danonearth

Great! Thanks for all the advice everyone... I'll give it another go cheers, Dan

[quote name='paul_c2' timestamp='1476519243' post='3154888'] You get round it by remembering to go up one fret when you go from the G string to the B string. I guess you could put it into a different tuning, so long as you'll NEVER play chords on it - the reason that EAGDBE tuning is used is a compromise betweeen being able to play a number of different chords, and being able to play lead lines/melodies. [/quote] Thanks, @Paul - actually some chords do sound ok tuned in fourths, but I agree with you - standard tuning is a compromise that does sound better

[quote name='Dad3353' timestamp='1476515102' post='3154860'] That seems simple enough to me; just tune the guitar in fourths, no..? The 'B' gets tuned up to 'C', the top 'E' becomes an 'F' and that's it..! 'Standard' tuning is only that, 'standard'. One may deviate from that 'standard' if that suits the music you want to play. Think of open tunings, for instance..? There are no hard-and-fast rules (but you'd have to adapt if also playing 'standard' chords, of course...). Try it out, it won't break anything. Just a thought, though. If this change from fourths to thirds bothers you, it would imply (to me...) that you're playing from a purely 'positional', or 'shape' point of view. Any tuning can be handled, once one gets to know the notes and intervals well enough. Transposing on a piano, for instance, involves forgetting about 'shapes', and thinking (or rather, 'knowing'...) the sound of each key. Similarly with a guitar, the notes are where they are; one gets to 'know' how they sound, and that's all. Just a thought. [/quote] Thanks, @[b][font="helvetica, arial, sans-serif"][color="#7c7c7c"][size=3]Dad3353 - Yes, I am not 'expert' on the guitar enough to know all the notes, as you say... so I was looking for a 'shape' way of understanding it better [/size][/color][/font][/b]

[color=#191919][font=Verdana, Arial, sans-serif][size=4] I started on guitar, but am now loving 5-string bass… I want to go back to guitar for a bit, but only to ‘solo’ on it (not playing chords) - so, I have a question… (I know this thread is for bass players, but hopefully some of you can relate to this...? [/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4] How do you ‘translate’ the perfect fourths tuning of a bass (especially the 5-string with 2 octaves across 4 frets) to a guitar with a 3rd thrown in just to mess with everything! Again, I mostly only want to just solo on it... I am fine with normal chords on a normal guitar - it is just when soloing I get confused after playing the perfect 4ths on a bass, and then I come across the dreaded 3rd interval on the guitar... I kind of want to keep the same ‘thinking’ of perfect 4ths on a bass and use it on the guitar - is it possible?[/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4] Thanks![/size][/font][/color]

[quote name='Number6' timestamp='1476311654' post='3153335'] I'm lucky enough to not have a clue what anyone is talking about in this thread [/quote] Lol! I wish I was the same... I have found the more you learn about theory, the more you need to know - it just never stops! lol cheers, Dan

[quote name='ambient' timestamp='1476311448' post='3153334'] The dominant 7 is a b7. It's maybe what's confusing you. The chord built on the 5th degree of the scale is called a dominant 7 chord. It has a major 3rd and a b7. If you play it as a 7 chord, it's called a dominant 7 chord, as a triad it'd be a major triad. [/quote] Yes, I think I was 'thinking' the right thing, but using the wrong terminology... Thanks again for helping clarify it for me cheers, Dan

[quote name='Stickman' timestamp='1476310974' post='3153327'] The correct name for the [i]interval[/i] you are referring to is a [b]minor seventh [/b]- 'dominant 7th' is the name given to the [u]chord[/u] built on the dominant degree of the scale (the fifth). Therefore, in C major, you have the following seventh chords: Cmaj7: C, E (M3), G (P5), B (M7) Dmin7: D, F (m3), A (P5), C (m7) Emin7: E, G (m3), B (P5), D (m7) Fmaj7: F, A (M3), A (P5), G (M7) G7: G, B (M3), D (P5), F (m7) Amin7: A, C (m3), E (P5), G (m7) Bø7: B, D (m3), F(º5), A (m7) m3 = interval of a minor third M3 = interval of a major third º5 = interval of a diminished fifth P5 = interval of a perfect fifth m7 = interval of a minor seventh M7 = interval of a major seventh Have a look at this video: [media]http://youtu.be/rY4rkG2pX1Q[/media] [/quote] Thanks, Stickman I just figured it out great video too! I find it hard to find good bass theory - most is guitar chord theory Thanks again! cheers, Dan

