nottswarwick

[quote name='Doddy' post='595317' date='Sep 11 2009, 01:56 AM']If we are being technical about it, the VII chord is actually half diminished,as to make it fully diminished would require a double flat 7,(eg. C,bE,bG,bbB) while the diatonic VII chord only has a flat 7 ( C,bE,bG,bB).[/quote] Would that also be known as minor 7 flat 5? I was only talking about the triads, not an extended four note chord. Sorry.

[quote name='iamapirate' post='595253' date='Sep 10 2009, 11:47 PM']Not really. I know most of the stuff above and it's just about realising the names of the chords (and actually, it's easier than that - usually just if they're major or minor) and then seeing which 'key' or major scale uses them. And then if it's a sad song, call it minor and move what key you thought it was down 3 semitones. [/quote] lol alot more succinct than my effort. It is mostly good to think in terms of western music being derived form the major scale, (even in minor keys) - as mr iamapirate refers to, every major key has a relative minor, which is 3 semitones down, or put another way, the relative minor is chord Vi of the major. there are always exceptions, rules that are broken because it sounds good.

tait yes VII is diminshed. list the notes of the major scale and then under put crosses to work out each chord: For D major: D E F# G A B C# D E F# G A etc D F# A I D E G B II Em F# A C# III F#m G B D IV G A C# E V A B D F# VI Bm C# E G Vii C# min flat 5 (diminished triad)

ooo, I am not sure now pete. I though that the third of a harmonic minor was augmented (Making it F augmented, not F major as in the song)? And Sultans also has a chord of C Major in it, but the D harm minor has a C# as the 7th chord does it not? In saying D minor I mean D NATURAL minor (aka f major) which contains all the chords but not A major, hence the little key changes. AS he solos, he is using fmajor and or D min pentatonic, except over the A major chord as it does not fit, due to the fleating key changes. Hence me thinking the way I was. Please shoot me down and teach me tho if I am wrong please :-)

It is in D Major, as the key of D major will contain these chords: I D Maj II Emin III F#min IV G Maj V A Maj VI B min Hence if it only has F#Minor and E minor (I did not listen to the whole track), then as stated above it is in D major. You could solo using the D Major scale (other relative natural minor scale B minor - same notes). Even though it does not use the actual D Major (tonic) chord - songs do not have to use the tonic chord. Eg - Oye Como Va (Santana) - chords Aminor and D Major only, song oye como va is in G major This can be a bit confusing - all key follow the pattern as above: I major II minor III minor IV major V major VI minor (we will ignore 7 atm) This pattern is derived from the fact that all the chords in these sequences use only notes from the parent / key scale. So all you need to ever do is look at what chords are in a song and see what fits these rules. Sometimes they will not all fit. errrr,eg, Sultans of Swing is in F Major (or Rel minor D minor - same thing in essence) - Dm, C Bb F chords, but changes to Amajor at times for brief moments in the verses and first solo, with the inserting of the A Major chord . The keys F Maj / EDITED TO SAY D [i]NATURAL[/i] min use A minor chord, so the key changes briefly every time the A maj chord is used. Gives it a different feel, and you have to change the scales in the solo from F major to Amajor to fit over the A major chord. Also, the key of the song is not always the same as the root of the progression. Sweet Home Alabama is in G Major (key - except for the odd F chord), but could be said to resolve to the chord D (ie it sounds "home" when you end on that chord). So you can solo using G major scale, or D Major pentatonic. The Lynryd Skynrd solos use G major, which is why the second one can sound a little "odd", as the chord progressions seems to be rooted on D major.... Or in Kid Rock's version, Dminor pentatonic sections in the (wicked) solo make it sound dirty and bluesy. Think I might have gone off on a theory rant these, sorry. I can try to explain it again, if anyone actually cares lol. OP question answered - D Major Chris

cheers thanks for the nice words. Gonna do some more for my Youtube at some point soon, to use for my lessons, so I put them up here in case anyone is interested. Thansk Chris

lol these are on my facebook and that has been noted too there too lo

Just recorded these with my SR4. Was a biut distracted by my daughter running around out of shot, but have tried to lay it back like the great man himself. Not sure how successfully tho.. :-)

Thought I would post this up here - just some messing around using my Jamman looper, but of interest might be the tones from my upgraged Yamaha BBN4 bass - it has a set of SD basslines in it, with passive eq, and I think it sounds lovely. The bass cost me £180 ages ago, and the upgrade work (incl strap locks, good set up etc, and the parts, incl a custom made scratchplate, cast about £250. It honestly is now one of the nicest basses I own. The clip shows both pups together at first, then the bridge soloed, and then the neck at the end Cheers for looking Chris

Yeah, I was hanging my nose over a Tonehammer too. Would like to compare with the BDDI, which I know has itsdetractors re the scooped sound, but I really like it on 50/50 blend and a slight bass end roll off. It rocks with this rig.

dunno - Alex said he was sorting it this week :-)

yeah, seems good. Still want to try a Big One though.

So, here is a pic of the latest set up at last nights gig. This is a big-ish venue, high ceiling, seems to swallow your sound up. [attachment=32361:Photo_0001.jpg] Crap photo from my phone, sansamp on top of rack, and note strategically placed lager. I am running a Shure SLX wireles (not used last night), so bass into Korg DTR2 tuner, out of tuner into Sansamp BDDi, and then into the PA from the BDDI, and into the amp from the sansamp output. Littlemark 2, into Standard 104hf 8 ohm cab. I have angled the cab back using a markbass Markstand, and secured the rack (whihc is light anyway) with a couple of bungee cords. Th LM2 I set flat EQ wise, with a little VPF filter. Sansamp set to 50/50 blend, all other controls at 12:00 (,id point) with a slight roll off on the bass. SR4, flat with except for a slight boost in the treble. Tweeter fully on. Sounded awesome. Loud band, and tilted back I had no problem at all hearing myself. Sound was full, clear, punchy and gritty. Just thought I would share. :-) Chris

good question, I will be wanting to see how my LM2 does. In comparison with my 8 ohm Markbass 4*10, how load will the Big One be???

Stingray. For live use at least in my opinion. I am sure there are many equal or better, but I just find they work live better than anything else I have ever tried. Not so keen on the sound solo'd tho - prefer a jazz for that, but in the live setting, the Stingray is THE MAN I think

I use and teach floating. For all the reasons above. The one exception would be "disco octaves" - I find these easier to do if I anchor on the pickup.

ok mate, no problems

Alex, any news on the tour kicking off? Would love to try it at a particularly tricky venue on Sunday....

[url="http://www.youtube.com/watch?v=m7elX4Jb_gM"]Chic[/url] Awesome - this is why I play bass. He's using my bass too lol

Good luck - enjoy yourself. Chris

will do :-)

Here is my new/old rig. Shure Wireles into DTR2 into SAnsamp BDDI into LM2 into Standard 104HF Sounds monster. The bddi just ads something, and the DI on the LM2 is poor, so the Sansamp does this too. Cheers Chris

makes sense

On pro sound web PA forum, they reckon that you should stay out of clipping at all costs - for subs and tops. SO I kind of associate this with all amps. having said that, I used to run a Powermate 1000 to within an inch of its life night after night, clipping into a 2.67 ohm load, and it never missed a beat. Sold it. Wish I still had it.

cool, post one updated