spiltmilk_2000

OK, so with all the discussion of modes, it's got me thinking about minor scales and their relative modes and i realised I'm unclear how these work!

In the major scale i understand that by harmonising the notes of the major scale you end up with the following pattern (example in key of C):

Cmaj7, Dm, Em, F, G7, Am, Bhalfdim, C

I know each of the modes that relate to each interval of the scale but how does it work in a minor key? What pattern of major / minor chords does it create and what extensions are there for each (ie. maj/minor 6ths or 7ths etc) How is it affected if we harmonise the melodic or harmonic minor scales instead of the natural minor??

I have a feeling responses are going to be pretty complicated!

Any help, in idiot proof terms where possible, greatly appreciated!

Just wanted to thank everyone for the advice and the warm welcome... I've never even played an upright and yet feel part of the cool brigade already :-)

Jakebass / huge hands... I'll PM you if i can figure out how!

Cheers all!
Russ

[quote name='dumelow' post='381502' date='Jan 15 2009, 05:05 PM']id give it a go at playing along, but it would probably take me an age. plus im sort of getting back into bass after about a year of not bothering so im not too hot at it at the moment.

ive been trying to find lots of motown tabs aswell with not much luck, found a few jackson 5 tabs and a couple of marvin gaye tabs, but i dont really know where else to look apart from bassmasta.net[/quote]

For mowtown stuff you've got to pick up a b ook called standing in the shadows of motown: the life of legendary bassist james jameson... its part biog, part transcriptions and comes with 2 cds of tracks with bass panned one way so you can solo, or remove to play along with backing tracks... best bit from my perspective, is its standared notation only so is helping me improve my reading too!

Russ

[quote name='clauster' post='379500' date='Jan 13 2009, 07:05 PM']Spiltmilk,

I suspect you're playing over major-scale "pop" music (or something else that's in a major Key) and you're using the right modes in the right places.

A 12-bar blues in G (for example) could change key 5 times in twelve bars - Cmajor (G7 is the V chord) to Fmajor (C7 is the V chord) back to Cmaj, Fmaj, then Gmajor (D7 is the V chord), then back to C.

As each time you're playing with the V chord you use Mixolydian.[/quote]

Wow! that makes so much sense!! why has no-one ever explained it like that before... THANKS!!!

[quote name='bilbo230763' post='379147' date='Jan 13 2009, 03:21 PM']If I play a 12 bar blues in F

F///Bb///F////F///
Bb///Bb///F///D7///
Gm7///C7///F////F///

I would play F mixolydian for one bar followed by one bar of Bb mixolydian followed by 2 bars of F Mixolydian
Then two bars of Bb Mixolydian, one bar of F mixolydian and on bar of D mixolydian
Then one bar of G Dorian, one bar of C mixolydian and two bars of F mixolydian.[/quote]

Im a little confused... the way I use modes is a little different. not sure if this is incorrect or just a 'different' use?? Help!

I base my choice of mode around the roman numeral of the chord within the major scale. so for instance over F (Chord I) I would play F Ionian for one bar followed by (IV) Bb lydian and back to F Ionian for 2 bars. Back to Bb lydian for 2, F Ionian for one, then D Mixolydian for one (I know this isnt Chord V but the i'd use this cos its a major chord with a dom7th - i dont know how/why the D7 fits when the major scale suggests it should be D minor but thats another matter! ).... then on to G Dorian (Chord II) C mixolydian (chord V) and finish with 2 bars of F ionian (back on chord I)

If anyone can tell me if im using incorrectly that would be brilliant!!! and even better if someone can explain, in idiot proof terms, why the D7 in the above progression is major and not minor too!

I hadnt even considered a EUB! does seem to tick quite a few boxes for me to give it a whirl... I guess the one drawback is it won't quite satisfy want of 'looking cool' with a big fat acoustic though

fretless precision??? Call me old fashioned but for my money, lecce basses should have four strings, passive pickups and frets... and uprights should REALLY be acoustic and have no frets!!

Thanks guys! if anyone else has anything to add i'd be glad to hear...

Hi! a newbie here looking for some advice...

Im an electric bass player who has recently started lusting after an upright. However, i know nothing about them and dont have a clue where to start... If anyone can offer any advice on the many questions below i'd be so grateful!

1. I dont want to spend a fortune when Ive never even tried playing one before, but what should i expect to pay for an entry level model. Ive seen some sub £500 models online, one even has a solid top and includes a case... would something like this be suitable or would it hold me back? Should i bite the bullet and spend a bit more?

2. If i do buy a really cheap model, how much of an improvement would a decent set up make? what kind of cost for this? Any recommendations in the london area?

3. As i mentioned, i've never even laid hands on an upright... where can I try out a selection of entry levels in the the london area??? I found the contrabasse shoppe but looks like their entry levels are £5K and up! :-( being as im looking at the cheapest of the cheap, should i be nervous to not try before I buy? as surely all in that price range will be fairly crude models and much of a muchness?

4. What's the main pros and cons of full size / 3/4 size... I expect i'll mainly end up playing jazz but would like to try my hand at bowing classical style too if that makes any difference?

5. Just how big are double basses?? reckon i could fit into a standard size hatch car with the seats down??

6. Anyone know of any good teachers in the london area?

7. Anything else you think i should know or consider before making the leap???

Thanks so much to everyone in advance of your help!

[quote name='evilLordJuju' post='308324' date='Oct 17 2008, 06:00 AM']have you thought about a Harmony H22? I love 'em. Cheapish (especially if you import)
The Jack Cassidy is not really much like an EB2 - no real boom, a bit too refined (It was a copy of the Les Paul Signature bass) with its variable impedence pickup and switching.[/quote]


Thanks all... It was a friends old EB2 which first gave me a craving for hollow a hollowbody in my arsenal... As you can probably tell i havent done my research in this area though. Would you say the Harmony H22 is one of the closest i'll get to an EB2 for tone / feel / look? I guess maybe i should just save up for the real mccoy!

I wish Gisbson would reissue the the EB2

So, I love the look of these and could quite fancy one but can only find sellers online... Its a lot of money to take a punt without playing especally when guitarist friends of mine who play Gretsches tell me build quality can be very hit and miss...

So, anyone own one? or even played one? Whats the verdict??

What about the epiphone jack cassady hollow body? any thoughts on this?? Is it a good substitute for the early 60's EB2 which i'll never be able to afford??

Thanks in advance for you help!