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Thunderbird Club

I quit a band last year and the BL threatened to sue me if I badmouthed him around town.
I replied by thanking him for making me realize that I had reached a point in my musical career where something I might say could influence another musician.
He can't sue you for speaking the truth.
 
Well that's the thing isn't it Mark. I can understand venues not wanting to move large cabs around or have them loaded in/out during shows or redoing mic setups or whatever. But saying 'you can't sit your amp here and connect it to the house cab' smacks of complete lack of interest in actual music. What next? You have to use the house Jazz bass*?

*Sorry, was playing 'fantasy pedalboard' and looking at preamp pedal demos last night and they were all done with Js. Okay, that's what it sounds like with a J, all well and good, now what does it sound like with something else?
Ya mean a real bass?
 
Aeolian dominant scale
From Wikipedia, the free encyclopedia


Jump to navigation Jump to search
Aeolian dominant scale
Modes I, II, III, IV, V, VI, VII
Component pitches
C, D, E, F, G, A♭, B♭
Qualities
Number of pitch classes
7
Forte number 7-34
Complement 5-34
The Aeolian dominant scale (also known as the Hindu scale, the Mixolydian ♭6 [or ♭13], Aeolian major,[1] and melodic major[2]) is the fifth mode of the melodic minor scale. It is named such because its sound derives from having a dominant seventh chord on the tonic in the context of what is otherwise the Aeolian mode and because it is on the fifth degree of the melodic minor scale.

This scale can also be obtained by raising the third degree of the natural minor scale.

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The name melodic major also refers to the combined scale that proceeds as natural major ascending and as Aeolian dominant descending.[3]

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The Mask of Zorro song "I Want to Spend My Lifetime Loving You", was composed in the Aeolian dominant scale mode. It was written by film composer James Horner.[citation needed]

See also[edit]
Backdoor cadence

References[edit]
Oh dear, over and beyond my musical theory intelligence.
 
Aeolian dominant scale
From Wikipedia, the free encyclopedia


Jump to navigation Jump to search
Aeolian dominant scale
Modes I, II, III, IV, V, VI, VII
Component pitches
C, D, E, F, G, A♭, B♭
Qualities
Number of pitch classes
7
Forte number 7-34
Complement 5-34
The Aeolian dominant scale (also known as the Hindu scale, the Mixolydian ♭6 [or ♭13], Aeolian major,[1] and melodic major[2]) is the fifth mode of the melodic minor scale. It is named such because its sound derives from having a dominant seventh chord on the tonic in the context of what is otherwise the Aeolian mode and because it is on the fifth degree of the melodic minor scale.

This scale can also be obtained by raising the third degree of the natural minor scale.

View attachment 3683598


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The name melodic major also refers to the combined scale that proceeds as natural major ascending and as Aeolian dominant descending.[3]

View attachment 3683599


0:00


The Mask of Zorro song "I Want to Spend My Lifetime Loving You", was composed in the Aeolian dominant scale mode. It was written by film composer James Horner.[citation needed]

See also[edit]
Backdoor cadence

References[edit]
Oh dear, over and beyond my musical theory intelligence.
Awesome. I haven't dealt with modes/theory in years. I've started giving lessons at the store I taught at years ago and started in on modes with a student (I have two!). It's putting me on the spot- I have to study up!
I never got quite that far though! But why not? It's just a system... when it gets this complicated it's only using information that's already present. No new guests at the party, they're just mingling.
Thankfully, music is for the ears, not the pencil.
 
None of the venues here provide anything-including PA.
It is mixed around here. Some clubs have found a niche in providing live music. They don't view us as necessary evils. Festivals are my favorite gigs. Except for one time when they cranked up a car show with a DJ behind the main stage. The DJ speaker stacks pointed at the back of the stage so I was hearing really crappy mp3's mixed with my monitors along with the back bass rumble from the mains.
 
Speaking of "variables". I have been watching videos on YT for guitar pickup comparisons, looking at Duncan and Dimarzio neck position humbuckers. In quite a few video's the guitars are not even the same type that are used for the comparison. You will have a Strat type vs an LP type each with one company's pickup in guitar X, the other company's in guitar Y. Some people do point out that it is not a true comparison because of so many differences between the guitars and the pickups are not swapped between the guitars. Others rave about how this pickup sounded much better in guitar X than the pickup in guitar Y and they must rush out to buy it. How can so many people not understand what a "comparison" really means?

Most people should study economics if for no other reason than to understand* the term ceteris paribus**

* understand the concept, not just the translation.

** the translation is all else being equal.***

*** and more latin should be taught in schools.
 
Awesome. I haven't dealt with modes/theory in years. I've started giving lessons at the store I taught at years ago and started in on modes with a student (I have two!). It's putting me on the spot- I have to study up!
I never got quite that far though! But why not? It's just a system... when it gets this complicated it's only using information that's already present. No new guests at the party, they're just mingling.
Thankfully, music is for the ears, not the pencil.
Theory is there to explain why things sound good. Not as a means of making things sound good.

I am reminded of the old joke about the economist - "Oh sure it works in practice, but how is the theory?"