Dad3353

Good morning, SS , and ... Plenty to read and amuse you here, and lots to learn and share. Hope things are looking up for you.

All my ex-floozies Did me down low But now I see clearly I'm past that, and how..!

The trick about writing good lyrics Is to just use your sense of empirics When you come to use 'Orange' You'll just have to write 'Sporange' You'll have everyone in hysterics.

That's interesting..! To me, it sounds just like the 'Hounslow' (pronounced locally as 'arnsler'...) pronunciation of the word 'subtle': su-ul..! Quite different to the Soul version we normally use. As it's now officially Bejing, formally Peking, maybe Su-ul could be adopted by Auntie Beeb for Seoul..?

And the winner is... Lurksalot..! Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2018_10.pdf ... which looks like this (but bigger, of course..!)...

If only I could skate.

Wish I'd know earlier...

I read this from the Original Post ... '...My love of the instrument however, leads me, at regular intervals, down the path to improving my knowledge of the scales / modes and the theory connecting them to the relative chords...' Seems fine to me to have a look at any and all things that interest the fellow, no..? Not saying that chord tones etc are not important, nor worthy of study, but there's a whole world just over the horizon, just waiting for the curious. None of it is a waste of time, if one's motivated and keen. Just my view on things, of course.

The immediate answer to the question above is 'No, you haven't.' However, once you've understood the lesson, and are happy playing it with confidence, yes, you can move up a couple of frets and play the same stuff in another key. No sweat, eh..? Once you're happy with playing 'em both, choose another key (not necessarily two frets up, but it could be...), rinse and repeat. You'll then have three of 'em nailed. Not bad, eh..? It might take a few days, or a few weeks; that depends. However, in doing that (and knowing which key is which...), it'll probably 'click' ('light-bulb' moment...) that you can in fact, do the same anywhere on the neck, and you'll already know what's happening. No need to 'study' each one in isolation, just one or two and the others will sort themselves out. Don't look to the summit of that mountain, just to the next low ridge to cross. Before you know it, you'll be at the summit. Bravo..!

I think I'll pass on that one, thank you very much.

You're new here, aren't you..?

Good morning, Mihran (or Andi, or Ultradust; s'all good...) , and ... Plenty to read and amuse you here, and lots to learn and share.

I'll wager that that causes quite some confusion, no..? Both luthiers..! What a coincidence..!

Subs are not necessary for micing a drum kit, especially for smaller venues such as typical pubs and the like. One mic in the bass drum, another perched for overhead, and that's all. Have them go to FOH, turned up just enough to hear them, and no more. The idea is not to create festival chest-heaving lows, but simply integration of the whole kit (not simply the bass drum...) into the overall band sound. The principal role of the PA is still to carry the vocals, and a smidgen of drums in the tops shouldn't be so loud as to hinder this. Unless your repertoire is very unconventional, there's absolutely no need to have an overpowering bass drum in there at all, and any decent drummer would recognise this and play accordingly.

If his bass drum is indeed pumping out an Eb, I hope your repertoire is suitably tuned to cope with that. It's not going to fit in well with a great deal of music, but if that's the sort of 'drone' he's wanting to play, better find a repertoire to fit. Never heard of having a personal PA for drums at all, so for the bass drum alone..?

Fixed now.

For those in a hurry, here's the whole challenge in one foul swoop ...

Voted.

Good morning, Phil , and ... Plenty to read and amuse you here, and lots to learn and share.

From Wikipedia ... ... "Treasure" was written by Bruno Mars, Philip Lawrence, Ari Levine and Phredley Brown. Mars, Lawrence and Levine form The Smeezingtons; they produced the song under that name. According to the digital sheet music, the song was composed in common time and in the key of E♭ major with a tempo of 112 beats per minute. The chord progression of A♭M7–(Gm7)–Fm7–Gm7–Cm–(B♭) repeats throughout the song, changing only to end phrases on B♭9sus (A♭/B♭), a deceptive cadence. Mars' vocals range from the low note of B♭3 to the high note of E♭5. Its instrumentation comes from the guitar, piano, electronic keyboard and bass. ...

Our daughter sings in a Parisien chorale; they've just started rehearsals for putting this on next year. From the 'teaser' she sent me, it promises to be a splendid evening; their last show was tops.