[quote name='ambient' timestamp='1476310339' post='3153320'] If you're harmonising a scale, it goes major 7, minor 7, minor 7, major 7, dominant 7, minor 7, minor 7b5, then back to major 7 on the octave. The only dominant 7 is on the fifth of the scale. The others are called minor 7s (except the 4th major 7). [/quote] Ah, yes... I forgot the b5 on the 7th Ok, got it! I think I am confusing the difference between minor 7 and dominant 7 - my friend told me the dominant 7 was a b7 - but I am using it wrong in this sense... I understand now I should have used minor 7th (as you did! Thanks!

Ok, I am just learning this theory and need some help when most people would use the D7th note (as opposed to a ‘normal’ Maj7) as either note could sound fine to me sometimes… Note: please excuse any little mistakes, but it is the overall pattern/idea I am looking at - as far as I can tell, the only time you would play a ‘normal’ Major 7th is on the 4th interval chord? So, for example: If I am playing in C Major… root chord = C, E, G, B 2nd = D, F (minor 3rd), A, C (dominant 7th) 3rd = E, G (minor 3rd), B, D (dominant 7th) 4th = F, A, C, E 5th = G, B, D, F (dominant 7th) 6th = A, C (minor 3rd), E, G (dominant 7th) 7th = B, D (minor 3rd), F, A (dominant 7th)

Awesome! Thanks, everyone cheers, Dan

Thanks again, everyone... [color=#141414][font=verdana, geneva, lucida,]I was just wondering if people prefer to re-position their hand so it is placed on the new root of the chord (as if you were starting a new scale), or keep their hand in the original scale position and always play from there? So, in a sense do you play within a scale, or move as in chords on a guitar?[/font][/color]

Great! Thanks, everyone... I was just trying to get an idea of what is the preferred practice - staying in one place in a 'scale' shape, or moving around the fretboard following the 'roots' of each chord - it seems like just a personal preference? I do also play what I 'hear', but know that bad habits are hard to break, so I just wanted to get started with a good 'technique' Thanks again! cheers, Dan

Hi all, I’m new to creating my own bass lines or patterns (as opposed to just reading tab, sheet music, etc.) so that I can just hopefully look at the chords of a song and play along to it… mostly jazz, latin, etc. I know I will eventually discover the answer to this myself through practice and experience, but I was wondering if anyone can help shed some light on it now for me and point me in the right direction… So, I am of two minds on how to approach ‘creating’ a bass line or pattern: 1) Use the root note of the chord as the ‘psuedo’ root of a new scale and play from there for each chord For example, play C on the A string as if it were the root of a C major scale pattern and play 1-3-5, or 1-4-5, etc.Then, slide up to E on the A string and make the same major scale pattern there, again playing 1-3-5, or 1-4-5, etc. using the major scale fingering from that point on the fretboard… then change to G on the D string and re-create a major scale pattern there and play 1-3-5, 1-4-5, etc. (Note: I understand all the theory (for example, you are not really going to play a new major scale beginning on the root of a new chord - songs don’t change keys every chord! but it is the ‘methodology’ or approach that I am interested in of changing hand positions up and down the fretboard as compared to example #2 below…) 2) Keep the same scale shape on the fretboard, and try to ‘envision’ if I am playing the root, third, fourth, faith, sixth, etc. of the scale and derive a pattern from there For example, play C on the A string as if it were the root of a C major scale pattern and play 1-3-5, or 1-4-5, etc. keeping my hand in that position, so that when the chord changes, I simply change my fingering pattern to play 1-3-5, 4-6-8, 5-7-1(octave), etc. in that same position on the fretboard To me, the difference between the two is whether I think within the same scale pattern (example #2) or simply move my hand position around the fretboard and create a new 'pseudo' scale pattern from the root note of the chord being played at that moment (again, keeping in mind that I am not actually changing keys, just the approach to playing off a new ‘root’ note of the chord with a different finger position) I hope this makes sense - if anyone can please help me decide which is the better method to pursue? Or is it purely a personal choice? Thanks! cheers, Dan