play the same substitutions ( no roots) and never realize what they were doing.
 
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#88
IamGroot said:
Hey Spin! Long time, no see.


My take on this scale is it has 8 notes, and three consecutive half steps.
The sweet spot for scales is 5 to 7 notes or 8 if you spread em out as a symetrical scale.
Less than 5 notes leaves too many gaps, 9 to 12 notes is too crowded and gives you ore than 2 consecutive semitones.

Having three consecutive notes presents problems harmonically that are beyond my pay grade.. I prefer to think of these scales as a parent scale with an added passing tone, rather than a brand new scale.

So a Bebop Dominant Scale as a dominant scale with an added passing note (the Maj 7).

I believe theory is something I use to improve my understanding of the music. I was trying to construct better basslines for Duke Ellington and theory explained why what I discovered sounded good. Another bass player might play the same substitutions ( no roots) and never realize what they were doing.
Click to expand...
Theory is absolutely important and can explain a lot, but when it comes down to it your ear is always going to be your greatest asset.
 
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#90
IamGroot said:
Yes, Very true.

But realize that not everybody hears things the same way you do. Go sit with some orchestral double bass players and and you may be surprised.
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I don't really want everybody to hear the same way that I do. I think music would be pretty boring if everyone heard everything the same way.

The differences in music comes from the differences in people. Assuming of course the people are playing within the framework of the song.
 
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#92
lermgalieu said:
I typically hear that natural 7 used as a passing tone, and as such wouldn't really think of it as part of the scale per se.
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Usable by leading in from the M6-m7-M7. Same with m3-M3

In addition to the blues note, one I just love to throw in is dim2 at the end of a phrase. Then swing back through your lead notes of M6-m7-M7-1.

If you lead to the dim2 from a 5, it echoes the tritone interval of the 1-aug4
 

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