The Jaywalker

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[quote name='bassace' timestamp='1478879388' post='3172361'] Careful. The Remic Studio mic is liked by the TB guys but this live version less so. I've no first hand experience but our friends across the pond are just that bit ahead of the curve and their opinions are worth taking seriously. [/quote] I'm in agreement here. Whilst I don't agree at all that TB folks are "ahead of the curve" they do tend towards using decent equipment and don't appear to regularly sing the praises of £30 piezos... (unless that's what ambient was hinting at in a gentle way :-) ) I'm sure it's a very good system - probably a bit over priced; but good gear often is, sadly. There are exceptions, but like as not we get what we pay for.

[quote name='fiatcoupe432' timestamp='1475009209' post='3142335'] Hi everyone , want to learn improvise , have an understanding what scales to use when..... Where shall I start? Thanks in advance [/quote] What style of music? The answer to your post could be simple or complex depending on the music you want to play.

Sounds good! That's definitely getting checked out ;-) Even my dog loves Kenny Wheeler. Which is true - tail wags, chilled out....

Yeah, you've pretty much said the same thing, esp with regard to Harmony/chord scales etc. I really dig how there's different ways to arrive at the same info, using a Harmonic or melodic route with these chords. The "temporary tonicisation" is the way some Classical theory approaches it; largely I think because of their obsession with formal cadences, 4 part SATB harmony and the fact that Classical theory is "on the page" (just look at the pig's ear they make if naming intervals!) - it's a dominant chord, so on paper it must be resolving to a tonic to some extent. Later periods, and obviously in Jazz, we tend to be more comfortable with them being part of the key; as they clearly don't "sound" like a modulation in the way we deal with Harmony. Gary Peacock has some nice stuff about this in his video; where he talks about a C7 having a particular relationship within different keys and how to approach it. It's why the Dixie "ear" player will know he's in C, so only add a G# to his lines on an E7 - and sound way more coherent than the mixolydian nightmare dude who's been on an Aebersold course! ;-)

Never used the Dyn-B; but according to Schertler it's an improvement on the old model. I guess they would say that... Old one was 15v phantom, this one is 48v. I've used the Stat-B for years. Great pickup, head and shoulders above most and easily one of the best on the market. Can be a bit peaky on amplifying the attack, esp if it goes FOH. Current amp is an SR tech BB300. Great little amp - really clear and hi-fi. Only gripe is the 30hz frequency response which is totally unnecessary for DB. I mostly have the bass cut by the full 15db. Also have an SR tech Live 300 speaker, which works great for bass too. My advice if you're looking at Schertler gear is to think about your sound and how you want to sound. Schertler philosophy seems to be a bit more "old school" in tonal character. For example, if I follow their advice and plug in through the effects loop, I lose a lot of the character of my sound - mid growls and sparkle disappears and bright, singing spirocores sound much more muted.

Key of C major G7 ---> Cmaj V7 ---> Imaj (Primary Dominant) Secondary Dominants A7 (Eb7) ---> Dm7 V7/II (bV7/II) - mix. b13 B7 (F7) ---> Em7 V7/III (bV7/III) - mix.b9b13 C7 (Gb7) ---> Fmaj V7/IV (bV7/IV) - mix. D7 (Ab7) ---> G7 V7/V (bV7/V) - mix. E7 (Bb7) ---> Am7 V7/VI (bV7/VI) - mix.b9b13 (Most consonant diatonic scale choices are to the right; with Lydian Dominant for the tritone subs) As you can see, there's quite a variety of Dominant chords which are diatonic "of the key" in Functional Harmony. Also, if you look at the scale choices, there's Harmonic and Melodic minor choices relating to the chord the Secondary Dominant resolves to. E.g., V7/III using m5 of E Harmonic Minor - explains the Harmonic minor sounds on a Dominant chord which pop up frequently in stuff from Bach to Dixieland. Hope this clears things up a wee bit!

[quote name='Hector' timestamp='1474934754' post='3141689'] Your way of looking at it doesn't personally work for me, I certainly wouldn't call E7 diatonic to C major but agree it has a function in a C major context. I find that distinction useful. Still, if your way doesn't work for me I assume my way doesn't work for others, so I'm glad there's multiple takes on it in this thread. There's room for different ways of thinking about music theory for sure! [/quote] Sometimes there is room: sometimes Harmony is pretty well-established. Secondary Dominants are diatonic, i.e. "of the key". They don't modulate and only add one note to the key (in the case of the E7, a G#) and their upper structures are therefore diatonic (so this E7 would extend to E7b9b13). It's not my way of thinking about - it's the way Parker, Ellington, Coltrane, Bach and Mozart looked at it and it's what's taught anywhere Harmony is studied. However, taking Dominant Motion further, Extended Dominants (think the bridge to Jordu) are non-diatonic and their upper structures are much more varied. But then, I'm studying George Russell at the moment; which puts a lot of this stuff out of the window.... ;-)

Worth remembering that Mr Bowie most likely didn't know any of this stuff - in fact, I'll bet my mortgage on it - and just came up with chords he liked which fitted the song. Always remember; theory exists to explain what we hear. That's why some of it is pretty cumbersome - Modal Interchange for example (the "borrowing" of chords from other keys or, more correctly, parallel modes. What Hector was alluding to). It can be tricky to apply Harmonic concepts to pop songs at times as the music often doesn't really operate on those terms; especially getting into the realms of 5 chords, i.e. A5 etc.